1780 Red Wool Stays, or corset, and Panniers, British. Wool backed with linen or canvas, stitched with linen thread reinforced with strips of whalebone, lined with glazed linen, bound with linen twill tape, fastened with plain weave linen tapes and decorated with silk braid and silk ribbon. Phalanges, or fingers, spread over the hips to give support. Side panniers, or hoops, are made of cane. via Victoria and Albert Museum, London, U.K.
Back-lacing stays with a high narrow back with a wide curving decolletage and V-point in front, about 5 cm below the waistline. Decorative white lacing and white silk braids on centre front which is wide at the top and narrow at the bottom. Below the waist there are 19 tabs, or phalanges, or fingers. Laced through 13 eyelets at back. Compartments for the strips of whalebone are 4 – 5 mm wide, running vertically and diagonally. Centre busk of whalebone about 2 cm wide. Shoulder straps have an eyelet and extend from the front and fasten with tape at each shoulder back.
Stays were an essential item of underwear for women during the 18th century. By the 1780s, the fashionable torso consisted of an inverted cone shape. Achieving smoothness of profile and firmness of contour were the primary function of 18th-century stays, rather than emphasising the bust or constricting the waist. Although custom-made and very intricately designed, stays were usually very plain. On these stays a simple silk ribbon and linen tape serve as decoration and functional finishings.
The narrow rows of very fine, even hand stitching form the compartments into which thin strips of whalebone were inserted. Although the stays appear very rigid, whalebone was quite flexible. It had the added advantage of softening with the heat of the wearer’s body, allowing the stays to mold to her shape. When worn, the shaped and boned tabs at the lower edge would splay over the wearer’s hips, giving further fullness to the petticoat tied at the waist over the stays.
From 1700 until the early 1800s, pockets with waist ties were worn by women to keep essential items on their person. Generally of linen or some other cotton fabric, they were often quilted, or embroidered and gifted or handed down to others. In the 18th century, women’s pockets were not sewn into their gowns. Instead they were attached to a tape and tied around the waist as separate garments. Worn under the hoops and petticoats, they were accessed through openings in the gown and petticoat seams. By the early 1800s, round gowns were both flowing and almost transparent so pockets could no longer be worn under dresses, so ridicules, or bags, or reticules were carried instead. Jane Austen and her female friends and family would have worn pockets under their out layers.
From the Curator Victoria and Albert Museum, London: Quilting was a popular form of decoration for a variety of garments including pockets. However, hand-quilting was a time-consuming method of decoration. The increased demand for quilted petticoats, waistcoats and pockets led to the invention of woven quilting.
1700-1725 ca. Pair of Linen Twill Women’s Pockets With Crewel Embroidery and Waist Ties, British. Embroidered in yellow, green and pink worsted thread with chain and stem stitches, design of flower pot with flowering plant, bound with green worsted tape and sewn to linen tape tie. Designs are similar but not identical, suggesting both hand-drawn and possibly work of an amateur. Pockets may have been handed down to another person who found them too small as each pocket has been extended at top by 4 cms. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
by 4 cms. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
1750-1800 ca. Woman’s Pocket With Waist Ties, New England, America. Linen plain weave, cotton plain weave, wool embroidery. Dimensions 39.5 cm x 27.5 cm. Polychrome crewels on cotton and linen, vine with buds, flowers and leaves and initials M.W. in center. In 18th century, women’s pockets were tied around waist with tape as separate garments, worn under hoops and petticoats, accessed through openings in gown and petticoat seams. via Museum of Fine Arts, Boston, U.S.A. mfa.org
1750-1800 ca. Woman’s 1750-1800 ca. Woman’s Pocket With Waist Ties, New England, America. Linen plain weave, cotton plain weave, seams. via Museum of Fine Arts, Boston, U.S.A. mfa.org1700-1800 ca. Women's Pockets With Waist Ties. #Georgian #Regency #JaneAusten #Underclothing books2read.com/suziloveFashWomen1700s Share on XHN_1 Fashion Women Late 1700s History Notes Book 1 by Suzi Love.
