1804 London Hairstyles, Gorgeous Gold Hats. via Fashion Plate via Fashions of London and Paris, Published By Richard Phillips, St. Paul’s Church Yard, London, UK. These styles of hats and hairstyles would have been worn by Jane Austen and her contemporaries as hats were an essential fashion item during the Regency years.
Claridge’s Hotel – London’s Historic Places Claridge’s was founded in 1812, during the Regency Era, as Mivart’s Hotel at 51 Brook Street, Mayfair, London, UK.
Lord William Beauclerk leased the terrace house from the Grosvenor Estate with permission to turn it into a hotel run by James Edward Mivart, the anglicized name for French chef Jacques Mivart. By 1838, the hotel grew to buy five consecutive houses along Brook Street, knocking down the walls to create one large hotel and Mivart prospered by introducing English county families to subtle French cooking to replace their traditional stodgy fare. Mivart designed the hotel for guests who wished to stay longer, so apartments were let by the month to foreign royalty and nobility who enjoyed the ambiance of the well-run hotel yet had the privacy of their own suites. The Prince Regent, who succeeded to the throne as King George IV in 1820, had a suite of rooms permanently reserved for him so he could discreetly carry on his playboy lifestyle.
In 1827, The Morning Post noted that Mivart’s was the fashionable rendezvous for the high Corps Diplomatique. In 1854, the hotel was sold to Mr and Mrs Claridge who ran a separate hotel at 49 Brook Street. They combined the two operations to trade as “Mivart’s at Claridge’s” until, after Mivart’s death, the hotel changed its name to Claridge’s in 1856, adding “late Mivart’s” underneath.
In 1860, Queen Victoria and Prince Albert visited the Empress Eugènie of France, who had made Claridge’s her winter quarters, and Queen Victoria was so impressed that she wrote to her uncle, Leopold I, King of the Belgians, in glowing terms of Claridge’s. The hotel became so connected to royalty it was called an “extension to Buckingham Palace”.including the Grand Duke Alexander of Russia and King William III of the Netherlands, until by 1853, The Times decided London had just three first-class hotels- Mivart’s, The Clarendon in Bond Street and Thomas’s in Berkeley Square.
In 1881, William Claridge’s failing health forced them to sell to a consortium, but the hotel consisted of several private houses and couldn’t be upgraded to compete with purpose built hotels cropping up all over London. The Savoy for example, built in 1889, offered lifts to all floors, electricity, en suite bathrooms and the best chef in Europe, Auguste Escoffier. So in 1894, Richard D’ Oyly Carte, founder of the rival Savoy Hotel, purchased Claridge’s and commissioned CW Stephens, designer of Harrods, to rebuild the hotel from the ground up. The new Claridge’s opened in November 1898.
1897 Claridge’s Hotel, Mayfair, London, U.K. A perspective view of the new building showing the front entrance in Brook Street and the return front in Davies Street. Drawn by C. W. Stephens, architect.
After World War I, Claridge’s flourished due to demand from aristocrats who no longer maintained a London house and Carte’s son, Rupert D’ Oyly Carte, added a new extension. During World War II, Peter II of Yugoslavia and his wife spent their exile at Claridge’s until on 17th June 1945, suite 212 was ceded by the UK to Yugoslavia for a single day to allow their heir, Crown Prince Alexander, to be born on Yugoslav soil.
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
Ordinary people began to celebrate Easter by sending postcards as gifts. At first, mainly religious pictures appeared on postcards. Then postcards images became more about real life and people. In the early 1900s, postcards became more fanciful and pretty for young children. Religious images were gradually replaced by images that children could understand and relate to about Easter.
Postcards then concentrated on images of chickens and eggs, symbolic of birth and rebirth such as chickens emerging from cracked shells as Christ emerged from the tomb. Children were then added to the images so cards became for something for the whole family. Children with chickens and eggs became very popular on postcards. Bunny rabbits became associated with Easter and children could relate to these as it fitted with their idea of the Easter bunny.
Ellen Clapsaddle (1865 – 1934). An American illustrator from the late 19th and early 20th centuries and recognized as the most prolific postcard and greeting card artist of her time. Her greatest success was single-faced cards that could be kept as souvenirs or mailed as postcards. These cards were highly prized particularly during the peak of the golden age of souvenir postcards from 1898 to 1915. She is credited with over 1000 designs in post cards and souvenir cards. Cards in the mid 1900s were created to send personal Easter messages to loved ones such as mothers and fathers, grandparents, aunts and uncles and siblings. Artists from around the world began creating beautiful cards to share at Easter.
