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Archive for the ‘Regency Period’ Category

write letter byron 2003Gentle readers,

The Lady Susan Soiree is going full tilt at Austenprose, where Laurel Ann and her band of readers are finishing up Jane Austen’s last published novel. Lady Susan is an epistolary novel, or one that is written in letter format. Last week I wrote a post about Upper Seymour Street, one of the prominent addresses in the novel, this week I will be writing about the postal service during the Georgian era. Not only did Jane Austen write a novel in letter format, she was a great letter writer herself. Sending a letter over two hundred years ago was much like sending an email today: the service was expensive and it depended upon the smooth running of a money making operation. But in London the service was different, for the Penny-Post had been introduced. This form of sending letters was both easy, affordable and practical, and explains how a lady with straitened finances like Lady Susan Vernon could afford to write so many letters in such a short space of time.

During the eighteenth century a letter from London to Bath could take three days to arrive, but by the 1820s, mail was delivered the morning after posting in towns more than 120 miles apart. In central London the postal service was so efficient, and there were such frequent deliveries, than an invitation issued in the morning could be acknowledged the same afternoon. – High Society, Venetia Murray, ISBN: 0670857580, p. 2.

Venetia Murray’s entry about the postal service was short and to the point, but it does not come close to telling the entire story. Because I uncovered so much information, I am dividing this post into three parts: 1) Letters and the Penny-Post, 2) Post Roads and Post Boys, and 3) John Palmer and the Royal Mail Coach.

Part One: Letters and the Penny-Post

In 1635 Charles I opened up his ‘royal mail’ for use by the public. Oliver Cromwell established the General Post Office in 1657 and after the Restoration, Charles II authorized the General Post Office to operate the ‘royal mail’, with the revenue from the postal service going to the Government.

Small cross written letter

Small cross written letter

In those early days, postal rates were calculated according to the distances traveled and the number of sheets that comprised a letter. Because of their cost, only businesses and the wealthy could afford to send letters. Others simply had to entrust their missives to friends and family members, or ask people traveling to another town to serve as a messenger. Even the wealthy kept their sheets of paper small and wrote in a cross writing style to conserve space. (See the  image at right and click here to read my post on Letter Writing in Jane Austen’s Time.) Envelopes would have been considered an additional sheet, so these very early letters did not include them.  A letter was simply folded over and sealed with wax that was stamped by a signet ring or a seal.  Recipients, not the sender, had to pay for the cost of a letter. This system caused hardship in cases where the recipient did not have the money, and as a result many letters languished on a post office shelf or were thrown away. Knowing these facts about the postal system of the period helps the reader to understand the following passage from Mansfield Park. Even though this scene occured in the early 19th century, the costs associated with sending letters from one city to another had not changed in over 100 years, for the postal system would not significantly improve until 1837, when Rowland Hill set out to reform it.

    “But William will write to you, I dare say.” “Yes, he had promised he would, but he had told her to write first.” “And when shall you do it?” She hung her head and answered hesitatingly, “she did not know; she had not any paper.”

    “If that be all your difficulty, I will furnish you with paper and every other material, and you may write your letter whenever you choose. Would it make you happy to write to William?”

    “Yes, very.”

    “Then let it be done now. Come with me into the breakfast room, we shall find every thing there, and be sure of having the room to ourselves.”

    “But, cousin—will it go to the post?”

    “Yes, depend upon me it shall; it shall go with the other letters; and, as your uncle will frank it, it will cost William nothing.”

    “My uncle!” repeated Fanny, with a frightened look.

    “Yes, when you have written the letter, I will take it to my father to frank.”

    Fanny thought it a bold measure, but offered no farther resistance

Edmund also sits down to write “with his own hand his love to his cousin William, and sent him half a guinea under the seal.” This was a remarkable sum of money for the day, and demonstratedEdmund’s character like no words could. From this point on, William would have enough money to pay for Fanny’s letters as they came.