What was fashionable for women in the late 1700s? Extravagant colors and fabrics and outrageous styles were all seen in these flamboyant fashions.
books2read.com/suziloveFashWomen1700s
A sedan chair is a portable enclosed chair for a single passenger. It was generally carried by two “chairmen” holding poles attached to either side of the chair. Sedan chairs were fashionable in England and Europe during the 17th, 18th and early 19th centuries and were an important part of the social life of the times. They were very useful for negotiating crowded, unsafe, narrow, winding and often filthy streets and were particularly used by “invalids, ladies and party goers”. Sedan chairs had the advantage of being able to be carried up and down stairs and could deliver the passenger from inside their own home to inside their destination without having to step outside.
1784 Sedan Chair. ‘The return from a masquerade. A morning scene.’ A young lady dressed as shepherdess with staff slumps in a sedan chair. Asleep or drunk her head and shoulders hang outside window. Two porters smile and dwarf chimney sweep carries a mask.’ By Robert Dighton and Cari.
1784 Sedan Chair. ‘The return from a masquerade. A morning scene.’ A young lady dressed as shepherdess with staff slumps in a sedan chair. Asleep or drunk her head and shoulders hang outside window. Two porters smile and dwarf chimney sweep carries a mask.’ By Robert Dighton and Cari.
The 19th century English author, Elizabeth Gaskell, described the use and function of the sedan perfectly in her novel “Wives and Daughters” when she reminisced how the Browning sisters chose to be transported to a ball by sedan chair, which ‘came into the parlor, and got full of the warm air, and nipped you up, and carried you tight and cosy into another warm room, where you could walk out without having to show your legs by going up steps, or down steps.’
The Bath Chair was invented in Bath, England, in the mid 18th Century to transport the wealthy and the sick around the city. It could be steered by the passenger and rivaled and then outdid the Sedan Chair as only one chairman was needed to operate it. The last Bath Chairman retired in 1949.
Typical 1700s, or Eighteenth Century Sedan Chair. Portable enclosed chair for single passenger usually carried by two chairmen holding poles attached to either side of chair. Fashionable during 17th, 18th and early 19th centuries when needed to negotiate crowded, unsafe, narrow, and dirty streets. Used by invalids, ladies and party goers. The sedan chair comprises a small kiosk with a curved timber roof which is covered with leather and studded with brass nails. The front and side panels are painted in green with floral decorations of cherubs and flowers. The back panel is of plain timber. Access to the chair was via a hinged door at the front. Inside, the chair is upholstered in silk and features padded upholstered arm rests. The windows have raw silk curtains which are gathered with tassels. The present brackets and poles are reproductions made in 1986 prior to display in the Transport exhibition. The total length of the new poles are 80 inches. The sedan chair door lock features the initials “V.F.” and a set of crossed keys with the wording “PARIS” and the number “34”. Via Powerhouse Museum, Sydney, Australia.
Typical 1700s, or Eighteenth Century Sedan Chair. Portable enclosed chair for single passenger usually carried by two chairmen holding poles attached to either side of chair. Fashionable during 17th, 18th and early 19th centuries when needed to negotiate crowded, unsafe, narrow, and dirty streets. Used by invalids, ladies and party goers. The sedan chair comprises a small kiosk with a curved timber roof which is covered with leather and studded with brass nails. The front and side panels are painted in green with floral decorations of cherubs and flowers. The back panel is of plain timber. Access to the chair was via a hinged door at the front. Inside, the chair is upholstered in silk and features padded upholstered arm rests. The windows have raw silk curtains which are gathered with tassels. The present brackets and poles are reproductions made in 1986 prior to display in the Transport exhibition. The total length of the new poles are 80 inches. The sedan chair door lock features the initials “V.F.” and a set of crossed keys with the wording “PARIS” and the number “34”. Via Powerhouse Museum, Sydney, Australia.
Typical 1700s, or Eighteenth Century Sedan Chair. Portable enclosed chair for single passenger usually carried by two chairmen holding poles attached to either side of chair. Fashionable during 17th, 18th and early 19th centuries when needed to negotiate crowded, unsafe, narrow, and dirty streets. Used by invalids, ladies and party goers. The sedan chair comprises a small kiosk with a curved timber roof which is covered with leather and studded with brass nails. The front and side panels are painted in green with floral decorations of cherubs and flowers. The back panel is of plain timber. Access to the chair was via a hinged door at the front. Inside, the chair is upholstered in silk and features padded upholstered arm rests. The windows have raw silk curtains which are gathered with tassels. The present brackets and poles are reproductions made in 1986 prior to display in the Transport exhibition. The total length of the new poles are 80 inches. The sedan chair door lock features the initials “V.F.” and a set of crossed keys with the wording “PARIS” and the number “34”. Via Powerhouse Museum, Sydney, Australia.
