Rudyard Kipling’s “Stiff Upper Lip”: From Empire to Tragedy

Rudyard Kipling, born in India in 1865, embodied the spirit of British Imperialism during its peak. His life was a journey of incredible success and unimaginable sorrow, forever marked by the “stiff upper lip” of Victorian stoicism.

Early Years

Growing up in Bombay, Kipling was surrounded by the grandeur and diversity of the British Raj.

 Girgaum Road, Bombay, India c.1895
Girgaum Road, Bombay, India c.1895
Pydownee Street, Bombay, India c1895
Pydownee Street, Bombay, India c1895
Harbour with arriving mail, Bombay, India, c. 1895
Harbour with arriving mail, Bombay, India, c. 1895
Statue of Queen Victoria (Empress of India, 1 May 1876 – 22 January 1901) in front of Victoria Memorial Hall, Kolkata (calcutta). Credit Karthiknanda
Statue of Queen Victoria (Empress of India, 1 May 1876 – 22 January 1901) in front of Victoria Memorial Hall, Kolkata (calcutta). Credit Karthiknanda

Yet, his idyllic childhood was shattered at the age of five when he and his sister were sent to a cruel boarding house in England. For six years they suffered cruelty and neglect at the hands of the evil Mrs Holloway of Lorne Lodge.

Badly-treated children have a clear notion of what they are likely to get if they betray the secrets of a prison-house before they are clear of it.Rudyard Kipling.

Relief came for one month every year when he and his sister visited their maternal Aunt in London. It was a paradise compared to Lorne Lodge.

A paradise which I verily believe saved me.Rudyard Kipling.

When at last his mother returned from India to remove the children from Lorne Lodge, he was able to tell the story.

The experience instilled in him the importance of emotional control, a trait that would remain with him throughout his life.

Around the World

After a brief stint at school, Kipling returned to India to pursue his passion for writing. By the age of 24, he had already published several successful stories and embarked on a breathtaking journey around the world.

Steamboats revolutionized international travel in the late Victorian era

Kipling left India in March 1889, traveling to San Francisco via Rangoon (a region of Myanmar), Singapore, Hong Kong, and Japan.

After falling in love with a Geisha in Tokyo, he continued his journey through the United States, arriving first in San Francisco and traveling on to Portland OR, Seattle, Vancouver, Alberta, Yellowstone National Park, Salt Lake City, Omaha, Chicago, Beaver PA, Niagara Falls, Toronto, Washington D. C., New York, and Boston.

He stopped along the way to visit Mark Twain, arriving unannounced, but being fortunate enough to find Mr Twain at home and happy to put the world to rights over a few whiskeys.

‘Drop by any time’. Mark Twain pondering the world.

Travelling inspired Kipling’s boundless imagination and laid the foundation for his future literary achievements.

Bliss and Tragedy

In Vermont, Kipling found his haven, building a home he called “Bliss Cottage.” Here, surrounded by his wife and daughters, he penned his most beloved works, including the Jungle Books. However, tragedy struck when his young daughter, Josephine, passed away from pneumonia.

This devastating loss left a permanent scar on Kipling’s soul, forcing him to confront the limitations of the “stiff upper lip.”

Poet of the Empire

As Kipling’s fame grew, so did his association with British Imperialism. He became known as the “Poet of the Empire,” writing poems like “The White Man’s Burden” that reflected the ideals and anxieties of the time. His unwavering support for the British cause during the Boer War further cemented this image.

Take up the White Man’s burden—
Send forth the best ye breed—
Go, bind your sons to exile
To serve your captives’ need;
To wait, in heavy harness,
On fluttered folk and wild—
Your new-caught sullen peoples,
Half devil and half child.Rudyard Kipling.

Dreams and Nightmares

In 1902, Kipling purchased a 17th-century mansion called Bateman’s, a place he cherished for its peace and beauty. Here, he continued to write prolifically, achieving the pinnacle of his career.

Bateman's. Credit Tony Grist
Bateman’s. Credit Tony Grist

However, tragedy struck once again with the loss of his son, John, in the First World War. This profound loss left Kipling heartbroken and disillusioned.

John Kipling, 1915

The Scars of War

During the war, Kipling used his powerful pen to write propaganda for the British government.

He held a particularly strong contempt for any man who reneged on his duty to serve his country, calling them outcasts and a disgrace to their family’s name.

What of his family, and, above all, what of his descendants, when the books have been closed and the last balance struck of sacrifice and sorrow in every hamlet, village, parish, suburb, city, shire, district, province, and Dominion throughout the Empire?Rudyard Kipling.
Troops going “over the top”, i.e. emerging from their trenches and charging into “no man’s land” towards enemy lines, often leading to massive casualties.

He viewed the war as a battle between good and evil, civilization and barbarity.

There was no crime, no cruelty, no abomination that the mind of men can conceive of which the German has not perpetrated, is not perpetrating, and will not perpetrate if he is allowed to go on…Today, there are only two divisions in the world…human beings and Germans.Rudyard Kipling.

However, the loss of his son exposed the hollowness of jingoism and forced him to confront the true cost of war.

If any question why we died
Tell them, because our fathers lied.Rudyard Kipling.
“My Boy Jack” by Rudyard Kipling… (Click to View)

“Have you news of my boy Jack?”
Not this tide.
“When d’you think that he’ll come back?”
Not with this wind blowing, and this tide.

“Has any one else had word of him?”
Not this tide.
For what is sunk will hardly swim,
Not with this wind blowing, and this tide.

“Oh, dear, what comfort can I find?”
None this tide,
Nor any tide,
Except he did not shame his kind —
Not even with that wind blowing, and that tide.

Then hold your head up all the more,
This tide,
And every tide;
Because he was the son you bore,
And gave to that wind blowing and that tide!

The Stiff Upper Lip and Its Limits

Kipling’s life was a testament to the complexities of the “stiff upper lip.” While it undoubtedly helped him navigate the trials of his life, it also prevented him from fully expressing his grief and reconciling with his losses. However, his poems like “If—” continue to inspire generations with their message of courage and resilience, even in the face of unimaginable hardship.

“If” by Rudyard Kipling… (click to view)

If you can meet with Triumph and Disaster
and treat those two impostors just the same
If you can keep your head when all about you
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or, being lied about, don’t deal in lies,
Or, being hated, don’t give way to hating,
And yet don’t look too good, nor talk too wise;

If you can dream—and not make dreams your master;
If you can think—and not make thoughts your aim;
If you can meet with triumph and disaster
And treat those two impostors just the same;
If you can bear to hear the truth you’ve spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to broken,
And stoop and build ‘em up with wornout tools;

If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: “Hold on”;

If you can talk with crowds and keep your virtue,
Or walk with kings—nor lose the common touch;
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much;
If you can fill the unforgiving minute
With sixty seconds’ worth of distance run—
Yours is the Earth and everything that’s in it,
And—which is more—you’ll be a Man, my son!

A Legacy of Triumph and Tragedy

Rudyard Kipling was a man of contradictions: a champion of empire and a critic of its injustices, a master storyteller and a grieving father. His life and work serve as a reminder of the human capacity for both extraordinary achievements and profound suffering. Through his words, he continues to challenge us to confront the complexities of history, the limitations of stoicism, and the enduring power of love and loss.

The Longchamp Racecourse and Fashion Promenade

Attracting enormous crowds, by the late 1800s, the Longchamp Racecourse in the Bois de Boulogne in Paris had become one of the most fashionable public venues in France.

Spectating at the races was an immensely popular and socially prestigious pastime.

A place to see and be seen, Longchamp was like a giant stage to vaunt one’s social position.