William Dockwra's postal markings

William Dockwra's postal markings

Interestingly, the Post Office did not handle letters sent from one London address to another. The city was a thriving metropolis and trading center, yet merchants had to employ private messengers to carry letters and packages across town, much like the poor in other parts of the country. In 1680, an enterprising merchant named William Dockwra introduced a local Penny-Post in London, which carried letters within a ten mile radius. His service also introduced the pre-payment of letters, a revolutionary idea. William’s advertisement in the Mercurius Civicus read:

“The Undertakers for the Incomparable and Advantageous Design for the Speedy and safe Conveyance of Letters and packquets under a pound weight, to all parts of the Cities of London and Westminster, and the suburbs thereof … [have] ordered their Messengers to call for all Letters at all Coffee-Houses in the High Roads and Streets following . . . And all persons, who leave their Letters at any of the places aforesaid, may be sure to have them speedily dispatched for ONE PENY”.

William’s method of operation was immediately successful, “particularly as letters left at any Penny-Post House were sent out “successively every hour of the Day, till Eight of the Clock at Night”. Furthermore, to ensure that correspondence was delivered as soon as possible, each letter was stamped with the hour of the day on which it was sent out. This way, people could work out whether the “delays that may happen be really in the Office, or their own Servants (or other) with whom their Letters were left in due time”. “– Potted History by Ben Locker

Dockwra used two main postmarks for each letter. One was a triangular stamp with “Penny-Post Paid” on the three sides and the initials of the sorting office in the centre. This indicated that the rate had been paid and there was no further charges necessary on receipt. The second postmark was a heart shaped stamp indicating the date and time of dispatch.

There was a great deal of opposition to Dockwra’s post from porters and messengers whose livelihood was affected by the service. The church, a powerful force at the time, also had strong opposition!

The most serious opposition to Dockwra’s system came from the General Post Office, which heavily resented the competition. As such, in 1682 legal action was taken against William Dockwra in the name of the Duke Of York (Later King James II.) who was responsible for overseeing the Post Office at the time. – William Dockwra

Unfortunately, the Duke of York  held the monopoly on collecting revenue from the mail. He prosecuted Dockwra for £100 (Wikipedia says it was £2,000)  in damages and forced the merchant to relinquish control of his enterprise. Four days after the judgement, the London Gazette announced that the Penny-Post would shortly be reopened as part of the General Post Office.  For nine years Dockwra petitioned the Duke to save him and his “family of 9 children from Ruine.” Eventually in 1689, after James II’s death, Dockwra received a “seven-year pension of £500 “in consideration of his good service in inventing and setting up the business of the Penny-Post.” (Potted History by Ben Locker)

General Post Office in Lombard Street, London

General Post Office in Lombard Street, London

“The Penny-Post was quickly adopted in other cities and towns, like Dublin, Edinburgh and Manchester. Revenues steadily increased, and by 1727 the London District Post was so well regarded that ‘Daniel Defoe praised it for not charging for “a single Piece of Paper, as in the General Post-Office, but [sending] any Packet under a Pound weight . . . at the same price.'” The employment of extra letter carriers increased the number of deliveries, so that the system became even more efficient. From the 1770s the numbering of houses began, and by 1805 this system became mandatory in London Streets, making it even easier for letter carriers to deliver mail (Potted History by Ben Locker).  In contrast to the Penny-Post, letters that went out via the General Post Office still charged recipients for distance traveled and the number of sheets used, so that a letter sent from Steventon Rectory to Chawton would be quite expensive as compared to a letter sent from one London address to another, or one Manchester address to another.