The longest journey recorded in a sedan chair was made by Princess Amelia, youngest daughter of King George III, who in 1728 was carried by 8 chairmen working in reliefs from London to Bath, a distance of 172 kms (107 miles). This sedan chair door lock features the initials “V.F.” and a set of crossed keys with the wording “PARIS” and the number “34”.
1790-1810 ca. Jane Austen Style White Linen Shift Or Chemise, American. #Regency #JaneAusten #underclothinghttps://books2read.com/SuziLoveFashionWomen1801-1804
For many centuries, road travel was the main way of getting from place to place, but roads were notoriously rutted and badly maintained, especially in Britain. The Romans laid down the roads but they very poorly maintained through the 17th and 18th Centuries. It wasn’t until the 19th Century that improvements were made and rose travel opened up.
Roman Road Construction. Roman roads were constructed in layers. Rubble, slabs of stone, pebbles and gravel, smooth paving stones. Average width of road was 15 to 18 feet.
Roman Road Construction. Roman roads were constructed in layers. Rubble, slabs of stone, pebbles and gravel, smooth paving stones. Average width of road was 15 to 18 feet.
The dreadful condition of British roads caused great apprehension to all classes of travelers. Making a journey anywhere in the country was a big undertaking and often a gentleman composed his last will and testament before his departure. Traveling in vehicles was only possible during the day or on the nights with very bright moonlight with few vehicles attempting road travel in winter and any travel on a Sunday was frowned upon.
From: 1815 Journal of Tour of Great Britain by a French Tourist via Google Books (PD-180) ‘The roads very narrow, crooked, and dirty, continually up and down. The horses we get are by no means good, and draw us with difficulty at the rate of five miles an hour. We change carriages as well as horses at every post house. They are on four wheels, light and easy, and large enough for three persons. The post boy sits on a cross bar of wood between the front springs, or rather rests against it. This is safer, and more convenient both for men and horse, but does not look well and, as far as we have seen, English post horses and postillions do not seem to deserve their reputation.’
If you’ve read Jane Austen you’ll know that it was improper for a woman to travel alone, which meant that well-bred women were dependent on male relations to accompany them or else they had to take a maid in the carriage with her and be accompanied by a driver and footmen, which of course added to the cost of carriage travel. Any woman traveling by herself on a mail coach would be subject to speculation and probably malicious gossip.
Mail coaches raced across these roads trying to stick to a time table but there were numerous accidents on roads that were often flooded, covered in snow, or up such steep hills that passengers had to alight and either push the coach or walk ups the hill.
1790 Turnpike Gates In The Vicinity Of London, U.K.
Tolls were collected on many roads in Britain but, because the turnpikes were mainly on land belonging to the nobility, money collected went into their personal coffers and very little went to road maintenance. This caused a continual push in parliament to make those who owned the land and collected the money responsible for repairing their roads, but these pleas fell on deaf ears as the lords in who sat in parliament had no interest in spending money to better travel for the common people.
Description of Stage Coach Travel in England. via 1815 Journal Tour of Great Britain.
“The gentlemen-coachmen, with half-a dozen great coats about them,—immense capes,—a large nosegay at the button-hole,—high mounted on an elevated seat,—with squared elbows,—a prodigious whip, beautiful horses, four in hand, drive in a file to Salthill, a place about twenty miles from London, and return, stopping in the way at the several public-houses and gin-shops where stage-coachmen are in the habit of stopping for a dram, and for parcels and passengers on the top of the others as many as seventeen persons. These carriages are not suspended, but rest on steel springs, of a flattened oval shape, less easy than the old mode of leathern braces on springs. Some of these stage coaches carry their baggage below the level of the axletree.”
1825 Observations on the Management of Turnpikes by John Loudon Mc Adam. Via Google Books (PD-150)
1825 Observations on the Management of Turnpikes by John Loudon Mc Adam. Via Google Books (PD-150)
John Loudon McAdam, born Ayr, Scotland. (1756 -1836) He acted as a magistrate and assumed other civic roles including one as as trustee of the Ayrshire Turnpike in 1783, where he developed an interest in road construction and engineering, eventually becoming general surveyor for the Bristol Corporation in 1804. He wrote papers on the benefits of raising roads, making them from layers of stone and gravel, and giving priority to drainage. However, no roads were made this way until McAdam was put in charge of remaking the Bristol Turnpike in 1816, when he put his theories into practice and demonstrated macadamization, known as macadam. He made him numerous enemies on the Turnpike Trusts, who preferred to keep the money made from tolls rather than ploughing it back into road improvements but Macadam was soon in widespread use.
