What did an older lady do and wear in the Regency Era? Information & pictures for readers and writers of early 1800s history, nonfiction and fiction. books2read.com/suziloveOLD
The older lady’s day usually started with her toilette in her bedroom, where her maid helped her dress for the day and styled her hair. After that, she would join her family downstairs for breakfast unless she preferred a tray with either tea or hot chocolate in her bedroom as she prepared for her busy day. Her day would be made up of speaking with the housekeeper and the cook about the week’s menus, assuring that the servants were all available that day and no one was ill, and checking the list of foods needed. She would also enquire if the laundry was up to date and that they had enough good linen to make up all the beds before extended family members and guests arrived. If she was in the country and hosting a weekend house party, she would assign rooms to the guests on her lists and query that all was in readiness for their arrival.
Writing Regency Era Fiction Or Nonfiction? Need more information on Older Gentleman’s Day in early 1800s, or Jane Austen’s Regency Era. A lighthearted overview of an older gentleman’s clothing, social life, and responsibilities in the early 1800s. Take a look at where an older man went, what he wore, and how he managed the family’s finances and his estates. Older Gentleman’s Day Regency Life Series Book 3 books2read.com/suziloveOGD
In 1931 Coca-Cola decided they wanted a more “wholesome” depiction of Santa, and contracted illustrator Haddon Sundblom to give him a makeover. Sundblom (1899-1976), who created expressive paintings of the magical Mr. Claus for the Coca-Cola Company over a period of 33 years. In 1931, Coca-Cola employed illustrator, Haddon Sundblom, to create a happier image of Santa Claus and he drew a new advertisement each year.
Annual Coca-Cola advertisement created by the remarkable illustrator Haddon Sundblom. Clement Moore’s 1823 poem “A Visit from St. Nicholas” may have describe the jolly old elf in detail, and Thomas Nast’s 1881 caricature of Saint Nick may have brought the image of Santa into focus, but not until the middle of the 20th century did one artist perfect the image of Santa and make it stick.
That artist was Michigan-native Haddon Sundblom (1899-1976), who created expressive paintings of the magical Mr. Claus for the Coca-Cola Company over a period of 33 years. Though he was not the first artist to create an image of Santa Claus for Coca-Cola advertising, Haddon Sundblom’s version became the standard for other Santa renditions and is the most-enduring.
1813 The Theatre. From Poetical Sketches of Scarborough By Thomas Rowlandson. Aquatint was added by John Bluck and Joseph Stadler. The sketches by Green were made as souvenirs and not intended for publication. Via Suzi Love suzilove.com & Wikimedia Commons commons.wikimedia.org (PD-ART)
1802 February, 15th. ‘Advantages of Wearing Muslin Dresses.’ during the Regency Era, or Jane Austen’s times. By James Gillray. Fat lady sitting with man and woman at tea table reacts in horror when hot poker from fire falls on her dress. Man sits helplessly while second woman upsets the table. Butler drops plate of muffins and cat scampers away from fire. Painting of Mt. Vesuvius hangs over fireplace. Via Wikimedia Commons commons.wikimedia.org (PD-ART)
1818 September 18th Le Palais Royal de Paris, Or ‘A Peep at the French Monstrosities’. By George Cruikshank. Two English tourists, both dressed as dandies, walk arm-in-arm under the arcade of the Palais Royal, interested in the promenading courtesans. Two Frenchmen make more direct overtures to two women. Their dress is rather similar to that of the Englishmen, but the latter wear bell-shaped top-hats, while the Frenchmen have flower-pot shaped hats. An officer wearing a large cocked hat addresses a girl, and a man, said by Reid to be Irish, jovially accosts another. Some of the women are in evening-dress, others in street costume. Behind are iron railings between the supports of the roof; on one of these is the inscription ‘Caveau des Sauvages’. Published by: George Humphrey. via British Museum.
1804 September Exhibition of Water Coloured Drawings, Old Bond Street, London, U.K. Designed and etched by Thomas Rowlandson. Via Wikimedia Commons commons.wikimedia.org (PD-ART)
On January 27th, 1772, The Pantheon opened on Oxford Street, London. Designed by James Wyatt, The Pantheon featured a rotunda which was one of the largest rooms in England at the time. The Pantheon was intended as London’s answer to Ranelagh Gardens for winter entertainment and opened to a crush when nearly “two thousand persons of rank and fashion assembled.” The Pantheon officially closed for public entertainments in 1814, after Lord Chamberlain restrictions on the building’s use as a theatre made the final venture unprofitable. It was converted to a bazaar in 1833 and in 1867 became a winemakers office and showrooms until being demolished in 1937.
From 1819 Ackermann: The Pantheon was built “for the purpose of public evening entertainments” and was a “superb and beautiful structure” with elegant interiors furnished with fine paitnings, gilt vases, and statues depicting gods and goddesses. The building consisted of a suite of fourteen rooms, and between 1789-1792 (until a fire) was used as an exhibition space for Italian operas after the destruction by fire of the King’s Theatre in Haymarket.
1814 January The Pantheon via Ackermann’s Repository : This once noble structure, situated on the south side of Oxford-street, was originally built by Mr. James Wyatt, for the purpose of public evening entertainments. It was a most superb and beautiful structure, the admiration of all connoisseurs, foreigners as well as natives. The interior was fitted up in such a magnificent style, that it is scarcely possible for those who never saw it to conceive the elegance and grandeur of the apartments, the boldness of the paintings, or the effect produced by the disposition of the lights, which were reflected from gilt vases. Below the dome were a number of statues, representing most of the heathen gods and goddesses, supposed to be the ancient Pantheon at Rome, from which it derived its name. To these were added three beautiful statues of white porphyry, representing the King and Queen and Britannia.
The whole building formed a suite of fourteen rooms, each affording a striking specimen of taste and splendor. After the destruction of the King’s Theatre in the Haymarket by fire in June 1789, the Pantheon was used for the exhibition of Italian operas, and was frequently honored with the presence of their Majesties; till on the 14th of January, 1792, this beautiful structure also fell a prey to the same devouring element.
The fire broke out in the new buildings which had been added for the most convenient performance of operas; and before any engine reached the spot, the flames had gained such a height, that all attempts to save the building were in vain. Owing to the scenery, oil, paint and other combustible materials in the house, the conflagration was so rapid that not a single article could be saved. Persons who witnessed the progress of this tremendous fire, declare that the appearances exhibited through the windows, the lofty pillars enveloped in flames and smoke, the costly damask curtains waving from the rarefaction of the air, and the superb chandeliers turning round from the same circumstance, together with the successive crashing and falling of different portions of the building, furnished to their minds a more lively representation of Pandemonium than the imagination alone cam possibly supply.
The effects, too, of the intense frost which then prevailed, upon the water poured from the engines upon the blazing pile, are described as equally singular and magnificent. The loss occasioned by this catastrophe amounted to £60,000; only one fourth of which sum was insured. The height of the walls fortunately prevented the conflagration from spreading to the contiguous houses.
The Pantheon has been rebuilt; the original elegant front and portico still remain, but the rest of the edifice exhibits not eve a shadow of its former magnificence. Since its re-edification, it has been used principally for exhibitions, and occasionally for masquerades. Various plans have at different times been brought forward for opening it for dramatic representations; and this was actually done a few months since under a license from the magistrates, by a Mr. Condy, who is understood to have embarked a considerable fortune in the concern; but whose right has been contested by the winter theatres, and is likely to become a subject of legal discussion.
1800 Pantheon Masquerade, London, U.K. via Rudolph Ackermann’s Microcosm of London. Engraved by John Bluck. (1791-1831)
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