Tag Archives: 1700s Or Georgian Era

1780-1789 Linen Stays Or Corset, Great Britain. #GeorgianEra #BritishHistory #Corset

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1780-1789 Linen Stays Or Corset, Great Britain. Stays, 1780-1789 (made). Linen, lined with linen and reinforced with whalebone, trimmed with pale blue silk ribbon. Hand sewn with linen thread, applied ribbon, chamois and whalebone.

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. In this example a narrow blue ribbon covering the seams is the only decoration.

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 mould 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. Given by Mrs Strachan. Museum Number T.172-1914. Victoria and Albert Museum, London, U.K.

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1780 ca. Gentleman’s Gold Silk Banyan, Or Dressing Gown,British. #GeorgianEra #Fashion #Banyan

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1780 ca. Gold Silk Banyan, British.  For at-home wear, a gentleman had a dressing gown, often with a matching waistcoat, and an undress cap or turban. “This yellow damask banyan with its bold Chinese Chippendale – inspired pattern would have been an imposing sight on the streets or in the drawing rooms of London.” via Metropolitan Museum New York City, U.S.A. metmuseum.org Credit: Catharine Breyer Van Bomel Foundation Fund, 1978 Accession Number:1978.135.1

From the Curator: ‘For at-home wear, a gentleman had a dressing gown, often with a matching waistcoat, and an undress cap or turban.As for breeches, they were not designed especially for this casual ensemble, but rather borrowed from other suits.The dressing gown was cut like a man’s loose coat and usually hung to the floor, though there were also versions that stopped below the knees. Since there were no fastenings, the wearer overlapped the dressing gown in front when he walked so that the sides did not billow out behind him.The sleeves were originally rolled back to form cuffs, but later dressing gowns display the fashionable cuff of their period.In England these dressing gowns were called “banyans” or “Indian nightgowns” because of their kimono-like form and Eastern origin. Banyans were made in a variety of fabrics, including silk brocades, damasks, and printed cottons. By the 1780s, gentlemen ventured out of doors in this comfortable and stylish costume. According to Town and Country Magazine in 1785: “Banyans are worn in every part of the town from Wapping to Westminster, and if a sword is occasionally put on it sticks out of the middle of the slit behind. This however is the fashion, the ton, and what can a man do? He must wear a banyan.”This yellow damask banyan with its bold Chinese Chippendale – inspired pattern would have been an imposing sight on the streets or in the drawing rooms of London.’ via Metropolitan Museum New York City, U.S.A. metmuseum.org

1780 ca. Front View. Gold Silk Banyan, Or Dressing Gown, British. Usually worn at home over pants and possibly with a matching vest and nightcap. Worn when relaxing with family or close friends. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
1780 ca. Front View.
1780 ca. Back View. Gold Silk Banyan, Or Dressing Gown, British. Usually worn at home over pants and possibly with a matching vest and nightcap. Worn when relaxing with family or close friends. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
1780 ca. Back View.
1780 ca. Collage View Gentlemen's Banyans, Or Dressing Gowns. Including Gold Silk Banyan, British. Usually worn at home over pants and possibly with a matching vest and nightcap. Worn when relaxing with family or close friends. Collage View. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
1780 ca. Back View. Gold Silk Banyan, Or Dressing Gown, British. Usually worn at home over pants and possibly with a matching vest and nightcap. Worn when relaxing with family or close friends. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
1780 ca. Back View.
1780 ca. Fabric View. Gold Silk Banyan, Or Dressing Gown, British. Usually worn at home over pants and possibly with a matching vest and nightcap. Worn when relaxing with family or close friends. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
1780 ca. Fabric View.
1780 ca. Collage View. Gold Silk Banyan, Or Dressing Gown, British. Usually worn at home over pants and possibly with a matching vest and nightcap. Worn when relaxing with family or close friends. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
1780 ca. Collage View Gentlemen's Banyans, Or Dressing Gowns. Including Gold Silk Banyan, British. Usually worn at home over pants and possibly with a matching vest and nightcap. Worn when relaxing with family or close friends. Collage View. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
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What Sort Of Pianoforte Or Piano Was Played By the Bridgertons and Jane Austen? #Bridgerton #Music #JaneAusten #RegencyEra #GeorgianEra

