18th Century Late – 19th Century Early Bodice and Corset Ensemble, European. Cranberry silk faille with polychrome floral brocade, the square-neck bodice having folded front collar, narrow double breast and short sleeve with pleated and pointed cuff, peplum back. Corset front pieced with cranberry brocade and a tan dotted sawtooth stripe, the back in a similar dotted stripe. Both pieces trimmed in aqua ribbon and lined in linen. via Whitaker Auctions. whitakerauction.smugmug.com
1813 April Carriage Dress, English. Green coat over white Empire style dress of jaconet or cambric muslin, plaited bodice, long sleeve, deep frill, with a vandyke of needle-work. Russian mantle is made of Pomona or spring green sasnet, lined with white satin, trimmed with a rich frog fringe and closed with a cord or tassel. Close-fitting cottage slouch bonnet of the same material and edged with scalloped lace, tied on the left under the chin with ribbon, and decorated with a small cluster of spring flowers. Reticule, or bag, of the sam fabric, slippers of green kid, and gloves of primrose kid. Fashion Plate via Rudolph Ackermann’s ‘The Repository of Arts’.
Bath had two assembly rooms in the lower part of the town but they weren’t large enough for the rapidly increasing population so on the 30th September, 1771, New Rooms were opened on the north east of the Circus, between Bennett and Alfred Streets. These Upper Rooms were designed by the architect, John Wood, and were in a better part of town so they became much more fashionable. They were called the New, or Upper Rooms, to distinguish them from the older Assembly Rooms in the lower part of the town.
They were a set of public rooms purpose-built for the 18th century form of entertainment called an ‘assembly‘, where a large number of people came together to dance, drink tea, play cards, listen to music, or parade around the rooms and talk and flirt. The four rooms are the Ball Room, the Tea Room or Concert Room, the Octagon Room, and a Card Room. The Upper Rooms held two balls a week, a dress ball on Monday evenings and a fancy ball on Thursdays during the Bath season which was from October to early June. These balls were so popular they attracted between 800 and 1,200 guests at a time.
John Wood raised the money for the New Rooms by a “tontine” subscription, which was like a lottery. By April 1769, £14,000 was raised amongst 53 people. When a subscriber died, their shares were added to the holdings of the other subscribers, which meant that the last surviving subscriber inherited everything.
The exterior of the Upper Assembly Room looks typically Georgian, but the interior is very grand and the high ceilings gave good ventilation on crowded ball nights and windows set at a high level prevented outsiders from looking in. Two long rectangular rooms flank the entrance hall and are linked by an octagonal room at the far end to form a U-shape.
The Assembly Rooms are lit by a set of nine chandeliers, made for the building in 1771. Jonathan Collett of London originally provided a set of five chandeliers for the Ball Room when it opened in September 1771. Shortly afterwards the arm of one of the chandeliers fell off – narrowly missing the artist, Thomas Gainsborough, who lived nearby at the time. The Ball Room chandeliers were taken down and a new set was ordered from William Parker of London. Parker had already supplied three chandeliers for the Tea Room. It was agreed that Jonathan Collett should salvage the rejected set of Ball Room chandeliers and make one large chandelier to hang in the Octagon Room. The chandeliers in the three rooms had an average height of eight feet and they were made of Whitefriars crystal from the Whitefriars Glassworks in London and were originally lit by candles. The Ball Room and Tea Room chandeliers each had 40 lights and the Octagon chandelier had 48 lights.
During the 19th century, they were fitted for gas and were later converted to electric light. At the start of the Second World War, the chandeliers were put into storage and escaped destruction when the Assembly Rooms were bombed in 1942. During the extensive refurbishment of the building in 1988-1991, the chandeliers were restored by R. Wilkinson & Sons of London. The Bath Season ran from October to June. As the Season spanned the winter months and many activities took place in the evening it was essential to provide good artificial lighting.
