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Lady Sarah Jersey

Gentle Readers: In my sidebar I call myself an amateur historian, an apt term as this post will attest. I try to quote from older sources, but this can sometimes backfire. Captain Gronow, for example, whose words I quoted for this post via John Ashton (1890) and Lewis Saul Benjamin (1909), wrote down his memories about the Regency era in 1863, a half century after the events occurred.  Gronow’s memory, unfortunately, was faulty in a few particulars, especially in recalling the names of the patronesses of Almack’s in 1814, and why they turned the Duke of Wellington away. I have placed a number of updates in the original post.

Any individual who has read a novel set in Regency England knows about the assembly rooms at Almack’s and the club’s exclusivity. While Almack’s was notorious for its stale refreshments and thin lemonade in the supper room, the Beau Monde never minded, for the idea was to hob nob with the right people, trot out one’s eligible daughters, and make the best marriages possible given their dowries and family connections. Looks and a personality had very little to do with a young lady’s success in her first season OUT, but a pleasing countenance matched with a fortune would swiftly speed up the unification of great estates or the purchase of a worthy title.

Almack's, Pall Mall, opened in 1765

The Patronesses of Almack’s guarded entry to the club like Valkeries prepared to do battle. No one, not even the Duke of Wellington, would dare to step a foot inside the establishment without a proper voucher, and, indeed, he was turned away once for wearing *gasp* trousers instead of knee breeches. But is this true? Please keep on reading.

This passage from Social England Under the Regency by John Ashton (p 383) is quite telling:

*The Duke of Wellington

Of course the Creme de la creme went to Almack’s, but numberless were the Peris who sighed to enter that Paradise, and could not. Capt. Gronow, writing of 1814, says: “At the present time one can hardly conceive the importance which was attached to getting admission to Almack’s, the seventh heaven of the fashionable world. Of the three hundred officers of the Foot Guards, not more than half a dozen were honoured with vouchers of admission to this exclusive temple of the beau monde, the gates of which were guarded by lady patronesses whose smiles or frowns consigned men and women to happiness or despair. These lady patronesses were the Ladies Castlereagh, Jersey, Cowper, and Sefton; … and the Countess Lieven.” (Note: At that time, two other patronesses included Lady Downshire and Lady Bathurst.)

Cruikshank, Longitude (Countess Lieven) and Latitude (in capri-length pantaloons) at Almack's.

In a Newspaper of May 12, 1817, we read – “The rigorous rule of entry established at Almack’s Rooms produced a curious incident at the last Ball – The Marquis and Marchioness of W__r, the Marchioness of T__, Lady Charlotte C__ and her daughter, had all been so imprudent as to come to the rooms without tickets, and though so intimately known to the Lady Managers, and so perfectly unexceptionable, they were politely requested to withdraw, and accordingly they all submitted to the injunction. Again at the beginning of the season of 1819, we find these female tyrants issuing the following ukase: “An order has been issued, we understand, by the Lady Patronesses of Almack’s, to prevent the admission of Gentlemen in Trowsers and Cossacks to the balls on Wednesdays, at the same time allowing an exception to those Gentlemen who may be knock kneed or otherwise deformed.” But the male sex were equal to the occasion as we find in the following lines: –

TO THE LADY PATRONESSES OF ALMACK’S

Tired of our trousers are ye grown?

But since to them your anger reaches,

Is it because tis so well known

You always love to wear the breeches.

*Image from Highest Life in London: Tom and Jerry Sporting a Toe among the Corinthians at Almack's in the West, by I. Robert and George Cruikshank, 1821

Update:  Regency Researcher, Nancy Mayer, was kind enough to contact me and set a few facts straight. I have placed her explanations in the update/update below. In the above image, the young bucks are wearing dark suits with dark, close-fitted trousers (Beau Brummel’s influence), while the older men are still in buff-colored knee breeches.

If anyone knows the true story about the Duke and his trousers, please contact me. One conjecture is that Wellington was turned away for arriving after midnight. (Read more about the Patronesses’ edict on trousers in this link to The Beaux of the Regency, Vol. 1.)

Update/Update: Pantaloons, which fitted snug to the leg, came in two lengths: capri and long. A strap under the foot kept long pantaloons in place. (The image below shows the strap.) Thus, the men in the image above were wearing tight pantaloons, for trousers at the time were slightly looser and would have sported gussets that extended the fabric low over the shoe.