Letter carrier, 1800, with bell and satchel

Letter carrier, 1800, with bell and satchel

For ordinary people the cost of receiving a letter was a significant part of the weekly wage. If you lived in London and your relatives had written to you from Edinburgh you would have to pay one shilling and one pence per page – more than the average worker earned in a day. Many letters were never delivered because their recipients could not afford them, losing the Post Office a great deal of money.” – Rowland Hill’s Postal Reforms

To help finance the war against Napoleon, the London Penny-Post was increased to tuppence in 1801; in 1805 the amount was raised to three pence. The beginning of uniform penny postage in 1840 made sending mail affordable to all for the first time. In 1837, English schoolmaster, Rowland Hill, wrote a pamphlet, Post Office Reform: its Importance and Practicability, which was privately circulated. In that year, he also invented the postage stamp, which necessitated the use of an envelope. “The Penny-Post system that began in 1840 used a lozenge-shaped sheet more akin to today’s aerogrammes, though in the same year George Wilson patented a system for printing several envelopes from one large sheet of paper, and in 1845 a steam-driven cutting and folding machine was invented.”  History of the Humble Envelope

Hill’s famous pamphlet, Post Office Reform, was privately circulated in 1837. The report called for “low and uniform rates” according to weight, rather than distance. Hill’s study showed that most of the costs in the postal system were not for transport, but rather for laborious handling procedures at the origins and the destinations.

Costs could be reduced dramatically if postage were prepaid by the sender, the prepayment to be proven by the use of prepaid letter sheets or adhesive stamps (adhesive stamps had long been used to show payment of taxes – for example, on documents).

Letter sheets were to be used because envelopes were not yet common – they were not yet mass produced, and in an era when postage was calculated partly on the basis of the number of sheets of paper used, the same sheet of paper would be folded and serve for both the message and the address. In addition, Hill proposed to lower the postage rate to a penny per half ounce, without regard to distance. He presented his proposal to the Government in 1838.

Postal service rates were lowered almost immediately, to fourpence from the 5 December 1839, then to the penny rate on the 10 January 1840, even before stamps or letter sheets could be printed. The volume of paid internal correspondence increased dramatically, by 120%, between November, 1839 and February, 1840. – Rowland Hill

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Once upon a time children wore miniature versions of their parents’ clothing styles. Then, in 1780 or 1790, depending on the source you read, children began to be dressed differently, wearing fashions designed just for them.

Bowden Children, John Hoppner, late 18th c.

Bowden Children, John Hoppner, late 18th c.

Skeleton suit, Kate Greenaway

Skeleton suit, Kate Greenaway

Not that small boys, left to their own devices, would have worn high-waisted, ankle length trousers made of heavy cotton or linen and white cambric shirts with ruffled trim, but these “skeleton suits” as they were called were popular for at least fifty years. The pants had high waists, because they were buttoned onto the long sleeved jacket.

Although these long-sleeved, trousered suits were meant to be comfortable, they had three layers at the waist, not including underwear. Heaven knows how hot the boys must have felt in the summer or during active play! Or how quickly the white ruffed shirts soiled! Completing the outfit were white stocking, flat-soled strap slippers, and a military-style cap. The strapped slippers can best be seen in the 1841 fashion plate image at the bottom of this post.

Boy with cap

Boy with cap

A skeleton suit, one of those straight blue cloth cases in which small boys used to be confined before belts and tunics had come in … An ingenious contrivance for displaying the symmetry of a boy’s figure by fastening him into a very tight jacket, with an ornamental row of buttons over each shoulder and then buttoning his trousers over it so as to give his legs the appearance of being hooked on just under his arm pits. (Charles Dickens, Sketches by Boz, 1838-39.)

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Adding insult to injury, was the underwear that young boys wore under these layered clothes. This sample comes from the Manchester Art Gallery.

Detail of The Hoppner Children, 1791. Formal skeleton suit.

Detail of The Hoppner Children, 1791. Formal skeleton suit.

The smaller the boy, the more elaborately frilled the collar. Colors were generally light, with the most popular being blue or green. Sometimes the suits were made of scarlet or mustard as well. For more formal occasions, a colorful sash might be added and the trousers made of silk or velvet and trimmed with lace. A young man about to go to Eton would wear the larger Eton collar.