Jenny Eugenia Nyström (1854 – 1946) was a Swedish painter and illustrator who illustrated Easter postcards for, and about, children and happy ideas, especially European subjects.Jenny Nystrom (1884-1946)
As some of my historical romance books are set in a house in Grosvenor Square, its history fascinates me. How about you? Do you love the history associated with Grosvenor Square? The Jamison family in Embracing Scandal and Scenting Scandal live in Grosvenor Square.
Grosvenor Square - Pronounced ˈɡrovna’, is a large garden square in the exclusive Mayfair district and the centrepiece of the Mayfair property of the Duke of Westminster and takes its name from their surname, “Grosvenor”.
In 1710, Sir Richard Grosvenor obtained a licence to develop Grosvenor Square and the surrounding streets and development started around 1721. Grosvenor Square became one of the most fashionable residential addresses in London from its construction until the Second World War, with numerous leading members of the aristocracy in residence. The early houses had five or seven bays, basement, three main stories, and an attic. Colen Campbell produced a design for a palatial east side to the square featuring thirty Corinthian columns but this was not carried out and in the end most of the houses were built to individual designs. There were mews behind all four sides. Many houses were rebuilt later and acquired an extra storey. Number 23 (later 26) was rebuilt in 1773–74 for the 11th Earl of Derby by Robert Adam and shows how grandeur of effect and sophisticated planning might be achieved on a confined site. It was demolished and rebuilt again in the 1860s.
Nearly all of the older houses were demolished during the 20th century and replaced with blocks of flats in a neo-Georgian style, hotels and embassies. The central garden was originally reserved for the occupants of the houses but is now a public park managed by The Royal Parks. Grosvenor Square. Grosvenor Square has been the traditional home of the official American presence in London since John Adams established the first American mission to the Court of St. James’s in 1785. Adams lived, from 1785 to 1788, in the house which still stands on the corner of Brook and Duke Streets. During World War II, Eisenhower established a military headquarters at 20 Grosvenor Square, and during this time the square was nicknamed “Eisenhower Platz”.
The former American Embassy of 1938–1960 on the square was purchased by the Canadian government and renamed Macdonald House. In 1960, a modern USA Embassy was built on the western side of Grosvenor Square and caused controversy in the mainly Georgian and neo-Georgian area. In 2008, the United States Government chose a site for a new embassy in the Nine Elms area, south of the River Thames with with relocation completed by 2016 or 2017. In October, 2009, English Heritage granted Grade II listed status to the building which means new owners will not be allowed to change the facade.
Grosvenor Square in Literature In Little Dorrit by Charles Dickens the Barnacles are said to live at “four Mews Street Grosvenor” which “was not absolutely Grosvenor Square itself but it was very near it”. Caroline Bingley makes a comment regarding the local dance in Pride and Prejudice ”We are a long way from Grosvenor Square, are we not, Mr Darcy”. It appears in the title of several novels including The Lonely Lady of Grosvenor Square by Mrs. Henry De La Pasture (1907) and The House in Grosvenor Square by Linore Rose Burkard (2009) In Oscar Wilde’s play Lady Windermere’s Fan, the Duchess of Berwick says, “I think on the whole that Grosvenor Square would be a more healthy place to reside in. There are lots of vulgar people live in Grosvenor Square, but at any rate there are no horrid kangaroos crawling about.”
1816-1817 ca. Man’s Linen Shirt, American. High collar, ruffles down front opening, fullness from gathered shoulders and sleeves for unrestricted movement. Beautifully created and monogrammed by Elizabeth Wild Hitchings for her husband, Benjamin Hitchings, a sea captain. Wives or servants regularly hand stitched shirts from 1800s-1840s, before sewing machines, but handiwork rarely recorded.
From The Creator: This shirt was created, from the linen fiber to the finished garment, by the donor’s great-grandmother, Elizabeth Wild Hitchings, for her husband Benjamin Hitchings, a sea captain, in 1816. It was common practice for a wife or servant to hand stitch family members’ shirts prior to the mid-19th century, but rarely was such handiwork recorded, making this case rare and intriguing. In addition, its elegant stitching makes it a perfect example of the familial care taken in sewing prior to the common possession and use of the sewing machine. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org
1800 ca. Sleeveless Chemise or Nightgown of white cotton and lace. Length just below knee. Gathered back and front onto yoke of lace and gathered fabric inserts. Gathers around neck by tape in casing. ‘Blanche’ embroidered centre front. Waist up to 50 in or more. via National Trust Collections, UK. nationaltrustcollections.org.uk
Definition Chemise Or Shift: Sleeveless, mid-calf length garment of white cotton or muslin was worn next to the skin under stays or corset. Called ‘Shift’ from early Georgian (1700-1750) until Late Georgian (1750-1790) to replace ‘Smock’. By 1800, name replaced by ‘Chemise’. Sometimes doubled as a nightshift, or nightrail. From around 1700, women wore a long garment, like a man’s shirt, next to their skin, day and night. ‘Costume In England’ describes this as originally a shirt or smock and adopted by women as an undergarment.