The Races at Longchamps from the Grandstand by Giuseppe de Nittis, 1883

Attended by Emperor Napoleon III and his wife Eugénie, who sailed down the Seine River on their private yacht to catch the third race, Longchamp Racecourse opened to the public on Sunday, April 27, 1857.

Emperor Napoleon III and Empress Eugénie
Emperor Napoleon III and Empress Eugénie

And it wouldn’t only be French Royalty who loved Longchamps—King Edward VII of Great Britain attended too.

The King's carriage leaving Longchamps with French Prime Minister Loubet and British King Edward VII, 1903.
The King’s carriage leaving Longchamps with French Prime Minister Loubet and British King Edward VII, 1903.

Enclosures were reserved for aristocrats and the well-connected and ladies were required to be escorted by a gentleman in order to enter.

The Races At Longchamp In 1874 by Pierre Gavarni (1846 - 1932)
The Races At Longchamp In 1874 by Pierre Gavarni (1846 – 1932)

But grabbing the spotlight was a new class of celebrity: the demimonde.

Supported by wealthy lovers, these were women on the fringes of respectable society.

The Races at Longchamp by Jean-Louis Forain, 1891
The Races at Longchamp by Jean-Louis Forain, 1891

Arriving alone, demimondaine were forbidden access to the enclosures but were as much of a spectacle as the races themselves.

Mixing with society women, they often shared the same couturier but appeared a little more chic.

1908 Longchamp

Attending the Longchamp races as the mistress of wealthy textile heir Étienne Balsan was a young Gabrielle “Coco” Chanel.

Although she didn’t quite fit the mold of a typical demimondaine, Gabrielle appeared in the loose, simple dress that would later influence an entire generation of “flappers” during the Roaring Twenties.

Gabrielle 'Coco' Chanel
Gabrielle ‘Coco’ Chanel

Paris had become the fashion capital of the world and it wasn’t long before designers realized that Longchamp was a goldmine.

Fashion houses outfitted models with their finest clothes, sending them to the races to show off the latest styles.

Ladies at the Hippodrome de Longchamp, Paris 1908
Ladies at the Hippodrome de Longchamp, Paris 1908

Join us as we travel back in time to the Longchamp Races from 1907 to 1935—a time of elegance and flamboyance that may never be repeated.

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Vintage Baby Carriages of Bygone Times

The year was 1847 and Queen Victoria was pregnant with her 6th child, Princess Louise.

Hearing about a new type of baby carriage with three wheels which was pushed from behind, she couldn’t wait to see one.

“Albert!” she hollered, “come along, we’re off to the city to buy a pram”.
“A pram?” inquired Albert.
“Yes, yes, it’s a new type of carriage for our babies—you’ll love it!”
“Love it? repeated Albert.
“Yes, of course!” exclaimed the queen. “You know how you love inventions—well, this is one where the babies sit and you push”.
“I see”, said Albert, realizing what was coming …

An 1847 stroller from the John Leech Archives

Prams or perambulators date back to around 1733 when the Duke of Devonshire asked English architect and furniture designer William Kent to make a carriage for his children to keep them amused while they played in the grounds of Chatsworth House.

Equipped with a harness for a goat or small pony, Kent’s shell-shaped basket-on-wheels even had springs so that children could ride in comfort.

William Kent's Baby Carriage, c. 1733. Credit Studiolum
William Kent’s Baby Carriage, c. 1733. Credit Studiolum

Riding in goat-powered carts wasn’t new—children had been enjoying that since the early 17th century.

Three Children with a Goat Cart by Frans Hals, c. 1620
Three Children with a Goat Cart by Frans Hals, c. 1620

And it was still fashionable by 1890, as the grandchildren of the 23rd President of the United States, Benjamin Harrison, would attest.

Major Russell Harrison and Harrison children outside the White House, 1890
Major Russell Harrison and Harrison children outside the White House, 1890

But what Kent’s design did was to inspire an entire industry of baby carriage manufacture during the Victorian era.

Starting out as three-wheeled versions that were typically pulled along by a Nanny, a later innovation allowed prams to be pushed, making it easier to keep an eye on the baby’s welfare.

Portrait of Henri Valpinçon as a child with governess by Edgar Degas
Portrait of Henri Valpinçon as a child with governess by Edgar Degas
Pram with three wheels from the period 1840-1850. Credit Antieke kinderwagen
Pram with three wheels from the period 1840-1850. Credit Antieke kinderwagen
The Champs-Elysees, view on the Arc de Triomphe by Francesco Miralles Galup (1848-1901)
The Champs-Elysees, view on the Arc de Triomphe by Francesco Miralles Galup (1848-1901)

Arriving from France, the wickerwork “Bassinet” style of pram allowed the infant to lie flat within a basket on a wheeled frame.

Pram with mattress and blanket that could be pushed or pulled c. 1866
Pram with mattress and blanket that could be pushed or pulled c. 1866

Royal patronage helped launch a fashionable craze among the well-heeled all over Europe and the United States.

So popular were prams in London by 1855 that the Rev. Benjamin Armstrong from rural Norfolk noted in his diary:

The streets are full of perambulators, a baby carriage quite new to me, whereby children are propelled by the nurse pushing instead of pulling the carriage.

Built of wood or wicker and held together with expensive brass joints, baby carriages were sometimes heavily ornamented works of art.

Pram design in manufacture from around 1858 - 1907. Credit Livrustkammaren (The Royal Armoury), Samuel Uhrdin
Pram design in manufacture from around 1858 – 1907. Credit Livrustkammaren (The Royal Armoury), Samuel Uhrdin
Pram design in manufacture from around from 1882 until 1919. Credit Livrustkammaren (The Royal Armoury), Samuel Uhrdin
Pram design in manufacture from around from 1882 until 1919. Credit Livrustkammaren (The Royal Armoury), Samuel Uhrdin
Promenade Baby Carriage, c. 1890. Credit Geolina163
Promenade Baby Carriage, c. 1890. Credit Geolina163

Patents for new innovations were registered on both sides of the Atlantic.

In 1899, African American William H. Richardson patented a design for a reversible baby carriage, allowing the baby to face either forward or toward the person pushing the carriage.

US Patent for a reversible child's carriage
US Patent for a reversible child’s carriage

By the late Victorian era, many more people could afford a baby carriage and new coach-built luxury models came onto the market named after royalty—Princess and Duchess being popular names, as well as Balmoral and Windsor.

c. 1880s. An early wooden-bodied coach-built pram made by British pram manufacturer Silver Cross
c. 1880s. An early wooden-bodied coach-built pram made by British pram manufacturer Silver Cross

The Edwardians made perambulator design a fine art with elaborate decoration, improved maneuverability, rubber tyres, and protection from the elements.

1905 British Perambulator. Metal and wood frame, with leathercloth upholstery and reed-work decoration. V&A Museum
1905 British Perambulator. Metal and wood frame, with leathercloth upholstery and reed-work decoration. V&A Museum

And of course, babies were the big beneficiaries of all this innovation. Peekaboo!

Woman, holding umbrella, pushing baby in carriage equipped with rain cover
Woman, holding umbrella, pushing baby in carriage equipped with rain cover
Stroller used by the children of Crown Prince Gustaf Vi of Sweden. (Manufactured by Hitchings Ltd London. Credit Livrustkammaren (The Royal Armoury)
Stroller used by the children of Crown Prince Gustaf Vi of Sweden. (Manufactured by Hitchings Ltd London. Credit Livrustkammaren (The Royal Armoury)

It was definitely a baby’s world—even royal babies loved their pram rides to the park.

With a commanding position to see all the sites and a comfortable ride with someone else doing all the work, what’s not to love?