The ball room is the largest of the three main rooms and is over 105 feet long and 42 feet wide and 42 feet high. It runs the whole length of the north side of the building and covers two storeys. The paint is called Ballroom Blue and was first created by David Mlinaric in the 1970s from an original colour swatch. “It is a stroke of luck that the colour sample of blue paint is still attached to the 1770s minute book of the Assembly Rooms Furnishing Committee.” said Lucy Powell, Assistant Archivist at Bath Record Office, “The building was bombed in 1942 so traces of the paint would never have survived otherwise.” From: Fashion Museum, Bath.
On the other side, the tea room is 70 feet long and 27 feet wide and all the rooms had huge chandeliers to give light. In 1777, a card room was added to the Octagonal Room. Before the Card Room was added, the Octagon Room became famous for card playing, the favorite leisure activity from the Georgian Era through to the Regency, as the Upper Rooms were open for card games every day except Sunday. The Octagon Room is dominated by Gainsborough’s portrait of the first Master of Ceremonies at the Upper Rooms, Captain William Wade. Bath’s most famous Master of Ceremonies, Richard “Beau” Nash, never knew this building as he died in 1761.
The tea room was used for refreshments, with tea generally served weak and black or perhaps with arrack and lemon, and on Wednesday nights during the Season concerts were held there. Fashionable visitors to Bath could also hold breakfasts there for their friends.
Many famous people visited the Assembly Rooms in the 18th and 19th centuries. Jane Austen and Charles Dickens both mention the Assembly Rooms in their novels and the diarist, Francis Kilvert, described a reception there in 1873. Subscription concerts were popular and many well-known musicians also visited, the most distinguished being Joseph Haydn, Johann Strauss the Elder, and Franz Liszt.
Today, the Octagon Room, the Tea Room, and the Cloak room Landings all showcase beautiful paintings and prints as the Upper Rooms were given to the National Trust in 1931. You can see paintings by Thomas Gainsborough and John Simmons as well as an Original ticket to the Thirteenth Dress Ball at the Assembly Rooms, 24 January 1803.
Since 1963, the Upper Assembly Rooms have also housed the amazing Fashion Museum. The building is owned by the National Trust and is leased by Bath & North East Somerset Council.
18th-20th Centuries The Bath Assembly Rooms in Jane Austen and Bridgerton years. #bridgerton #JaneAusten #RegencyEra #Bath books2read.com/suziloveROver Share on X
1810 ca. Full Dress Jacket, Lothian Yeomanry Cavalry, Britain. The East Lothian Yeomanry Cavalry was raised as a one troop formation at Haddington in May 1797. Five years later a second troop was raised and in 1803 a third and fourth troop. The regiment was reduced to one troop in 1823 and disbanded 15 years later. National Army Museum, London, UK. https://books2read.com/SuziLoveFashionMen1800-1819 In Jane Austen’s time, or the early 1800s, gentlemen were seen in military coats like this often because many Englishmen were involved in the long lasting wars against Napoleon. .
Richard, Earl of Winchester, has no time for their family friend and mad scientist, Lady Laura Jamison, yet when he’s with her, passion and desire explodes. Scenting Scandal By Suzi Love Book 2 Scandalous Siblings Series. books2read.com/suziloveSS
Richard had schooled himself into playing the role of mentor with such brilliance, Laura’s brothers and sisters would applaud his aptitude for match-making. He’d find Laura’s perfect husband as quickly as possible. And at those long and interminable dinners, he’d prove his own unsuitability by arguing until their fellow diners rolled their eyes and closed their ears to another of their battles of wit. When their companions’ eyes glazed over and they turned to more interesting conversation, he’d be free to let his eyes roam and his senses feast on Laura as she raved about the wonders of evolutionary science.
It was more likely that he’d need to dig his fingers into the elegant carvings on his chair to stop himself leaping across the table like a lunatic and shocking everyone at the sixty-seat table. He’d been in control of himself and his minor kingdom since he’d turned eighteen. So, for pity’s sake, why did being within thirty yards of Laura turn him into a wet-behind-the ears randy youth?