Detail of Fluyder Children, Sir Thomas Lawrence. Skeleton suit with sash

Detail of Fluyder Children, Sir Thomas Lawrence. Skeleton suit with sash

Detail, 1841 fashion plate

Detail, 1841 fashion plate

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Little Anne illustration, Kate Greenaway

Little Anne illustration, Kate Greenaway

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Kate Greenaway was a Victorian artist who drew incidents from every day life in the Regency era from a nostalgic point of view. Although infused with Victorian sensibility, her drawings are charming and still quite popular today. A contemporary illustrator, Walter Crane, said about her:

The grace and charm of her children and young girls were quickly recognized, and her treatment of quaint early nineteenth century costume, prim gardens, and the child-like spirit of her designs in an old-world atmosphere, though touched with conscious modern ‘aestheticism,’ captivated the public in a remarkable way.

kate greenaway different kinds of blind

For Crafters: Find free Kate Greenaway clip art at this site.


Kate was born in March 1846 in Hoxton. At the age of twenty Kate produced her first printed piece.
She also started doing greeting card, calendar and book illustrations.  One of her card designs sold over 25,000 copies in just a few weeks.  Although she was paid only 3 pounds she was starting to be noticed. Her first book [Under the Window] was produced in collaboration with Edmund Evans, with whom her father had apprenticed.  Evans spared no expense and the 20,000 copies sold almost immediately so a second printing of 70,000 was produced. –  Kate Greenaway
Today many of her illustrated books can be seen online.  The Queen of the Pirate Isle, autored by Bret Harte in 1885 and offered on Project Gutenberg, is illustrated by Kate. Check it out at this link.

Illustration from The Queen of the Pirate Isle.
In 1884,  The Language of Flowers, considered by many to be the finest of Kate Greenaway’s books, was published. Only 19,500 copies were issued in all.  While Kate continued to paint watercolours for the rest of her life, she could not match the spectacular success of her earlier career. She died in 1901.

Language of Flowers, Illustrated by Kate Greenaway, 1884

Language of Flowers, Illustrated by Kate Greenaway, 1884

Kate Greenaway by David Levine

Kate Greenaway by David Levine

More links: Listed in this section are a series of books with Kate’s masterful illustrations. 

Greenaway_11_lady_sitting

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Inquiring reader, in honor of this week’s tepid heat wave in Richmond, I continue my coverage of all things seaside during the Regency era. To our moderns eyes, Regency fashions by the seashore covered as much of the body as ordinary clothes, and were as complicated as regular fashions. Let’s take a closer look.

Becky Sharpe (Natasha Little) in bathing costume, Vanity Fair 1998

Becky Sharpe (Natasha Little) in bathing costume, Vanity Fair 1998

I question this image from 1998’s Vanity Fair, in which Natasha Little as Becky Sharpe looks more like a Victorian seaside gamboller than a proper Regency lady. In addition, she would have changed into this bathing costume inside the bathing machine and gone into the water largely unnoticed. She is shown in full view of both men and women on the beach wearing this outfit, which was clearly meant for swimming.

This Belle Assemblee fashion plate depicts a more demure approach to seaside fashion. The muslin gowns are rather plain, meant for the day, but it is only 1810 after all, when dress silhouettes were still classically severe. These dresses could be worn in full view of other vacationers on the beach. One sees the “wrapping” in the style of the turbans and pelisse and cape. A seaside outing was meant to be bracing and restorative, and therefore people would venture to the beach regardless of the weather.
1810_October sea beach costume

The women are sitting, or else the length of the dress would become obvious. The length of dresses meant to be worn when walking along the shore were cut a little higher, one supposes to accommodate a walk along the beach when sand and waves would wreak havoc with delicate hems. The lady in the illustration is dressed for the evening, perhaps for a fete on a public pier, who knows? Either way, she is dressed to be seen in high style, even if the tiered lacy hems of her bloomers are showing.