Pantaloons with straps, 1821. Image @Republic of Pemberley

In 1814, the date Gronow recollected, trousers (below) were acceptable for day wear only. Pantaloons were worn as evening wear.

Nancy Mayer, a Regency researcher who provided much of the updated information, wrote in a second note: “Luttrell’s poem on Almack’s was published around 1819. According to the verse about the “trowsers”, I think trousers didn’t become an issue until after 1817, at least. Sometimes it is hard to tell if the men are wearing trousers or the longer pantaloons with the strap under the foot. Most of the Lords in the picture of the Trial of Queen Caroline 1820 are wearing trousers or the long pantaloons.”

 

Trouser with gussets, day wear, 1813

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*Images: Carolyn McDowell

Inquiring readers: Raquel Sallaberry from Jane Austen em Portugues sent the link to this post on Promantica about the entail in Downton Abbey entitled “Downton Abbey Fans – Welcome to the MOST Boring Law School Class.” The title is not exactly descriptive, for this wonderful post explains in great detail why the entail cannot be superceded, why Cora’s money is tied up and Lady Mary cannot inherit, and why Matthew Crawley cannot relinquish the title.

The Earl of Grantham and Matthew Crawley walk around the grounds of Downton Abbey

Magdalen, one of the blog contributors, introduces the expert:

By special request, I have asked my ex-husband to help us understand the law of the entail, critical to the plot of Downton Abbey.  Henry is a) British, b) an attorney, c) smart, and d) the son and grandson of QCs, i.e., barristers (British attorneys who appear in court) selected to be “Queen’s Counsel.”  (Although, to be fair, I think Henry’s grandfather took silk — Britspeak for becoming a QC — long enough ago that he was actually King’s Counsel!)
The blog goes on to describe the difference between real property, personal property, and intellectual property. Magdalen then dives into her questions:

First off, what’s an entail?
It is a limitation on the current tenant’s (in our case, the 6th Earl of Grantham) ownership interest in the estate. If he owned Downton Abbey outright, he would have a fee simple. Instead, he has a fee tail, which gives him a life interest so he can’t be evicted in his lifetime, but not the right to say who gets Downton Abbey after he dies.

The Earl of Grantham summarizes the situation best: "I'm a custodian, not an owner."

Okay, so how would an entail work?
The normal entail would be to “the 6th earl and heirs of his body” (meaning his legitimate biological children) or “and heirs male of his body” or “and heirs male of his body to be begotten on Cora.” When the 6th earl had no sons, the second and third of those would terminate, allowing the 6th earl to dispose of the money by will. The first would allow a daughter to inherit, but I’m not sure if it would pass to Mary or to the three daughters jointly or in shares…

To read the rest of this fascinating post, please click on this link to Promantica.

Thank you, Raquel (and Magdalen and Henry). This article is fascinating, fun to read, and very, very informative.

Read this blog’s other posts about Downton Abbey:


Copright @Jane Austen’s World. Written by Tony Grant, London Calling

Two of the greatest writers of the late 18th century and early 19th century were Jane Austen and William Wordsworth. We think we know Jane Austen’s primary influences and encouragement in her writing. They are found amongst the members of her family, the villages, towns and great houses she visited constantly near where she lived and the people she interacted with in those diverse places. She was a keen observer and knew them all intimately. Claire Tomalin in her biography, “Jane Austen, A life,” says that Jane wrote

“… tightly constructed stories that cover a short span of time…….Jane Austen also chose to write about small families.”

Dorothy Wordsworth

About, 250 miles north, there lived a young lady called Dorothy Wordsworth. She was a little older than Jane by five years. Dorothy’s brother was William Wordsworth and for a while they lived together in a tiny cottage they called Dove Cottage set in the wild and desolate scenery of The Lake District. Dorothy and William Wordsworth wrote about their emotional and intellectual response to nature and the landscape around them. While living at Dove Cottage in the Lake District, Dorothy was the muse, support, encourager and inspiration for her brother.

Dove Cottage, Grasmere. Image @Tony Grant

William often read Dorothy’s journal and drew inspiration for his poems from it.
We might ask why and how did these two writers have such different responses to the world about them?

Jane Austen by Cassandra Austen

Jane was born into a lively and vibrant family of six brothers and one sister. It was a boisterous environment and aunts, uncles and neighbours were an additional group of relationships that were there, interested and ready to be involved with the new addition to the family. Family life was paramount in Jane’s existence from the start. All her senses were filled with it. Reading Gilbert Whites journals and letters makes us aware of the rich natural world all around her in her Hampshire village of Steventon, but although Jane would have been brought up in this natural environment, and she would have taken notice and interest in it, the life of family was the overriding power that carried her along. And so from an early start her environment filled her thoughts feelings and imagination. Claire Tomalin reminds us that,

“Not only was she one of eight, she lived with a perpetual awareness of a cousinage extending over many counties and even beyond England.”