After her olfactory tests had proved he wasn’t her ideal mate, he should feel relieved, not affronted. And rather than reveling in a bachelor’s escape from the clutches of another would-be countess, Laura’s rejection had prompted him to childishly extol his own virtues. For an earl who also held minor titles and controlled several estates, being categorized as ‘Examined and Disregarded’ was as abnormal as it was lowering.
“Laura,” he said, dodging lace frills. “Picture my brutalized face if Michael and Jonathon caught me, the one man able to resist your charms and ignore your demands, composing appalling odes to the length of your lashes like your other fawning fops.”
“Is that why Sherwyn needed to coerce you into acting as my keeper?”
Ah yes, trust Laura to demand to know the reason he complied with his cousin’s wishes. “I was the only able-bodied male available for the time required.”
11826 Chaos In The Household from Regency Family Life. #RegencyEra #Cartoon #England https://books2read.com/suziloveYLD
Continue reading →1810 Cotton Waistcoat. Blue black and white woven plaid, narrow double breast with self buttons, buttons create optional lapels, stand collar, hemline pockets, white cotton back with ties and cotton lining. via Whitaker Auction whitakerauction.smugmug.com
Typical of a gentleman’s waistcoat, or vest, worn during the early 1800s, or Regency Era, or Jane Austen’s times with a fancy collar, straight cut, and straight buttoned front.
1800s Early Gentleman John Jackson, London, U.K. #Regency Boxing was known as pugilism and was wildly popular in the Regency Era with all classes of men both as a spectator sport and an athletic hobby. Pugilists didn’t wear gloves. Jackson was a champion prize fighter from 1795-1818 ca. Opened his boxing studio where he taught young bucks the manly art of self-defense. via Wikimedia Commons.
1860–1870 ca. Pink Silk Bag, Or Reticule, Italian. Two layers of contrasting pink silk with tassels and a drawstring. via Metropolitan Museum New York City, U.S.A. metmuseum.org
Definition Ridicule, Reticule, Indispensable, or Handbag: From the late 1700s, pockets could no longer be sewn into gowns, as skirts fell from just under the bust and were full and flowing. Instead, women began carrying small bags, known at first as ridicules and later as reticules, to keep necessary items on their person e.g. handkerchiefs, coins, vinaigrettes, calling cards, glasses etc. http://books2read.com/suziloveReticules
The term ‘ridicule’ derived from the Latin ‘ridiculum’ and first used in France during the 17th century and meant subjecting something or someone to mockery. As women’s tiny bags were mocked, or ridiculed, for being a useless fashion accessory carried outside when they were first used in the late 1700s, it’s likely this is how the name ‘ridicule’ started. The later term ‘reticule’ derived from the Latin reticulum, meaning ‘netted bag’ and was applied when bags became larger and often made from netting. In the late 1700s and early 1800s, they were also known as indispensables as they carried all the personal items a lady needed upon her person every day. They were easily made by ladies, easy to carry and became an indispensable fashion accessory.
In the early nineteenth century, reticules started to look like future handbags as they were often made from rigid card or molded mâché or card into a variety of shapes. Early bags were circular and with a drawstring but as women wanted their reticules to look individual they could be made with two halves and a hinged metal closure or with concertina sides. Materials varied from silk, cotton and string and shapes were round, hexagonal or lozenge shapes with shell shaped bags becoming very popular during the Regency and Romantic Eras.
1800s magazines were written for well bred women who could read, so they gave plenty of ideas for how ladies could make and embellish reticules for their own use and as pretty gifts. Needlework was highly encouraged as a pastime for a lady so bags were frequently embroidered or decorated with beading. By the 1820s, reticules became more like our modern handbags using soft leather gathered at the top or hard leather with a rigid fastener and metal chain for carrying.
1840 Group In An Outdoor Setting, French. Two men in top hats. Modes de Longchamps’. Men’s outfits, a woman’s riding habit and a small boy, all tailored by Robin of 21 Rue Saint Marc, Paris. via Le Bon Ton. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