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What Sort Of Pianoforte or Piano Was Played By Jane Austen and Contemporaries? Pianos, pianofortes and more. History Notes Book 7 Music Pianos books2read.com/suziloveMusicPiano

Definition Pianoforte or Piano: ‘Stringed keyboard instrument with a hammer action, as opposed to the jack and quill action of the harpsichord.  Capable of gradations of soft and loud, the piano became the central instrument of music pedagogy and amateur study. By the end of the nineteenth century, no middle-class household of any stature in Europe or North America was without one.’  Definition via the Metropolitan Museum, NYC.

Around 1700, the Pianoforte, or Piano,  was invented in Italy by Bartolomeo Cristofori, who created a hammer action keyboard instrument on which a musician could make changes in loudness by changing the force with which the keys were struck. He called his instrument “gravicembalo col piano e forte”, or,  (harpsichord with soft and loud). Cristofori’s  long name was later shortened to fortepiano or pianoforte, and finally just piano.

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.  Pianos, pianofortes, harpsichords, and organs were found everywhere and were often the focus of a family gathering. By the end of the 18th Century, the pianoforte, or piano, was the leading instrument of Western music.

What sort of pianos did Jane Austen and the Bridgerton family play? Pianos, pianofortes etc in 17th, 18th, and 19th Centuries. Music Piano. History Notes Book 7 By Suzi Love. Pianos, pianofortes, harpsichord, organs in 17th, 18th, and 19th Centuries, as used by Jane Austen and her family.  books2read.com/suziloveMusicPiano
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1780 ca. English Guitar, Lisbon Made by Jaco Vieira da Silva. #Music #Guitar #Portugal #GeorgianEra

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1780 ca. English Guitar, Lisbon Made by Jaco Vieira da Silva. Pine back, sides and soundboards, with pine and wood purfling or bordering, brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.  History Notes Book 6 Music General https://www.suzilove.com/wp-admin/books2read.com/suziloveMusicGeneral \

1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
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1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
1780 ca. English Guitar, Lisbon, Portugal. Made by Jaco Vieira da Silva Pine back, sides and soundboards, with pine and wood purfling (bordering); brass openwork rose, framed with mother-of-pearl. The English guitar was a fashionable instrument from about 1750, considered easy to play and tuned in C major, although the player would use a capo, much like a modern folk-guitarist, in order to change the key. The tuning pegs were often small metallic pins that could be turned with a watch-key, to keep the strings in tune longer. This instrument was made in Portugal, a country with strong trading links with England, and its peg box is decorated with a paper ‘cameo’ in imitation of a jasper ware medallion, a motif made popular by Josiah Wedgwood (1730-1795) from about 1770. Victoria and Albert Museum, London, U.K.
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1715-1775 ca. Flat Drawstring Bag, French. Strung glass beads held together by looping stitches. #Reticule #GeorgianFashion #GeorgianEra

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1715-1775 ca. Flat Drawstring Bag, French. Strung glass beads, or sablé, held together by looping stitches. Polychrome Rococo design on white ground, shepherd, shepherdess, four sheep around orange tree center, border with cornucopias and flowers. Ecru silk cord drawstrings with floral bead-covered wood tassels. Blue silk lining. via Museum of Fine Arts, Boston.

bag_1715-1775 ca. Flat Drawstring Bag, French. Strung glass beads, or sablé, held together by looping stitches. Polychrome Rococo design on white ground, shepherd, shepherdess, four sheep around orange tree center, border with cornucopias and flowers. Ecru silk cord drawstrings with floral bead-covered wood tassels. Blue silk lining. via Museum of Fine Arts, Boston.
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18th Century Early.  Silk, Leather, and Linen Mules (shoes), European, and embroidered in Florentine Style. #shoes #georgianfashion #europe