Two children of the Crown Prince of Prussia, 1907
Two children of the Crown Prince of Prussia, 1907

Waiting on them hand and foot, some siblings would go to great lengths to ensure the baby was as comfortable as possible.

c 1901. Sibling making adjustments to a pram's sun shade
c 1901. Sibling making adjustments to a pram’s sun shade

For the wealthier families, it was the Nanny’s responsibility to look after the children while the parents attended the many parties and functions on their busy social calendars.

1900. Child and Nanny walk in the Eilenriede Forest Park, Hanover
1900. Child and Nanny walk in the Eilenriede Forest Park, Hanover
1910. A pram ride in the French countryside
1910. A pram ride in the French countryside
1917. Children with their Nanny on the Paseo de la Concha, San Sebastian, Spain
1917. Children with their Nanny on the Paseo de la Concha, San Sebastian, Spain

Mothers who couldn’t afford or didn’t want a nanny could spend some quality time with their baby dressing them for an enjoyable pram outing.

Woman and infant posed with a baby carriage, 1913
Woman and infant posed with a baby carriage, 1913

Admiring glances and polite conversation from passers-by would be all part of the fun of owning a perambulator.

1913 Perambulator. Meissen, Germany
1913 Perambulator. Meissen, Germany

Top down, wind in the hair. Nothing quite like it.

1914. Baby Charmain, aged 7 months seated in an elaborate cane pram
1914. Baby Charmain, aged 7 months seated in an elaborate cane pram

Even fathers started to take an interest, but generally only those working in zoos.

Baby gorilla in a pram, 1917
Baby gorilla in a pram, 1917

With the arrival of the 1920s, new technology provided a way of helping to keep babies quiet—namely Radio.

Pram provided with a radio, including antenna and loudspeaker, to keep the baby quiet. United States, 1921
Pram provided with a radio, including antenna and loudspeaker, to keep the baby quiet. United States, 1921

And for the first time, babies in prams became movie stars.

The baby in the pram falling down the 'Odessa Steps' from the movie 'The Battleship Potemkin', 1925
The baby in the pram falling down the ‘Odessa Steps’ from the movie ‘The Battleship Potemkin’, 1925

Along came the 1930s and prams took on some design cues from automobiles, with shiny fenders, sports wheels, and even windows.

Baby carriage, Hungary, 1939
Baby carriage, Hungary, 1939
1930s German perambulator. Wickerwork with hardboard, wood, chromium plated metal, rubber composition. V&A museum
1930s German perambulator. Wickerwork with hardboard, wood, chromium plated metal, rubber composition. V&A museum

We’re only human and so you never know when we’ll be at war again. Best to be prepared with a gas-proof pram.

1938. Gas war resistant pram. Kent, England
1938. Gas war resistant pram. Kent, England

Fasten your seatbelts for the 1950s!

New lightweight convertible sports and luxury models entered the market.

1953 Baby Carriage. Credit Fortepan
1953 Baby Carriage. Credit Fortepan

“Mom, I think we left them for dust.”

A toddler in a lightweight sports pram, 1959
A toddler in a lightweight sports pram, 1959

Companies like A & F Saward and Silver Cross started building custom-made prams in the 1950s that were—and still are—the choice of British royalty.

1959 Baby's Royale pram made in England by A & F Saward. V&A museum
1959 Baby’s Royale pram made in England by A & F Saward. V&A museum
A period pram advertisement from the 1950s, produced by British pram manufacturer Silver Cross, portraying the classic British nanny and a Silver Cross coach-built pram
A period pram advertisement from the 1950s, produced by British pram manufacturer Silver Cross, portraying the classic British nanny and a Silver Cross coach-built pram
Modern Silver Cross Balmoral Coach-Built Pram wit a vintage style
Modern Silver Cross Balmoral Coach-Built Pram wit a vintage style


The Tragic Story of Princess Ka’iulani, “The Island Rose” of Hawaii

Born Victoria Ka’iulani on October 16, 1875, the Crown Princess and heir to the throne of the Kingdom of Hawaii was known throughout the world for her intelligence and determination to preserve the Hawaiian monarchy.

Named after Queen Victoria and her maternal aunt Anna Ka’iulani who died young, Princess Ka’iulani’s life, spirit, and legacy are a testament to her love of the Hawaiian people in their hour of need.

Ka ‘iu lani means “the highest point of heaven” or “the royal sacred one” in the Hawaiian language.

Kaiulani, approximately six years old seated holding hat with backdrop of Diamond Head & palm trees in a photo studio
Kaiulani, approximately six years old seated holding hat with backdrop of Diamond Head & palm trees in a photo studio
Ka'iulani's parents, Archibald Cleghorn and Likelike
Ka’iulani’s parents, c. 1870

Descended from the first cousin of Kamehameha the Great, the founder and first ruler of the Kingdom of Hawaii, Ka’iulani’s mother was known as Likelike, the sister of the last two ruling monarchs, and her father was Scottish businessman Archibald Scott Cleghorn.

A marriage across cultures does not always run smoothly and Princess Ka’iulani’s parents struggled.

Expecting to be the master of the household, Cleghorn’s staunch Victorian male chauvinism clashed with the Hawaiian nobility’s belief, regardless of gender, that they should be the ones to rule over others.

You always blame me in everything and I am getting tired of it. I will have to kill myself then you won’t have me to growl at all the time. I think we are better separated…as you don’t love me and I don’t love you so I will simply say, “God bless the good”Likelike
Ka'iulani's parents, Archibald Cleghorn and Likelike
Ka’iulani’s parents, Archibald Cleghorn and Likelike
Archibald Cleghorn (seated) with family and grandchildren. Princess Ka'iulani sits to the right of Cleghorn, c. 1885
Archibald Cleghorn (seated) with family and grandchildren. Princess Ka’iulani sits to the right of Cleghorn, c. 1885

Imperious and quick-tempered, but vivacious and well-liked, Likelike earned a reputation as a kind, gracious hostess.

When Ka’iulani was just 11 years old, Likelike fell ill and never recovered.

It is said that a large school of bright red fish—an omen of death in her family—massed close to shore and that Likelike predicted her daughter would never marry and never become Queen.

Princess Likelike in a formal portrait, taken by James J. Williams, 1880s
Princess Likelike in a formal portrait, taken by James J. Williams, 1880s

Because Princess Ka’iulani was second in line to the throne after her elderly and childless aunt, the young girl was expected to eventually become Queen.

The reigning monarchs, King Kalākaua and Queen Kapi’olani, talked with Cleghorn and the Princess about preparing her for the role with a British education.

Princess Kaiulani in 1889, age 14
Princess Kaiulani in 1889, age 14

Sent to Northamptonshire, England in 1889 at the age of 13, Ka’iulani was given a private education at Great Harrowden Hall.

Excelling in her studies of Latin, Literature, Mathematics, and History, she also took classes in French and German and lessons in tennis and cricket.

Great Harrowden hall, Northamptonshire. Credit M J Richardson
Great Harrowden hall, Northamptonshire. Credit M J Richardson

Growing up knowing the landscape painter Joseph Dwight Strong from her uncle’s court, and Isobel Strong, a lady in waiting under her mother, she showed an early talent for art and took several trips to Scotland and France to study.

'Poppies', an oil on canvas painting by Princess Ka'iulani, 1890
‘Poppies’, an oil on canvas painting by Princess Ka’iulani, 1890

Isobel was the stepdaughter of Scottish novelist Robert Louis Stevenson, of “Treasure Island” fame.

The two became good friends and he called her “the island rose” in a poem he wrote in her autograph book.

