1807 January Couple In Morning Walking Ensembles, English. Lady in white dress with lemon pelisse or coat, fitted hat and interesting reticule, or bag. Gentleman in long black tailcoat over yellow breeches, high black boots with wide tan tops, yellow gloves, cane and top hat. via Le Beau Monde, or Literary and Fashionable Magazine, London, U.K.
These are the types of outfits worn by Jane Austen and contemporaries in England and shown in their English magazines.The same designs had probably already been seen in France, because English publishers obsessively copied French fashions despite the two countries being at war for many years. https://books2read.com/SuziLoveFashionWomen1805-1809
1809 May Walking Dress, English. Dress of white Scotia washing silk. Bishop’s mantle of sage or olive green striped and plain silks, made entirely without seams, border of the same color. Spanish hat to match the mantle turned up in front and decorated with artificial flowers. Shoes of sage or olive green match. Design by Mrs. James, New Bridge Street, Blackfriars. Fashion Plate via Rudolph Ackermann’s ‘The Repository’ of Arts.
General Observations for 1809 fashions from The Repository Of Arts: Spanish hats with feathers were worn all winter but are now worn as walking hats and the feathers have been replaced with flowers. Light silk mantles of all colors are being much worn. Scotia silk is now in great request for dresses and colors vary according to individual taste but silver-grey is the most elegant and fashionable. The attempt to introduce long waists failed. Full dress is the present standard.
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)
1818 May ‘Beau’s of 1818’ By George Cruikshank. Two Dandies shake hands while third watches. All wearing bell-shaped top-hats, extra high collars, short waists, long spurs and yellow gloves. One with moustache wears wide and short white trousers, one wears top-boots and riding-breeches and has monocle in his eye and third has very full trousers gathered above ankle. These are the sort of outfits that the Bridgerton men and Jane Austen’s male contemporaries would have worn. Hand colored etching. Via British Museum, London, UK. britishmuseum.org (PD-Art)
1817 Yellow Redingote, or Pelisse, or Walking Dress, French. Yellow military style pelisse with braiding across the front and capes across the shoulders and worn over a white dress with a high neckline and a scalloped hem. Large and high bonnet with plume, or feathers, and green flowers, gloves and a handkerchief. Although this is a French fashion plate, similar styles were worn everywhere and Jane Austen would have worn a Pelisse like this before her death on the 18th July, 1817. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien.
The ongoing years of wars followed by the victories of Wellington’s armies brought the military into fashion in England and there was a rush of fashion articles named after him e.g. Wellington hat, Wellington bonnet, Wellington jacket and Wellington Boot. In other European countries, military headwear was copied from military helmets and hats and frogging and epaulettes added a further patriotic touch to women’s clothing. And as always, fashions were copied and spread around the world, despite the battles being fought.
Definition Redingote Or Coat Or Pelisse: Long fitted outdoor coat worn over other garments for warmth. French word developed from English words, riding coat. French fashion plates call these coats a Redingote and English plates call them a Pelisse, Or Walking Dress, or Carriage Costume.
1817 October. White Promenade Dress, English. High dress of jaconet muslin richly embroidered around the hem, body composed entirely of work, Long sleeve, finished down the arm in front by bouillons of lace. Charlotte Spencer of blue satin, tight fitting and short waist, wide sleeve ornamented at wrist and shoulder, elegant trimming and disposed in so tasteful manner to give the appearance of perfect novelty. Bonnet, a la Ninon, of the same material, cut in small squares, edged with white satin, turned over at the ends, very large front displays the front hair which is braided across the forehead, edged with puffed gauze, disposed in points, and confined by a narrow fold of white satin, sprig of acacia on left side and finished by white satin strings. French ruff and ruffles of rich lace. Blue or white kid shoes and gloves.
We have again to acknowledge our obligations to Miss M’Donald of 29, Great Russel Street, Bedford Square, for our dresses this month. Fashion Plate via Rudolph Ackermann’s ‘The Repository of Arts’.
1807 Cotton Linen Shirt, British. Non-regulation shirt worn under uniform. High collar to allow room for a stock, fullness and pleated sleeves enable wearer to fit into tight arms popular in coats. The men in Jane Austen’s life would have worn a shirt like this, especially if they were in the military as many men were during the Napoleonic Wars. via Royal Museums Greenwich collections.rmg.co.uk
1805-1810 ca. Double Breasted Tailcoat, South Carolina, U.S.A. Cotton, plain-woven (tabby woven), partly lined with cotton, plain-woven (tabby). Cutaway at the front waist and with a notched collar. via Colonial Williamsburg, USA. history.org
Tailcoat: A Regency Era, or early 1800s, gentleman was outfitted in more practical fabrics, such as wool, cotton and buckskin rather than the fussy brocades and silks of the late 1700s.
Tired past the point of arguing, Gabe undid the buttons on his trousers and awkwardly sank to the floor. Thin though the mattress was, he groaned with relief to be seated and able to stretch out his aching leg. He bent and tugged at his boots, but Lady Melton swatted his hands away. “Lean back and let me take care of you.”
He blinked at her in surprise. His uncle’s housekeeper had filled the role of mother for him often enough, but other than Mrs. Green, no one had ever fussed over his physical well-being. The women he’d been intimate with had fretted over pleasing him sexually, but his role as the male and provider had been to ensure they were well-housed, fed, and clothed. Role reversal made him uncomfortable, and yet Anne’s caring was oddly reassuring.
His upcoming task wasn’t going to be easy. Eleven men, a lady, and a small boy had to be transported to England. Plus, Wellesley’s dispatches were sewn into the lining of his uniform, which not even the Lieutenant knew. Gabe carried the official summation of the battle, papers that he’d been ordered to personally deliver to the War Office in London. Messengers were adequate for shorter notes, but the War Office needed a full report from Wellington, plus observations from his trusted officers, which amounted to a hefty and valuable package for him to conceal.
If Anne could lessen his pain, even a little, his thinking would be clearer during their journey, and only an ungrateful idiot would refuse her offer.