This undergarment fell from their shoulders to calves, and was called a chemise, shift, or vest. During the day, it was worn under stays, or a corset, and at night it could be worn as a nightshirt. Wealthier women could afford specific bedroom attire, but lower and working class women wouldn’t have had this luxury and so wore a chemise as both an undergarment and as sleepwear. The rich and the upper classes wore embroidered and otherwise decorated versions of this simple linen or cotton shift. Other classes of women wore a very simple version with little or no decoration as they had no time for decorative embroidery and no money to buy silk threads.
Christmas Carols
The word ‘carol’ comes from the old French ‘carole’ for a song written and played as a courtly dancing song. Carols then took on a more popular form, telling stories and celebrating religious themes for all seasons until the late 19th century when they became associated with Christmas.
Carols took the place of Psalms in all churches on Christmas Day and, as the whole congregation could join in, were greeted with huge approval. Carols were passed on orally from place to place, often with different words or tunes. The published carols included songs still popular today, including The First Noël, I Saw Three Ships, and God Rest Ye Merry Gentlemen. This collection was followed by compilations of carols from other scholars such as William Sandy’s works in 1833 and 1852.
Legend has it that during the 17th century, craftsmen created straight white sticks of candy in the shape of shepherds’ crooks at the suggestion of the choirmaster at the Cologne Cathedral in Germany. The treats were given to children to keep them quiet during ceremonies at the living creche, or Nativity scene, and the custom of passing out the crooks at such ceremonies soon spread throughout Europe.
‘The legends of the candy cane are many, including that the cane was shaped like a “J” for Jesus, the three red stripes symbolized the Holy Trinity, the hardness of the candy represented the Church’s foundation on solid rock and the peppermint flavor reflects the use of hyssop, an herb referred to in the Old Testament.’ via Encyclopedia Britannica
In celebrations of Saint Nicholas Day, candy canes are given to children as they are also said to represent the crosier of the Christian bishop, Saint Nicholas; crosiers themselves allude to the Good Shepherd, a title associated with Jesus. Some people explain the symbolism of a striped cane as white representing Christ’s purity, red the blood he shed, and the three red stripes the Holy Trinity.
In the mid 1600s, sugar roses were added but weren’t popular so plain white canes remained until red stripes were added around 1890. In 1847, a German immigrant living in Wooster, Ohio, U.S.A. looped candy canes that he brought with him from Europe over the boughs of his Christmas tree.
In 1919, Bob McCormack of Albany, Georgia, made candy canes for family, friends and local shopkeepers. The canes were bent by hand as they came off the assembly line into the ‘J’ shape of a shepherd’s crook, so breakage was often over 20 percent. In the 1920s, a cherubic child in a red-and-white hat sold peppermint candy cane to Albany natives in an advertisement for Bob’s candy company. McCormack was the first manufacturer to wrap his candy in cellophane. Bobs moved to a larger facility in the 1930s so that it could expand its product lines and was one of the few candy companies to remain solvent during the Great Depression.
As the economy improved, people bought more sweet treats, but Bobs Candy was then leveled by a tornado and, as the company had no tornado insurance, they had to rebuild on their own. By August 1940 the company was back in business and employed McCormack’s three children.
During World War II (1941-45), when sugar was rationed, coconuts were in short supply, and pecans were expensive, Bobs took advantage of a plentiful local product—the peanut—and sold peanut-butter crackers and vacuum-packed peanuts. During the 1950s, Bobs began making money with such innovations as break-proof packaging, moisture-proof candy wrappers.
In 1952, Bob McCormack’s brother-in-law, Catholic priest Gregory Keller, invented the Keller Machine which automated the process of twisting soft candy into spiral striping and then cutting them into precise lengths as candy canes.
Harding Keller invented the Keller Machine around 1950 for his brother-in-law Bob McCormack. The machine twisted and cut stick candy, allowing for the mass production of the company’s signature candy canes and other items. – Courtesy of Farley’s and Sathers Candy Company, Inc.