Princess Ka'iulani at 17 as she attended school at the prestigious Great Harrowden Hall in Northamptonshire
Princess Ka’iulani at 17 as she attended school at the prestigious Great Harrowden Hall in Northamptonshire
Princess Kaʻiulani wearing a hatband bearing the name of an Orlando-class armored cruiser captained by a family friend, Sir William Wiseman HMS Immortalité
Princess Ka’iulani wearing a hatband bearing the name of an Orlando-class armored cruiser captained by a family friend, Sir William Wiseman HMS Immortalité
Kaiulani in white gown and hat, photograph by J. J. Williams
Kaiulani in white gown and hat, photograph by J. J. Williams

Moving to Brighton in 1892, it felt like a fresh start for Princess Ka’iulani who continued to study in England for the next four years, despite being told she would only be there for one.

Chaperoned and tutored by a Mrs. Rooke who set up a curriculum including German, French and English, the resort by the sea pleased the princess, renewing her enthusiasm.

Arranging for her to have an audience with Queen Victoria as part of a trip around Europe, her Hawaiin overseers had to suddenly cancel all plans in January of 1893.

In a short telegram, she learned that Hawaii had been overthrown.

‘Queen Deposed’, ‘Monarchy Abrogated’, ‘Break News to Princess’.

To honor the name bestowed by Stevenson, she had to summon the spirit of the “island rose” – its thorns as sharp as defiance, its bloom undying in the face of adversity.

Refusing to stand idly by while the home that she loved was swept from under her, she gave a statement to the English press:

Four years ago, at the request of Mr. Thurston, then a Hawaiian Cabinet Minister, I was sent away to England to be educated privately and fitted to the position which by the constitution of Hawaii I was to inherit. For all these years, I have patiently and in exile striven to fit myself for my return this year to my native country. I am now told that Mr. Thurston will be in Washington asking you to take away my flag and my throne. No one tells me even this officially. Have I done anything wrong that this wrong should be done to me and my people? I am coming to Washington to plead for my throne, my nation and my flag. Will not the great American people hear me?
Princess Kaiulani of Hawaii, 1890s
Princess Kaiulani of Hawaii, 1890s

Traveling to the United States to fight against what she saw as a terrible injustice, she gave this speech on her arrival:

Seventy years ago, Christian America sent over Christian men and women to give religion and civilization to Hawaii. Today, three of the sons of those missionaries are at your capitol asking you to undo their father’s work. Who sent them? Who gave them the authority to break the Constitution which they swore they would uphold? Today, I, a poor weak girl with not one of my people with me and all these ‘Hawaiian’ statesmen against me, have strength to stand up for the rights of my people. Even now I can hear their wail in my heart and it gives me strength and courage and I am strong – strong in the faith of God, strong in the knowledge that I am right, strong in the strength of seventy million people who in this free land will hear my cry and will refuse to let their flag cover dishonor to mine!

Despite pleas to U.S. President Grover Cleveland, who brought her plight before Congress, her efforts could not prevent eventual annexation.

Treating Ka’iulani with contempt, the pro-annexation press referred to her in print as a half-breed, calling her “dusky”, although she was saved from the blatantly racist treatment repeatedly given her Aunt, the Queen of Hawaii.

Typical of the time, “positive” accounts of the Princess’ appearance often tried to emphasize what was thought to be “white” about her.

Occasionally, the British half from her father, Archibald Cleghorn, was also disparaged by American writers fearing Great Britain was a rival for possession of Hawaii.

Returning to Europe to finish her education, she received further tragic news that her childhood friend, Robert Louis Stevenson had died and that a new Republic of Hawaii had been established in her absence.

Learning that her half-sister, Annie Cleghorn, and later her English guardian, Theophilus Harris Davies, had both died, a great sadness overwhelmed her and her health started to decline.

Arriving back in Hawaii in 1897, she thought the warmer climate would help her recover, but she continued to deteriorate.

Kaiulani in San Francisco, 1897
Kaiulani in San Francisco, 1897

Even the new house her father had built for her couldn’t lift her spirits as she struggled to readjust to the tropical climate of the Hawaiian islands.

Princess Kaiulani's residence at Ainahau with peacocks on the lawn. The new house was constructed by Archibald Scott Cleghorn for his daughter's return from Europe in 1897
Princess Kaiulani’s residence at Ainahau with peacocks on the lawn. The new house was constructed by Archibald Scott Cleghorn for his daughter’s return from Europe in 1897

Continuing to make public appearances at the urging of her father, she became visibly drawn and emotionally exhausted.

Princess Kaiulani standing on top of steps on the porch of her house at ʻĀinahau; wearing the holoku and a lei
Princess Kaiulani standing on top of steps on the porch of her house at Āinahau; wearing the holoku and a lei
Newspaper article about Princess Ka'iulani's betrothal to Prince Kawānanakoa of Hawaii, 1898

At least there was something to look forward to—the announcement of her engagement to Prince David Kawānanakoa of Hawaii.

The “Island Rose,” heir to the throne and their symbol of resistance, would unite with a prince known for his intelligence and dedication to their land. While shadows of annexation loomed, this union ignited a glimmer of hope for a future rooted in their heritage, where their beloved princess, blooming once more, might guide them through uncertain waters.

Princess Kaiulani seated wearing dress with embroidered bodice for a formal picture, 1897
Princess Kaiulani seated wearing dress with embroidered bodice for a formal picture, 1897
Queen Liliuokalani wearing black in mourning over the annexation of Hawaii

The day Hawaii was annexed as a territory of the United States on August 12, 1898, citizen Ka’iulani and her aunt, the last monarch of the Kingdom of Hawaii, wore funeral attire to protest what they considered an illegal transaction.

One of the last public appearances of Victoria Ka’iulani was at a party thrown for U.S. Annexation Commissioners the following October.

It was bad enough to lose the throne but infinitely worse to have the flag go down…Victoria Ka'iulani
The luau or banquet at ʻĀinahau for the U.S. Annexation Commissioners, hosted by Princess Kaiulani who is looking towards camera on the left side of the photo. Leslie's Weekly October 20, 1898
The luau or banquet at Āinahau for the U.S. Annexation Commissioners, hosted by Princess Kaiulani who is looking towards camera on the left side of the photo. Leslie’s Weekly October 20, 1898

Riding in the mountains of Hawaii Island in late 1898, Ka’iulani was caught in a storm and came down with a fever and pneumonia.

She died on March 6, 1899 at the age of 23 of inflammatory rheumatism.

Just as her mother had foretold, Ka’iulani wouldn’t get married and would never become Queen.

Princess Kaiulani of Hawaii, 1899
Princess Kaiulani of Hawaii, 1899

Princess Ka’iulani loved peacocks.

Growing up enjoying the company of a flock originally belonging to her mother, she is sometimes called the “Peacock Princess”.

Victoria Kaʻiulani, "the Peacock Princess", 1895
Victoria Ka’iulani, “the Peacock Princess”, 1897

If Only the Dead Could Talk—the Ghost of the Red Barn Murder

It was the year 1828.

In the little English village of Polstead in Suffolk, Mrs. Marten was having a bad dream.

A ghostly figure appeared to her, pointing to a spot on the ground.

The ghost was her missing stepdaughter, and the place she pointed to was inside the Red Barn, a local landmark.

Waking in a panic, she nudged her husband, the young woman’s father, beckoning him to go to the Red Barn and dig near one of the grain storage bins.

Reluctantly, her husband went out into the yard to fetch a shovel before making his way over to the Red Barn.

Buried in a sack he found the badly decomposed remains of his daughter, Maria, still recognizable from her hair and clothing.

An inquest concluded that she had been murdered.