Some examples of her writing show the intensity with which she was concerned with conversation and relationships as her primary focus. In Persuasion, the little Dorset coastal port of Lyme Regis plays a major role. In a letter to Cassandra written on Friday 14th, September, 1814, Jane says,

I called yesterday morning-( ought it not in strict propriety be termed yester – Morning?) on Miss Armstrong & was introduced to her father & mother. Like other young ladies she is considerably genteeler than her parents; Mrs Armstrong sat darning a pr of stockings the whole of my visit-.But I do not mention this at home , lest a warning should act as an example.-We afterwards walked on the Cobb; she is very conversable in a common way; I do perceive wit or genius- but she has Sense and some degree of Taste,& her manners are very engaging. She seems to like people too easily- she thought the Downes pleasant…”

In Persuasion, Jane writes about Anne Elliott, Captain Harville, Captain Wentworth,and Louisa Musgrove walking on the Cobb. The scenery is definitely noticed, but the main preoccupation is conversation and social interaction;

“but as they drew near The Cobb there was such a general wish to walk along it once more, all were so inclined…”

The Cobb at Lyme with Grannies Teeth. Image @Tony Grant

At this point they did not know how this walk along the Cobb would affect their whole situation, but the pull of this great physical presence was important and drew them to it as a social group conversing and interacting, their relationships developing. In both Jane’s letters above to Cassandra, and in this extract from Persuasion, it’s the relationships that are paramount. The Cobb is the setting for both. We can see in these two extracts how relationships play their part in Jane’s real life and Jane’s fictional life. Her own world is the inspiration for her fictional world.

Henry Austen

Her family must have helped and encouraged her. Claire Tomalin writes,

Jane Austen managed the day-to-day routines of a novelist with an efficiency and discipline worthy of her naval brothers. The famous account of her working habits, given by her nephew, credits her with almost miraculous powers in stopping and starting under interruption.(her nephews account describes how she would stop and hide her small pieces of paper under a blotter at the slightest interruption and she used the sound of a creaking door as people entered the house to signal to her.)The picture is admirable, exasperating, painful and can only be half true………..there must have been times when the other inhabitants of the cottage protected her silence with something more than the creaking door……encouragement and practical help came from Henry….. Henry’s army connections may have helped to make the deal with
( Egerton the publisher) and Henry and Eliza’s money paid for the printing.”

Grasmere Lake

Just over two hundred and fifty miles north of Steventon, in the County of Cumbria, also know as the Lake District, during the same period of time, lived Dorothy and William Wordsworth. They lived in various houses but the most famous is a small cottage, called Dove Cottage at Grasmere, next to Grasmere Lake. It is surrounded by the steep hills and small mountains and streams of the Lake District, the Scafell Pikes, and Dungeon Ghyll. The sights and sounds they lived with were those of tumbling water as it dropped down mountain falls, the hiss of fast-moving mountain streams, and the wild rugged terrain of the Lake District’s fells, crags, tarns, and ghylls.

William Wordsworth, Benjamin Robert Haydon. Image @National Portrait Gallery

Like Jane, William was born into a large family (on the 7th April, 1770). He was the second of five children born to John Wordsworth and Ann Cookson in a large house in the centre of Cockermouth, his father being the legal representative for James Lowther, the 1st Earl of Lonsdale. At the bottom of the garden was a wild stream and this is one of the first things that attracted William’s attention. Dorothy his younger sister was born a year later. She was to become his mentor and supporter throughout her life. Their brothers did well in life as indeed Jane’s brothers did. John Wordsworth became a naval captain but was lost at sea in 1805, the youngest, Christopher became master of Trinity College Cambridge. William himself went to St John’s College Cambridge and achieved his bachelor degree in 1791. Richard became a lawyer. None of the children in the family got close to their father who remained distant to them. Williams’ father did, however, encourage William to read poetry and William, similar to Jane at the Steventon Rectory, had access to his father’s extensive library.

To illustrate the influences and the type of encouragement that William drew on to write his poetry, the time that Dorothy and he lived at Dove Cottage is a prime period to focus on.

Dorothy kept a journal covering the years they spent together at Dove Cottage. She opens the journal in the year 1800. It is May 14th, a Wednesday.