First, candy sticks cut to the desired length enter the machine. Each stick is bent individually, but the machine has a system of multiple grippers and rollers to continually bend the sticks, one after the other. As each stick enters the machine, it is positioned in a gripper which holds the straight portion of the cane with the part to be bent protruding out. Each gripper has on one side a curved die which the protruding end will be bent over. The candy stick is first bent to a right angle as it is moved past and put into contact with an inclined face. The patent application describes two potential versions of the mechanism which complete the bending process.
The first version of the mechanism has a chain around two sprockets on which are mounted bending rollers. Each bending roller is attached to a cam which rides along another inclined face to move the roller along the protruding surface of the cane to complete bending it around the die. In the second version, the chain and sprockets are replaced by a wheel on which the bending rollers are mounted. In modern candy cane production, the sticks are wrapped in cellophane before they are bent.
By the middle of the century, Bob’s company – originally the Famous Candy Company, then the Mills-McCormack Candy Company, and later Bobs Candies, had become one of the world’s leading candy cane producers.Bobs Candies was sold to Farley’s and Sathers in Spring 2005. Farley’s and Sathers merged with the Ferrara Candy Company which continues to make candy canes under the Bobs name.
By the middle of the century, Bob’s company – originally the Famous Candy Company, then the Mills-McCormack Candy Company, and later Bobs Candies, had become one of the world’s leading candy cane producers.
Games
At Christmas time, households had guests to stay and games were played to either fill in the time inside when the weather was too bad to venture out with sleds or skates, or to keep tradition. Blind man’s bluff, forfeits, and snap dragon were all played.
A list of some entertainments for Christmas…From The book Of Christmas by Thomas kibble Hervey. “jugglers, and jack-puddings, scrambling for nuts and apples, dancing the hobby-horse, hunting owls and squirrels, the fool-plough, hot-cockles, a stick moving on a pivot, with an apple at one end and a candle at the other, so that he who missed his bite burned his nose, blindman’s buffs, forfeits, interludes and mock plays :” — also of ” thread my needle, Nan,” ” he can do little that can’t do this,” feed the dove, hunt the slipper, shoeing the wild mare, post and pair, snap dragon, the gathering of omens….
Snap Dragon A favorite game was Snap Dragon, often played on Christmas Eve. Raisins were put into a large, shallow bowl and brandy was poured over them and then ignited. Lights were extinguished to increase the eerie effect of the blue flames playing across the liquor. The object of the game was to reach through the blue flames and grab as many raisins as possible from the flaming brandy and pop them into your mouth. The risk of burning yourself increased the excitement.
Samuel Johnson’s Dictionary of the English Language in 1755 describes the. game as “a play in which they catch raisins out of burning brandy and, extinguishing them by closing the mouth, eat them”. According to an eighteenth-century article in Richard Steele’s Tatler magazine, “the wantonness of the thing was to see each other look like a demon, as we burnt ourselves, and snatched out the fruit.”
Snap-dragon was played in England, Canada, U/S.A, and probably other countries with British backgrounds. The words snap-dragon and flap-dragon can refer to the game, the raisins used in the game, or the bowl with brandy and raisins.
The first reference to Snap-dragon as a game is in Francis Grose’s Dictionary of the Vulgar Tongue in 1811. “Christmas gambol: raisins and almonds being put into a bowl of brandy, and the candles extinguished, the spirit is set on fire, and the company scramble for the raisins.” Snap-dragon as a Christmas parlour game was mentioned in 1836 in Charles Dickens’ The Pickwick Papers and in 1861, in Anthony Trollope’s novel Orley Farm. Lewis Carroll, in Through the Looking-Glass, and What Alice Found There in 1871 describes “A snap-dragon-fly. Its body is made of plum pudding, its wings of holly-leaves, and its head is a raisin burning in brandy.”
Agatha Christie’s book Hallowe’en Party describes a children’s party during which a child’s murder causes Hercule Poirot to be brought in to solve the case and at which Snap-dragon is played at the end of the evening.
A song went with the game….
“Here he comes with flaming bowl,
Don’t be mean to take his toll.
Snip! Snap! Dragon!
Take care you don’t take too much
Be not greedy in your clutch.
Snip! Snap! Dragon!
With his blue and lapping tongue
Many of you will be stung.
Snip! Snap! Dragon!
For he snaps at all that comes
Snatching at his feast of plums.
Snip! Snap! Dragon!
But Old Christmas makes him come
Though he looks so fee! Fa! Fum!
Snip! Snap! Dragon!
Don’t `ee fear him, be but bold.
Out he goes, his flames are cold.
Snip! Snap! Dragon!