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18th  Century  Early.  Silk, Leather, and Linen Mules, European. Embroidered in the Florentine Style, a type of flame stitch canvas work with varied stitch lengths often in subdued tones. via  Metropolitan Museum, NYC, U.S.A.

shoes_18th Century Early. Silk, Leather, and Linen Mules, European. Embroidered in the Florentine Style, a type of flame stitch canvas work with varied stitch lengths often in subdued tones. via Metropolitan Museum, NYC, U.S.A.
shoes_18th Century Early. Silk, Leather, and Linen Mules, European. Embroidered in the Florentine Style, a type of flame stitch canvas work with varied stitch lengths often in subdued tones. via Metropolitan Museum, NYC, U.S.A.
18th Century Early.  Silk, Leather, and Linen Mules (shoes), European, and embroidered in Florentine Style. #shoes #georgianfashion #europe https://books2read.com/suziloveFashWomen1700s
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Want to know about music in the households of Jane Austen and the Bridgertons? Music history from the 17th, 18th, and 19th Centuries. #Music #Bridgerton #RegencyEra #JaneAusten #GeorgianEra

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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.

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HN_6-7-8 Music General History Notes
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Love music? Love Jane Austen and the Bridgerton family? Treat yourself to a nonfiction book on music history. #Bridgerton #Music #History #JaneAusten https://books2read.com/suziloveMusicGeneral
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1775-1777 ca. Gold, Silver and Cut Diamonds Snuffbox With Medallion, Russian. #GeorgianEra #Antiques #Russia

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1775-1777 ca. Snuffbox With Medallion, Russian. Made by Johann Baltasar Gass St Petersburg, Russia. Gold, silver, cut diamonds; chased, engraved and pounced. via liveinternet.ru

18th Century Snuff Boxes. Not only were boxes made to serve a purpose, but decorative boxes of all types were prized, especially in the 18th Century when everything decorative and extravagant was in vogue and taking a pinch of snuff was fashionable. Snuff is made from ground or pulverized tobacco leaves and is sniffed from a pinch of snuff placed on the back of the hand. Flavorings were added to the tobacco to give a fast hit of nicotine and a lasting scent. Snuff began in the Americas and was used in Europe by the 17th Century.

1775-1777 ca. Snuffbox With Medallion, Russian. Made by Johann Baltasar Gass St Petersburg, Russia. Gold, silver, cut diamonds; chased, engraved and pounced. via liveinternet.ru
1775-1777 ca. Snuffbox With Medallion, Russian. Made by Johann Baltasar Gass St Petersburg, Russia. Gold, silver, cut diamonds; chased, engraved and pounced. via liveinternet.ru

Snuff became popular from the mid 1600s to the mid 1800s and was more popular than smoking. Inhaling snuff, or snuffing, was first seen by a European missionary in 1493 in Christopher Columbus’s new world within Haiti’s indigenous Taino. Until then, tobacco had been unknown to Europeans, but its use spread quickly throughout Europe during the 1500s.  By the second half of the 17th century, ornate boxes started being produced to keep the precious powder dry and an entire industry making accessories blossomed around the fashion of taking snuff.  Noblemen, and some women, carried extravagantly decorated snuff boxes with them at all times and would offer a pinch of their own particular blend to friends and family. Therefore, these boxes were always on display and so it became a competition to see who could have the most bejeweled or expensive box possible.

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Want to know about music in the households of Jane Austen and the Bridgertons? Music history from the 17th, 18th, and 19th Centuries. #Music #Bridgerton #RegencyEra #JaneAusten #GeorgianEra

Suzi Love Posted on by

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.

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HN_6-7-8 Music General History Notes
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1780 Red Wool Stays, Or Corset, and Panniers, British. #Georgian #Corset #Underclothing

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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.

via Victoria and Albert Museum, London, UK. collections.vam.ac.uk. Credit: Given by the family of the late Mrs Jane Robinson. Museum number:T.192-1929

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.

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.
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.
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.
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