Maria Marten
Maria Marten

Implicated by evidence found with the body, the prime suspect was one William Corder, the man Maria was supposed to have eloped with.

But Corder was nowhere to be found.

By all accounts, William Corder, the son of a local farmer, was something of a fraudster and a ladies’ man.

Called “Foxey” at school because of his sly manner, he had been found guilty of forgery and stealing in his youth.

Banished to London for bringing disgrace to his family, he would return to Polstead when his brother Thomas drowned attempting to cross a frozen pond.

And when his father and three brothers all died within the following 18 months, he had to run the family farm alone with his mother.

Corder started seeing Maria Marten, an attractive woman who was known for several relationships with men from the neighbourhood that had already resulted in two children.

The first had been fathered by Corder’s own brother, but had died in infancy, and the second from a man who refused to marry her but sent money every month to provide for the child.

Having children out of wedlock was a social taboo and so it was with some regret that Maria announced to Corder that she was pregnant.

Corder promised to do the decent thing and marry her.

But secretly, he was hatching a dastardly plan.

Corder burying the body of Maria Marten
Corder burying the body of Maria Marten

In the presence of her mother, he proposed to Maria that they elope, explaining that he had heard rumours about officers preparing to prosecute her for having children out of wedlock.

Maria heard nothing from him for a few days, then he arrived at her cottage saying they must leave at once because the local constable had a warrant for her arrest.

Corder took Maria’s things and told her to dress in men’s clothing to avert suspicion, then meet him at the Red Barn about a half mile away, where she could change before they eloped.

That was the last time Maria was seen alive.

Corder himself disappeared from the village but later returned, explaining that they were married and that Maria was staying in a nearby town because he needed to explain the situation to his friends and relatives before introducing her as his wife.

Days passed and suspicions grew as Maria did not return to the village.

Corder fled but wrote letters to Maria’s family explaining that they were living happily on the Isle of Wight, some 200 miles away.

He gave excuses as to why she hadn’t written herself, saying she was not well, her letters must have been lost, or that she’d injured her hand.

It wouldn’t be too long before Corder was discovered, leading a double life with another woman in London.

The Arrest of Corder
The Arrest of Corder

Placing an ad in the lonely hearts column of the Times newspaper, he had met and married another woman, Mary Moore, and was helping her run a boarding house.

Officer James Lea of the London police inquired about boarding his daughter there and in the process gained access, surprising Corder as he entertained guests in the parlour.

Denying all knowledge of both Maria and the crime, a search of the house uncovered some pistols bought on the day of the murder.

A passport from the French ambassador also suggested Corder was planning to flee to France, having caught wind of the discovery of Maria’s body from a friend’s letters.

William Corder's pistols
William Corder’s pistols

Tried at Shire Hall in Suffolk, such was the public interest that admittance to the court was by ticket only and the judge and court officials had to push their way through the crowds.

The press had already decided on Corder’s guilt and congratulated the overwhelming public opinion that shared the same sentiment.

Indicted on nine charges to avoid any chance of a mistrial, Corder pleaded not guilty.

Murdering Maria Marten, by feloniously and wilfully shooting her with a pistol through the body, and likewise stabbing her with a dagger.

Ann Marten, Maria’s stepmother testified about her dreams, while Thomas Marten related the story of digging up his daughter’s body.

Maria’s little brother said he’d seen Corder with a pistol before Maria’s disappearance and later, walking from the barn with a pickaxe.

Suggesting that he never intended to marry Maria, the prosecution claimed that she had discovered Corder’s criminal past and had accused him of stealing money sent by her child’s father.

William Corder awaiting trial
William Corder awaiting trial

Admitting to being in the barn, Corder said they had argued and that he had then left her alone only to hear a pistol shot while he was walking away.

Running back to the barn, he said he found Maria dead with one of his pistols beside her.

Although he pleaded with the jury to give him the benefit of the doubt, it took them only 35 minutes to find him guilty.

That you be taken back to the prison from whence you came, and that you be taken from thence, on Monday next, to a place of Execution, and that you there be hanged by the Neck until you are Dead; and that your body shall afterwards be dissected and anatomized; and may the Lord God Almighty, of his infinite goodness, have mercy on your soul!

After several meetings with the prison chaplain, Corder confessed to accidentally shooting Maria in the eye as she was changing out of the man’s clothing he suggested she wear as a disguise.

Estimates of the number of people in attendance at his execution ranged from 7,000 to 20,000.

Just before the hood went over his head, he confessed again:

I am guilty; my sentence is just; I deserve my fate; and, may God have mercy on my soul.

Corder’s body was put on display in the courtroom with the abdomen cut open to reveal the muscles.

Over 5,000 people queued to see the gruesome sight.

The execution of William Corder, the Red Barn Murderer
The execution of William Corder, the Red Barn Murderer

Later, in front of an audience of students from Cambridge University, electric wires were attached to Corder’s body to demonstrate the contraction of muscles using electrical currents.

What must have gone through the minds of those students to see a dead body move?

How many wondered about the scientific possibility of ghosts communicating from the dead?

Here was a story that had all the elements to ignite the public’s imagination.

A poor girl murdered by a wicked squire; the supernatural communication with the dead; and Corder’s new life resulting from a lonely hearts advertisement.

19th-century fascination with the macabre knew no bounds.

Pieces of the rope used to hang Corder sold for a guinea each.

Part of Corder’s scalp with a shriveled ear still attached was displayed in a shop in London’s Oxford Street.

A lock of Maria’s hair sold for two guineas.

Polstead village became a tourist mecca with an estimated 200,000 visitors in 1828 alone.

Stripped for souvenirs, the Red Barn eventually burned down in 1842, but not before planks were removed from the sides, broken up, and sold as toothpicks.

The Victorian play “Maria Marten”, or “The Murder in the Red Barn” was a sensational hit throughout the mid 19th century and possibly the most performed play of the era.

Even 19th-century fairground peep shows had to add extra apertures for viewers during shows of the murder.

19th-century fairground peep show
19th-century fairground peep show

Victorians portrayed Corder as a cold-blooded monster and Maria as the innocent victim, pure as the driven snow.

To suit Victorian sensibilities, her reputation and her children by other fathers was omitted, while Corder’s appearance deliberately aged to exaggerate his wickedness.

Doubts were raised about the veracity of Ann Marten’s dreams of Maria’s ghost.

How could she have known the exact location of Maria’s body unless the ghost really did appear … or the story was fabricated?

Ann was only one year older than Maria and rumours circulated of a possible affair between Ann and Corder.

Could Ann have been the murderer?

We’ll never know.

One thing is for certain—Maria’s ghost, whether dreamed or imagined, played a decisive role in the fate of William Corder and solving the Red Barn murder.

Memorial to Maria Marten in St Marys church yard Polstead, Suffolk. Credit Keith Evans
Memorial to Maria Marten in St Marys church yard Polstead, Suffolk. Credit Keith Evans

Women’s Fashions of the Late Victorian Era

During the Victorian Era, advances in technology and distribution saw fashion change from an exclusive privilege of the wealthy elites to something that could be enjoyed by ordinary people.

The Industrial Revolution inspired a flowering of creativity in architecture, literature, and decorative and visual arts, all playing a part in influencing the latest fashions.

Changing attitudes to traditional gender roles and the rising middle class meant that by the late Victorian Era, a new age of mass consumerism had begun.

Unlike earlier centuries, when it was commonplace for women to help with the family business, Victorians thought a woman’s place was in the home.

1885 Fashion plate
1885 Fashion plate

Victorian fashion wasn’t utilitarian, it was an expression of position in society.