John Loudon McAdam (1756 – 1836), Scottish engineer and road-builder who started a new way of raising roads called ‘macadamization’. Via Wikimedia Commons.
John Loudon McAdam (1756 – 1836), Scottish engineer and road-builder who started a new way of raising roads called ‘macadamization’. Via Wikimedia Commons.
1825 John McAdam Observation of English Roads. “In a Country like England, inhabited by an ‘ intelligent people, well educated, active, and enterprising, where every hint at improvement is eagerly caught at and prosecuted with spirit, it is only possible to account for the apathy respecting Roads, and the want of exertion in prosecuting the means given for improvement, by showing that a strong counteracting principle exists in the defects of the Road Laws, and that although much want of encouragement has arisen from the prejudices of old practitioners— the great obstacle to success remains in the zealous opposition of those who profit by mismanagement in various ways.”
McAdam Report on Bristol District Roads, March, 1815.
Expenditure and Debt.
• 1802 – 1812 only two roads maintained themselves.
• Neither able to pay £100 of the debt they owed.
• No other roads supported themselves at all.
McAdam’s List of Reasons for Bad Roads.
• Ignorance and incapacity of Surveyors
• Lack of any control over the lavish spending of Road Trusts
• Trust accounts being in an inexplicable mess
• No system or scientific mode of constructing roads
• Every part of a road being differently formed
• Each road managed by a different person
• Each area managed by a different Turnpike Trust
• Winford Road Trust produced no account books
McAdam informed the Road Trusts that smooth roads were the most useful and lasted longer because carriages do little damage to a smooth road because the horses exert themselves less and the carriages do not rock and roll.
Unfortunately for travelers in the late 1700s and early 1800s, the smoothness of a road surface depended on the preparation and distribution of the road building materials used and was therefore entirely in the hands of each individual road-maker. In 1816, Mc Adam reported to the Bristol District the difference in revenue if roads were built of good material, regularly maintained, and if the finances of Turnpike Trusts were under someone’s control.
1823 ‘Construction of a Macadam Road’ by Carl Rakeman. Via Wikimedia Commons.
1823 ‘Construction of a Macadam Road’ by Carl Rakeman. Via Wikimedia Commons.
Travel on these roads was also dangerous as highwaymen stopped and robbed anyone who came along. Male or female made no difference to highwaymen in Britain, nor to the bushrangers in Australia or the gangs on American roads, as they robbed indiscriminately and often with violence.
By the end of the 18th Century, however, travel as a pleasurable pursuit came into vogue and numerous guides were written for traveling all over the British Isles as well as on the continent.
The 1812 ‘Tour Of Dr. Syntax’ was an ironic look at the new obsession of travel and travel guides. Before he set off for the Lake District, Dr. Syntax said to his wife, “You well know what my pen can do, and I’ll employ my pencil too: I’ll ride and write, and sketch and print and thus create a real mint: I’ll prose it here, I’ll verse it there and picturesque it everywhere. I’ll do what all have done before; I think I shall and somewhat more.”
Georgian and Regency travelers were envious of aristocrats, even if they were of the nobility themselves, and loved to view all the British Great Houses.
A gentleman and his wife would even drive up to the front door of a mansion house and demand to be given a tour of the house. If they weren’t admitted, they would write in their journals of the inhospitable nature of the people on a particular estate. Thomas Pennant, William Mavor, and others, loved to write about these bad experiences and have them published. Paterson’s British Itinerary, a travel guide had 17 editions between 1785-1832 – it outlined the roads used by the stage and mail coaches, the tolls, the bridges, etc.
This new touring craze created an industry of hospitality that encompassed more than simple mail coach trips from place to place, and more than a noble family traveling from their country seat to the Metropolis of London for parliamentary sittings. Inns had to improve the quality of the linens and meals if they wanted to attract the wealthier traveling class. Before that, many travelers carried their own linen, crockery, glasses, and utensils, as they didn’t trust the hygiene or standards of country inns.