Bathing place evening dress, 1810

Bathing place evening dress, 1810

Famed illustrator James Gillray showed seaside fashion in all its glory. From the high tide hem of the lady in the center, to the completely covered up garb of the women sitting on the beach. This lovely illustration from 1810, “The Calm,” shows the seashore on a calm day, with our fashionable miss as exposed as she can decently be – her arms and neck bare, her head covered by a small straw bonnet, and her tiny parasol barely protecting her delicate skin from Sol’s harmful rays.a calm 1810 gilray
This illustration shows the sea shore on a raw day that many Britons will recognize, with the winds whipping up waves, woolen capes, and muslin skirts. Even covered up, this lady exposes more to prying eyes than was appropriate!

A squall, Gilray 1810

A squall, Gilray 1810

Taking cold dips in the ocean and drinking foul-tasting spa water were two of the health benefits derived from visiting a seaside resort. Inhaling the fresh sea air was another. These fashions again show how thoroughly one covered up before venturing out of doors.

Poetical Sketches of Scarborough, 1813

Poetical Sketches of Scarborough, 1813

Regardless of their location in or out of the water, non-swimmers remained covered up. It is ironic that once in the water, so many men and women would swim completely naked, but there you have it: Seaside, Regency style.

Steps to the sea, Vanity Fair, 1998

Steps to the sea, Vanity Fair, 1998

On a side note, a dog lover like myself will find the Gilray prints and the Scarborough print quite interesting, for dogs are prominently displayed as realistic touches.

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Martha Gunn, dipper

Martha Gunn, dipper

In a scene in 1998’s Vanity Fair with Natasha Little as Becky Sharp, she visits Brighton with her husband and friends. The film, set during the Regency era, depicted a scene in which one of the party is taken from a bathing machine and dipped into the cold waters by a large woman. The bather floats on her back with her bathing costume billowing from the trapped air. This comical scene was based on fact. Brighton during the late 1790’s early 1800’s  employed some twenty male and female “dippers”” whose jobs were to vigorously dip their clients into the sea and push them through the waves, keeping them afloat, then help them back into the bathing machine.

floating with billowing skirt vanity fair 1998Brighton’s most famous dipper was Martha Gunn, a large, sturdy woman whose fame exists to this day. Bathers were separated by sex, a restriction that remained until 1930 in Brighton, and were drawn  into the waters by horses hitched to bathing machines. The bathers would be inside the vehicles changing into their bathing costumes, or not, for, screened from the world and the opposite sex, they would enter the waters au naturel. The terminology for immersion differed for the sexes. When men immersed men into the waters, it was called bathing. When women immersed women into the waters, they were dipping.

Sea Bathing machine

Sea Bathing machine

On page 233 in a Directory of Brighton published in 1790 the bathers are listed as follows:

Martha Gunn Toby Jug

Martha Gunn Toby Jug

Born in 1726, Martha Gunn dipped seaside visitors from around 1750 until she was forced to retire through ill health around 1814. She was such a popular figure that the Prince of Wales granted her free access to his kitchens.  The dipper was known as ‘The Venerable Priestess of the Bath’ by the locals. Large and  strong, well known and respected by the townsfolk as well as the visitors, Marth appeared in comic caricatures of the times. “Life for Dippers and Bathers was not easy – standing all day in the sea even in August calls for a tough constitution and Martha Gunn’s ample size was no doubt one of the reasons for her success in the cold waters.” ( Martha Gunn) Mrs. Gunn died in 1815 and is buried in the yard at St Nicholas Church. Her portrait hangs in the tea-room of the Royal Pavilion, and her house still stands on 36 East Street. Her fellow dippers and bathers continued to perform their duties in Brighton until the mid 19th century.

[Dippers] were also technicians of the ritual process: on-site masters of the requirements of the sea-bathing treatment. They judged the waves, the state of their clients, and their daily requirements: bathing at such and such a time or for so long. Many of the bathers could not swim: Dippers, often women, were essential figures of dependable strength and assurance. This might explain the inordinate affection of them. The ritual purging and bathing, the ministrations of the Dipper, and the natural influence of the seashore itself with its salt water, sea air, and ‘ozone’ were vital ingredients in both the reality and perception of a Cure. – Ritual Pleasures of a Seaside Resort, Chris Jenks, p169.

Martha's grave

Martha’s grave

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