1888 Fashion Plate
1888 Fashion Plate

The upper class wore clothes adorned with embroideries and trims; the middle class, less extravagant; and the working class, whatever they could afford.

Depicted in this painting is a middle-class woman showing off her newly purchased bonnet at her sister’s modest home.

The New Bonnet by Eastman Johnson, 1876
The New Bonnet by Eastman Johnson, 1876

Casting off the shackles of crinolines of the 1850s and 1860s, the late Victorian era saw several innovations to bring more practicality and mobility to fashion whilst maintaining the volume of fabric.

Introduced in the late 1860s, the bustle was a framework used to expand and support the fullness of a woman’s dress at the back, leaving the front and sides flatter for ease of movement.

Reaching its greatest extension by the mid-1880s, it was popularly boasted that the cantilevers of bustles could support an entire tea service.

1884-86. Dinner Dress. American. Silk. metmuseum
1884-86. Dinner Dress. American. Silk. metmuseum

With women becoming more involved in activities outside the home, fashion designers made changes to suit.

Skirts were given more ground clearance and trains were made simpler, stronger and dragged less on the ground while keeping the same overall form.

1885 Walking Dress. French. House of Worth. Silk, glass. metmuseum
1885 Walking Dress. French. House of Worth. Silk, glass. metmuseum

Abandoned by the 1890s, the bustle evolved into skirts with a much more subtle flow from the wearer’s thin corsetted waist.

Necklines were high, while sleeve size increased.

1892 Dress. American. Silk, cotton
1892 Dress. American. Silk, cotton

Becoming bell-shaped, dresses were made to fit tighter around the hip area.

1892 Dress. American. Silk, cotton
1892 Dress. American. Silk, cotton

While sleeves and bodices initially peaked at the shoulders, size would increase considerably.

1890 Dress. American. Silk, linen
1890 Dress. American. Silk, linen

Beginning in the mid-1890s, exaggerated “leg o’mutton” sleeves grew in size until disappearing in about 1906.

1895 Afternoon jacket. French. Silk, jet, beads
1895 Afternoon jacket. French. Silk, jet, beads
1896 Wedding dress. House of Worth. Silk, pearl. Credit metmuseum
1896 Wedding dress. House of Worth. Silk, pearl. Credit metmuseum
1895 Dress. French. Silk
1895 Dress. French. Silk

Skirts started to take on a graceful, curved, “A-line silhouette”.

1897 Gown. House of Worth
1900 Ball Gown. French. Doucet. Silk, metal. metmuseum
1900 Ball Gown. French. Doucet. Silk, metal. metmuseum

A glittering extravaganza, the neoclassical motifs in the below dress add a texture and lighting effect to stand out at a formal ball.

1890 Evening ensemble. American. Silk. metmuseum
1890 Evening ensemble. American. Silk. metmuseum

Changing attitudes about acceptable activities for women also made sportswear popular, particularly for bicycling and tennis.

Bicycling; The Ladies of the Wheel by François Courboin, 1896
Bicycling; The Ladies of the Wheel by François Courboin, 1896
A june Afternoon by A. B. Frost, 1898
Le Chalet du Cycle au Bois de Boulogne by Jean-Georges Béraud, 1900
Le Chalet du Cycle au Bois de Boulogne by Jean-Georges Béraud, 1900
A Rally by Sir John Lavery, R.A., 1885
A Rally by Sir John Lavery, R.A., 1885

Although introduced much earlier, the riding habit became more practical, with a much simpler, more formal appearance.

Void of embellishments, it was made of tough woolen fabric in a single dark colour and worn with matching hat and veil.

1890 Three-piece Riding Habit. Wool twill, full finish
1890 Three-piece Riding Habit. Wool twill, full finish
The Ride by Pierre Auguste Renoir
The Ride by Pierre Auguste Renoir

Crucial to a respectable appearance were hats and gloves—to be seen bareheaded was simply improper.

1899 Millinery Print. France
1899 Millinery Print. France

Dozens of fanciful designs provided women with almost endless choice.

Fashion plate showing three bust portraits of Jane Harding, Baronne de Carlsberg, and Suzanne, actresses at the Gymnase theater, Paris, wearing hats designed by Madame Carlier
Fashion plate showing three bust portraits of Jane Harding, Baronne de Carlsberg, and Suzanne, actresses at the Gymnase theater, Paris, wearing hats designed by Madame Carlier

Women who wanted a more modest appearance often preferred bonnets but they became associated with a matronly appearance.

The Summer Bonnet by Pierre Carrier-Belleuse, 1893
The Summer Bonnet by Pierre Carrier-Belleuse, 1893
1892 Evening bonnet. American. Silk, cotton, jet, feather. metmuseum
1892 Evening bonnet. American. Silk, cotton, jet, feather. metmuseum
Broadway stage performer and singer, Anna Held

Straw hats were essential summer wear for outdoor activities like croquet.

1890 Hat. American. Leghorn straw, silk chiffon
1890 Hat. American. Leghorn straw, silk chiffon
The Croquet Party by Sir John Lavery, R.A., 1890
The Croquet Party by Sir John Lavery, R.A., 1890

The widening of hats towards the end of the 19th century hinted at the enormous hats that were to follow during the Edwardian era.

A Portrait of a Lady in a Black Hat with a Bouquet of Flowers in her Arms by Edouard Bisson, 1895
A Portrait of a Lady in a Black Hat with a Bouquet of Flowers in her Arms by Edouard Bisson, 1895

The late 1890s returned to the tighter sleeves often with small puffs or ruffles capping the shoulder but fitted to the wrist.

1897 Two-piece dress. House of Rouff. Silk twill and silk cut velvet on twill foundation
1897 Two-piece dress. House of Rouff. Silk twill and silk cut velvet on twill foundation

Indispensable accessories for the Victorian lady, parasols of the late Victorian era were exuberant and lace-covered with extremely fine handle detail.

Here, the bright colours indicative of the French touch on the left contrast with the black parasol for mourning.

1895 - 1900 parasols. Silk, wood, metal, tortoiseshell.metmuseum
1895 – 1900 parasols. Silk, wood, metal, tortoiseshell.metmuseum

From the 1870s to the twentieth century, women’s shoes changed to include higher heels and more pointed toes.

Low-cut pumps were worn for the evening.

Ankle-length laced or buttoned boots were also popular.

Woman's Bar Shoes, 1898
Woman’s Bar Shoes, 1898
1894. Evening slippers. American. Silk
1894. Evening slippers. American. Silk
1890 Eveing boots. French. Silk, metla. metmuseum
1890 Evening boots. French. Silk, metal. metmuseum
1892 Pair of Woman’s Bar Shoes (Wedding). Suede, sueded leather, silk gauze, silk satin
1895 Women's Wedding Boots. Kid leather with sueded leather and pearls
1895 Women’s Wedding Boots. Kid leather with sueded leather and pearls

Those of the upper class who were invited to attend the royal courts of Europe would wear something altogether more extravagant and reminiscent of the 18th century.

As the wife of Washington Augustus Roebling, the chief engineer of the Brooklyn Bridge in New York City, Emily Warren Roebling ran the day-to-day supervision of the project for a period of fourteen years after husband became ill.

She wore this gown for her formal presentation to Queen Victoria in 1896.

1896 Court Presentation Ensemble. American. Silk, metal, cotton, leather
1896 Court Presentation Ensemble. American. Silk, metal, cotton, leather

Presentation at court was a special event for American women of Roebling’s social status and court protocol dictated the attire.

Lavishly embroidered, the sumptuous textiles and long train are characteristics of a formal gown appropriate for the occasion.