“I resolve to write a journal of the time till William and John return and I set about keeping my resolve, because I will not quarrel with myself, and because I shall give William pleasure by it when he comes home again.”

This start to her journal gives us an insight into her total dedication towards her brother. It is written for William’s pleasure, not hers. She was a selfless soul. William, and indeed their friend and poet Coleridge, who also came to live in the lake District, often referred to Dorothy’s journal. It is almost as though William used his sister’s writing to affirm his own responses and feelings about nature.

Here is an extract that shows how William’s poems and Dorothy’s journal are connected. Dorothy would have written this first of course. It is written beautifully and with passion. It shows her connection to nature.

April 15th 1801

“ When we were in the woods beyond Gowbarrow Park we saw a few daffodils close to the waterside. We fancied that the lake had floated the seeds ashore, and that the little colony had so sprung up. But as we went along there were more and yet more; and at last under the boughs of the trees, we saw that there was a long belt of them along the shore, about the breadth of a country turnpike road. I never saw daffodils so beautiful. They grew among the mossy stones about and about them; some rested their heads upon these stones as on a pillow for weariness; and the rest tossed and reeled and danced, and seemed as if they verily laughed with the wind, that blew upon them over the lake; they looked so gay, ever glancing, ever changing.”

Lake District daffodils

Remember that William and Dorothy were together on this walk and saw the same sight. Soon after this entry William wrote this. It is the second verse of, The Daffodils;

Continuous as the stars that shine
And twinkle on the Milky Way,
They stretched in never ending line
Along the margin of a bay
Ten thousand saw I at a glance
Tossing their heads in sprightly dance”

It appears apparent that Dorothy’s words are used by William. “Tossed”, “danced”, repeat Dorothy’s imagery. He is relying on Dorothy’s emotional response as much as his own. They were very close as brother and sister and would have talked about their feelings of the event. But William’s heightened emotional response in this poem is the same as Dorothy’s.

It worked both ways. Williams’s poetry informed Dorothy’s emotional response too. On Monday may 26th, 1800, Mary writes;

I walked toward Rydal, and turned aside at my favourite field. The air and the lake were still……I could distinguish objects, the woods trees and houses. Two or three different kinds of birds sang at intervals on the opposite shore. I sate til I could hardly drag myself away. I grew so sad. “When pleasant thoughts,”……

Here Dorothy begins to quote a poem William had written two years earlier in 1798

I heard a thousand blended notes,
While in a grove I sate reclined,
In that sweet mood when pleasant thoughts
Bring sad thoughts to the mind.”

She is virtually re-enacting the poem. And of course Dorothy’s journal may well have informed Williams writing of the poem in the first place.

It is easy to see William Wordworths poems, in a quick superficial reading, as merely nice emotional descriptions of nature. Of course they are far more than that. Dorothy herself in her journal warns us that when reading William’s poems, to “look deep.”

In this article I wanted to show the different influences of two of the greatest writers of the late eighteenth century and early nineteenth century. It was not meant to be an analysis of their writing. However, to be fair to William Wordsworth it should be pointed out that his poems must be read carefully and a few times over. You begin to notice his emotional attachment to nature – he calls it his soul “linking” with the spirit of the natural world. It is ultimately about man’s connection with nature and being able to communicate with it, empathise with it, and know that you are part of it.  Wordsworth warns,

“And much it grieved my heart to think

What man has made of man.”

This sounds very modern and apt for our own times.

Jane Austen and William Wordsworth appear to be two very different writers, but I think placing them together shows that one is deeply concerned with the interrelationships of families and small communities and the other is deeply concerned about man’s relationship with nature. The themes and focus of Jane Austen’s and William Wordsworth’s writing were opposite, but they were closely connected too. Both writers wrote about what affected and concerned them as human beings. They show the human response to two different aspects of the world we live in and that we all share. It is interesting to note that Wordsworth obviously related and socialised with people and that Jane obviously noticed and interacted with the natural world about her in Hampshire, but both had a different emotional and intellectual responses to the world they inhabited rooted in their own personal experiences.

References:

Austen J. ( first published 1818) `(1998) Persuasion ; Penguin Classics

Clark C. (ed) (1986) Home At Grasmere : extracts from the journal of Dorothy Wordsworth ( written between 1800 and 1803) and from the poems of William Wordsworth: Penguin Classics

Le Faye D. (1995) Jane Austen’s letters (New Edition): Oxford University Press

Tomlin C. (2000) Jane Austen A Life: Penguin Books

Downton Abbey, presented on PBS Masterpiece classic this month, is one of the most expensively produced mini-series for television next to Brideshead Revisited. The sets and costumes are lavish, and the viewer can readily see that everything possible has been done to recreate the Edwardian world.