Travel became something written about by poets with many sonnets written to the beauty of places like the Lake District in England, or the pyramids in Egypt. Inns became cleaner and more respectable so they could welcome travelers of the upper classes. This also meant that women could travel more as roads were slowly improved from rutted tracks that were only suitable for horse riding to roads that family coaches could travel along, though these roads were still narrow and subject to extremes of weather, such as flooding. The race was on to travel from places like London to Edinburgh in the fastest possible time.
1817-1875 ca. Vehicles. From: Pierre Larousse’s World Dictionary Of the 19th Century.
What was fashionable outdoor wear for the Bridgerton ladis, Jane Austen, and their contemporaries? Reticules, Spencers, and Pelisses, or Walking Dresses, Or Redingotes. History Notes Books 3, 4, and 5 By Suzi Love.
What was fashionable for purses in past centuries? Call them what you like: purses, bags, handbags, reticules, ridicules, clutches, or pocket replacements. They all did the same job and they changed greatly with the prevailing fashions of time. books2read.com/suziloveReticules
What was fashionable in women’s jackets in the Regency Era? Call them what you like: Spencers, short jackets, or Regency jackets. They provided modesty and warmth and they changed greatly with the prevailing fashions of the time. Take a look at the jackets being worn by women in the early 1800s. books2read.com/suziloveSpencers
What sort of coats did women wear during the Regency years? them what you like: Coat, Pelisse, Redingote, Walking Dress, Promenade Dress. Take a look at what was being worn by women, men, and children. books2read.com/suzilovePelisse
Lover of Bridgerton and Jane Austen fashions? What was fashionable for their outer wear? Different names in different countries: Pelisse, Redingote, Or Walking Dress. #Regency #Fashion #History http://books2read.com/suzilovePelisse
The Pelisse or Redingote was essentially a coat or robe like garment worn both indoors and out. Worn indoors open to reveal a dress, the outdoor version was made of heavier materials and of darker colors than the type worn indoors. The name comes from the term ‘riding coat.’ In the Georgian Era, Redingotes were worn by men, women and children when outdoors and especially as part of a riding costume by both sexes.
In England, the Pelisse was the main sort of fashionable outerwear, or coat, for women in the Regency Era, or Jane Austen’s times. Though this sort of coat was popular from the late 1700s until around 1850. In the early 1800s, this sort of Empire style coat reached the hip or knee but around 1810 the Pelisse lengthened to become a full length coat. Around 1812, the Pelisse often had a broad, cape-like collar with fur trim and thanks to the Napoleonic Wars and an avid interest in all things military, a Pelisse took on a military look with epaulettes and braiding very popular.
While the terms Redingote and Pelisse are often used interchangeably, Pelisse and Walking Dress and Carriage Costume were the names used in English Fashion Plates, whereas French Fashion Plates refer to the longer style of coats as a Redingote and the shorter shoulder capes worn by military men as a Pelisse.
Music history from the 17th, 18th, and 19th Centuries. Pianos, pianofortes, harps, viols, violins played during Jane Austen’s times. Musical Instruments were so important in most of the more affluent households in history that large industries grew all around the world to manufacture instruments, musical accessories, and to print sheet music. Musical instruction and encouragement could be found everywhere and both young ladies and gentlemen were encouraged to have musical appreciation. And of course, playing music was on the list of social requirements for all young ladies desirous of becoming a wife and homemaker.
London became Europe’s leading centre for the manufacture of scientific instruments and this led to the manufacture of more musical instruments as well as factories developed and rail transport helped the faster distribution of goods to regional areas. One of the first places that music was used to tell stories and to share enjoyment was in Christmas music. Because music was such an integral part of households, music was always a feature in Magazines. There were advertisements everywhere for musical instruments for sale, for sheet music, and for music lessons. And of course, of most interest to the ladies were the hundreds of fashion plates included in magazines where people were depicted with their musical instruments.
Craftsmen created containers of precious metals, leather, and silks and decorated them with jewels and engraving. Jane Austen and her contemporaries would have used writing boxes, linen boxes when travelling, boxes to hold their food and drink supplies while traveling by carriage, and decorative boxes to keep letters, ribbons, gloves, hairpins etc. Boxes, Cases, and Necessaires By Suzi Love, History Notes Book 11. books2read.com/suziloveBoxesCases.
1799 Gentleman’s daily outfit of brown cutaway coat and baggy white trousers. #GeorgianEra #FashionPlate #France https://www.books2read.com/suziloveFashMen1700