Originally intended to be worn at home for afternoon tea with family and friends, by the late 1900s, tea gowns were worn through the evening for dinner and other events.

Although just as elegant as formal wear, tea gowns were worn without corsets or assistance from a maid.

Comfortable and relaxing, they would be harbingers of things to come.

1900 Tea gown. French. House of Worth. metmuseum
1900 Tea gown. French. House of Worth. metmuseum

By the close of the Victorian era, women were liberated from tight-laced corsets, restrictive layers of crinolined or bustled fabric, and society’s expectation of a woman’s role.

1891 Corset. French. Silk. metmuseum
1891 Corset. French. Silk. metmuseum

There was a new woman in town and she was more confident, self-assured, and ready to meet her true potential than ever before.

No longer were women seen as either “fragile” or “voluptuous” as portrayed in earlier decades, but athletic, emancipated, and ready to enter the workforce.

Gibson Girls in beach attire by Charles Dana Gibson, 1898
Gibson Girls in beach attire by Charles Dana Gibson, 1898

She was the Gibson Girl, and she would fight for the right to vote in the 20th century.

John Atkinson Grimshaw: Painter of Moonlight

Known for his city night-scenes and landscapes, John Atkinson Grimshaw was a Victorian artist described by British art historian Christopher Wood as a “remarkable and imaginative painter”.

Hailing from Leeds in England, Grimshaw’s first job was as a clerk for Great Northern Railway.

Much to the dismay of his parents, he left the job at age 24 to pursue a career as a painter.

John Atkinson Grimshaw and the Great Northern Railway
John Atkinson Grimshaw and the Great Northern Railway

Leaving a steady job with a growing industry must have seemed foolhardy, but Grimshaw’s passion and talent for art were all he needed to make a success of his life.

Exhibiting for the first time just a year later under the patronage of the Leeds Philosophical and Literary Society, he showed paintings of birds, fruit, and blossom.

It wasn’t until the 1870s that his career really took off.

Influenced primarily by the Pre-Raphaelites, he painted landscapes with precise use of colour and lighting, often focusing on the changing seasons or the weather to bring vivid detail and realism to his work.

But it is the moonlit views of cities and suburban streets, of Docklands in London, Hull, Liverpool, and Glasgow that he is best remembered for.

paintings of dampened gas-lit streets and misty waterfronts conveyed an eerie warmth as well as alienation in the urban scenePhilip J. Waller.

Sharply focused, almost photographic, Grimshaw poetically applied the tradition of rural moonlit scenes to the city, with its rain puddles, mists, and the smoky fog of late Victorian industrial England.

Grimshaw evokes the very feeling of chill in the night air or the damp of mists at dawn’s early light.

John Atkinson Grimshaw was the Painter of Moonlight.

London Bridge - Night by John Atkinson Grimshaw, 1884
London Bridge – Night by John Atkinson Grimshaw, 1884
Park Row, Leeds by John Atkinson Grimshaw, 1882
Park Row, Leeds by John Atkinson Grimshaw, 1882
Westminster Bridge by Moonlight by John Atkinson Grimshaw, 1880
Westminster Bridge by Moonlight by John Atkinson Grimshaw, 1880
Liverpool Quay by Moonlight by John Atkinson Grimshaw, 1887
Liverpool Quay by Moonlight by John Atkinson Grimshaw, 1887
The Gossips, Bonchurch, Isle of Wight by John Atkinson Grimshaw, 1880
The Gossips, Bonchurch, Isle of Wight by John Atkinson Grimshaw, 1880
Hull Docks at Night by John Atkinson Grimshaw
Hull Docks at Night by John Atkinson Grimshaw
Evening Scene by the Docks, Hull by John Atkinson Grimshaw
Evening Scene by the Docks, Hull by John Atkinson Grimshaw
Burning Off, a Fishing Boat at Scarborough by John Atkinson Grimshaw, 1877
Burning Off, a Fishing Boat at Scarborough by John Atkinson Grimshaw, 1877
On the Clyde, Glasgow by John Atkinson Grimshaw, 1879
On the Clyde, Glasgow by John Atkinson Grimshaw, 1879
Lights in the Harbour, Scarborough by John Atkinson Grimshaw, 1879
Lights in the Harbour, Scarborough by John Atkinson Grimshaw, 1879
Moonlight on Lake by John Atkinson Grimshaw
Moonlight on Lake by John Atkinson Grimshaw
Liverpool Docks attributed to John Atkinson Grimshaw
Liverpool Docks attributed to John Atkinson Grimshaw
Bonchurch, the Isle of Wight by John Atkinson Grimshaw, 1880
Bonchurch, the Isle of Wight by John Atkinson Grimshaw, 1880
Night Vigil by John Atkinson Grimshaw
Night Vigil by John Atkinson Grimshaw
Liverpool from Wapping by John A Grimshaw, 1875
Liverpool from Wapping by John A Grimshaw, 1875
A moonlit street after rain by John Atkinson Grimshaw, 1881
A moonlit street after rain by John Atkinson Grimshaw, 1881
Blackman Street, Borough, London by John Atkinson Grimshaw, 1885
Blackman Street, Borough, London by John Atkinson Grimshaw, 1885
Hampstead by John Atkinson Grimshaw, 1881
Hampstead by John Atkinson Grimshaw, 1881
Glasgow, Saturday Night by John Atkinson Grimshaw
Glasgow, Saturday Night by John Atkinson Grimshaw
A Moonlit Landscape by John Atkinson Grimshaw
A Moonlit Landscape by John Atkinson Grimshaw
Humber Docks Hull, John Atkinson Grimshaw, 1884
Humber Docks Hull, John Atkinson Grimshaw, 1884
A Yorkshire Home by John Atkinson Grimshaw, 1878
A Yorkshire Home by John Atkinson Grimshaw, 1878
Nightfall down the Thames by John Atkinson Grimshaw, 1880
Nightfall down the Thames by John Atkinson Grimshaw, 1880
Street after the Rain in the Moonlight by John Atkinson Grimshaw, 1881
Street after the Rain in the Moonlight by John Atkinson Grimshaw, 1881
Glasgow Docks by John Atkinson Grimshaw, 1881
Glasgow Docks by John Atkinson Grimshaw, 1881
The Thames by Moonlight with Southwark Bridge, London by John Atkinson Grimshaw, 1884
The Thames by Moonlight with Southwark Bridge, London by John Atkinson Grimshaw, 1884
The Old Hall Under Moonlight by John Atkinson Grimshaw
The Old Hall Under Moonlight by John Atkinson Grimshaw
Figure Overlooking Waterloo Lake, Rounday Park, Leeds by John Atkinson Grimshaw, 1872
Figure Overlooking Waterloo Lake, Rounday Park, Leeds by John Atkinson Grimshaw, 1872
Old Chelsea by John Atkinson Grimshaw
Old Chelsea by John Atkinson Grimshaw
Near Hackness, a moonlit scene with pine trees by John Atkinson Grimshaw, 1875
Near Hackness, a moonlit scene with pine trees by John Atkinson Grimshaw, 1875
Canny Glasgow by John Atkinson Grimshaw, 1887
Canny Glasgow by John Atkinson Grimshaw, 1887
Heath Street, Hampstead by John Atkinson Grimshaw, 1882
Heath Street, Hampstead by John Atkinson Grimshaw, 1882
Street after the Rain in the Moonlight by John Atkinson Grimshaw
Street after the Rain in the Moonlight by John Atkinson Grimshaw
Whitby by John Atkinson Grimshaw, 1878
Whitby by John Atkinson Grimshaw, 1878
Under the Moonbeams by John Atkinson Grimshaw, 1887
Under the Moonbeams by John Atkinson Grimshaw, 1887
The Broomielaw Glasgow by John Atkinson Grimshaw, 1889
The Broomielaw Glasgow by John Atkinson Grimshaw, 1889
Forge Valley, near Scarborough by John Atkinson Grimshaw, 1875
Forge Valley, near Scarborough by John Atkinson Grimshaw, 1875
Whitby, from the East Side by John Atkinson Grimshaw, 1877
Whitby, from the East Side by John Atkinson Grimshaw, 1877
Heaven's Lamp by John Atkinson Grimshaw, 1886
Heaven’s Lamp by John Atkinson Grimshaw, 1886
Lovers in a Wood by John Atkinson Grimshaw, 1873
Lovers in a Wood by John Atkinson Grimshaw, 1873
The Lovers by John Atkinson Grimshaw
The Lovers by John Atkinson Grimshaw
Briggate, Leeds by John Atkinson Grimshaw
Briggate, Leeds by John Atkinson Grimshaw
A moonlit country road by John Atkinson Grimshaw, 1877
A moonlit country road by John Atkinson Grimshaw, 1877
Reflections on the Thames, Westminster by Grimshaw, John Atkinson, 1879
Reflections on the Thames, Westminster by Grimshaw, John Atkinson, 1879
The Tryst by John Atkinson Grimshaw, 1886
The Tryst by John Atkinson Grimshaw, 1886
At the Park Gate by John Atkinson Grimshaw, 1878
At the Park Gate by John Atkinson Grimshaw, 1878
Full Moon behind Cirrus Cloud from the Rounday Park Castle Battlements by John Atkinson Grimshaw, 1872
Full Moon behind Cirrus Cloud from the Rounday Park Castle Battlements by John Atkinson Grimshaw, 1872
Home Again by John Atkinson Grimshaw, 1877
Home Again by John Atkinson Grimshaw, 1877
November by John Atkinson Grimshaw, 1879
November by John Atkinson Grimshaw, 1879
Scarborough by Moonlight by John Atkinson Grimshaw, 1876
Scarborough by Moonlight by John Atkinson Grimshaw, 1876
Boar Lane, Leeds by Lamplight by John Atkinson Grimshaw, 1881
Boar Lane, Leeds by Lamplight by John Atkinson Grimshaw, 1881
Whitby Harbor by Moonlight by John Atkinson Grimshaw, 1862
Whitby Harbor by Moonlight by John Atkinson Grimshaw, 1862
Moonlight, Wharfedale by John Atkinson Grimshaw
Moonlight, Wharfedale by John Atkinson Grimshaw
Silver Moonlight by John Atkinson Grimshaw, 1880
Silver Moonlight by John Atkinson Grimshaw, 1880
London Bridge - Half Tide by John Atkinson Grimshaw, 1884
London Bridge – Half Tide by John Atkinson Grimshaw, 1884
A Moonlit Evening by John Atkinson Grimshaw, 1880
A Moonlit Evening by John Atkinson Grimshaw, 1880
Harbor Scene by John Atkinson Grimshaw, 1878
Harbor Scene by John Atkinson Grimshaw, 1878
Greenwich, Half Tide by John Atkinson Grimshaw, 1884
Greenwich, Half Tide by John Atkinson Grimshaw, 1884
The Custom House, Liverpool, Looking South by John Atkinson Grimshaw , 1890
The Custom House, Liverpool, Looking South by John Atkinson Grimshaw , 1890
Gloucester Docks by John Atkinson Grimshaw, 1890
Gloucester Docks by John Atkinson Grimshaw, 1890
Thames Moonlight by John Atkinson Grimshaw, 1880
Thames Moonlight by John Atkinson Grimshaw, 1880
Nightfall down the Thames by John Atkinson Grimshaw, 1880
Nightfall down the Thames by John Atkinson Grimshaw, 1880
Southwark Bridge and St. Paul's by John Atkinson Grimshaw, 1883
Southwark Bridge and St. Paul’s by John Atkinson Grimshaw, 1883
A Moonlit Lane by John Atkinson Grimshaw, 1874
A Moonlit Lane by John Atkinson Grimshaw, 1874