But even huge budgets have their limits, for creating new costumes for every character in the production would have been prohibitive. The website, Recycled Movie Costumes, and an article in the Daily Mail point to a few outfits that were worn in other productions.  This custom is common, and has been pointed out on this blog before in Recycled Fashions in Emma 2009.  Around 2/3 of the costumes used in Downton Abbey were used before, but only a few have been expressly identified so far.

The dress worn by Laura Michael (Lady Edith) was also used in A Room With a View, 2007. At left is Elizabeth McGovern as the Countess

Elaine Cassidy in A Room With a View, 2007

Compare the necklace worn by Michelle Dockery as Lady Mary to ...

...Monica Belluci's in Brotherhood of Wolves

 

Lady Mary (Michelle Dockerey, between Maggie Smith and Laura Michaels) wears the same dress as ...

... Radha Mitchell in Finding Neverland

You can look for Regency costumes that have been recycled in this link. The Daily Mail mentioned that one certain brown dress has been used in seven productions in the past 15 years, including Pride and Prejudice and Little Dorrit. I wonder which one it is?

As you watch Downton Abbey tonight, perhaps you can spot a few recycled outfits on your own and inform Recycled Films of your find. Learn more about the series on PBS Masterpiece Classic.

More posts about Downton Abbey on this site:

Highclere Castle as Downton Abbey

Downton Abbey’s connection to Jane Austen is through Lord Carnarvon, whose descendents still own Highclere Castle, where the PBS Masterpiece Classic mini-series’ interior and exterior shots of the fictional country house were filmed. (Read about Andrew Lloyd Weber’s recent attempt to purchase the castle.) In Jane’s day, Lord Carnarvon was Henry, the 1st Earl. Jane wrote in a letter to Cassandra Austen, Saturday25 – Monday 27 th,  October 1800 :

“This morning we called at the Harwood’s & in their dining room found Heathcote & Chute for ever – Mrs Wm Heathcote & Mrs Chute – the first of whom took a long ride in to Lord Carnarvons Park and fainted away in the evening…”

Highclere Castle as it looked in Jane Austen's day

The 5th Earl

Lord Carnarvon’s park, which Jane writes of, is the grounds to Highclere Castle. The Carnarvon family has lived at Highclere since 1679, although the Castle as we see it today sits on the site of an earlier house. (Click here to view a short film about the Castle’s history.) A beautiful 6,000 acre park designed by Capability Brown between 1774-7 surrounds the Castle.

In 1842, the 3rd Earl commissioned architect Sir Charles Barry (also responsible for building the Houses of Parliament in Westminster) to redesign the Castle.

One of the most interesting fact about Highclere Castle is that the golden death mask of King Tutankhamun is featured in its gallery today.

Howard Carter and Lord Carnarvon in Egypt

Lord Carnarvon of Tutankhamun fame (George, the 5th Earl) was an Egyptologist who sponsored Howard Carter,  the archaeologist who discovered Tutankhamun’s tomb in the Valley of the Kings in 1922. It is said that when Canarvon and Carter broke into Tut’s tomb, they unleashed the mummy’s curse. But the story goes more like this:

 

Howard Carter cleans the second coffin. Image @Harry Burton

This popular legend was born when Lord Carnarvon, the English Earl who funded the Tutankhamun expedition, died less than six months after the opening of the tomb. Despite the fact that Lord Carnarvon was a sickly individual, and that no such “hieroglyphic curse” was found inscribed on the tomb, this legend persists today. . . Lord Carnarvon had been in a car accident many years earlier and had never fully recovered. About a month after entering the tomb, he cut open a mosquito bite while shaving and infection set in. Blood poisoning and pneumonia quickly followed, and within a few weeks, he passed away. Newspapers reported that mysterious forces unleashed from the mummy and its trappings had caused his death. – King Tut

This image of Howard Carter’s grave was taken by Tony Grant, who lives near the cemetery in London. (Thank you, Tony, for the photo and for the quote from Jane Austen’s letter!)

Howard's grave. Image @Tony Grant

Watch Downton Abbey at your local PBS station Sundays, January 9, 16, 23, and 30, 2011 at 9 PM. Read my other posts:

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