Renoir: an Impression of Beauty

Famed for his paintings of bustling 19th-century Parisian life, pretty women and sensual nudes, Pierre-Auguste Renoir’s eye for beauty captured the day’s fashions and scenes of contented domestic bliss.

Luncheon of the Boating Party by Pierre-Auguste Renoir

Celebrated as a colorist, Renoir (1841 – 1919) was masterful at capturing the interplay of light and shadow as seen in the dappled sunlight of dancers at the Moulin de la Galette.

In the 19th century, Le Moulin de la Galette was a pleasant diversion for Parisians seeking entertainment, a glass of wine and bread made from flour ground by the famous windmill of the same name.

Bal du moulin de la Galette by Pierre-Auguste Renoir
Why shouldn’t art be pretty? There are enough unpleasant things in the world.Pierre Auguste Renoir
Click here to learn more about Pierre-Auguste Renoir

Painting for two months in the summer of 1869 at a boating and bathing complex outside Paris called La Grenouillère, Renoir and his friend Claude Monet captured the effects of the sun streaming through the trees on the rippling water.

La Grenouillere by Pierre Auguste Renoir, 1869
La Grenouillere by Pierre Auguste Renoir, 1869

Using broad, loose brushstrokes in a sketch-like technique and a brightened palette, they developed what would become known as the Impressionist aesthetic.

La Grenouillere by Pierre Auguste Renoir, 1869
La Grenouillere by Pierre Auguste Renoir, 1869

Organized with the help of friends Edgar Degas, Edouard Manet, and Camille Pissarro, Renoir and Monet held exhibitions dedicated to Impressionism as a means to bypass the strict tradition of the more conservative Salon de Paris—the official art exhibition of the Académie des Beaux-Arts in Paris.

Although a founding member of the Impressionist movement, Renoir ceased to exhibit after 1877.

His love of portraiture and images of well-dressed Parisian pleasure seekers created a bridge from Impressionism’s more experimental aims to a modern, middle-class art public.

The Cafe by Pierre Auguste Renoir, 1877
The Cafe by Pierre Auguste Renoir, 1877

On a trip to Italy in 1881, Renoir became enamored with the “grandeur and simplicity” of High Renaissance artists like Raphael and his figures consequently became more crisply drawn and sculptural in character.

The Artist's Family by Pierre-Auguste Renoir, 1896
The Artist’s Family by Pierre-Auguste Renoir, 1896

Integrating more line and composition into his more mature works, Renoir created some of his era’s most timeless canvases.

Dance at Bougival by Pierre-Auguste Renoir, 1883
Dance at Bougival by Pierre-Auguste Renoir, 1883

Painting dozens of nudes, Renoir specialized in marble-like figures against quickly improvised impressionistic backgrounds.

Bather by Pierre Auguste Renoir, 1893
Bather by Pierre Auguste Renoir, 1893

Renoir’s combination of modernity and tradition was highly influential on the next generation of artists including Pablo Picasso, Henri Matisse, and Maurice Denis.

Join us as we celebrate Renoir accompanied by the music of Chopin.

Young Girls at the Piano by Pierre-Auguste Renoir, 1892
Young Girls at the Piano by Pierre-Auguste Renoir, 1892
Woman with a Parasol in a Garden by Pierre Auguste Renoir, 1873
Woman with a Parasol in a Garden by Pierre Auguste Renoir, 1873
The Two Sisters, On the Terrace by Pierre-Auguste Renoir
The Two Sisters, On the Terrace by Pierre-Auguste Renoir
Picking Flowers by Pierre Auguste Renoir, 1875
Picking Flowers by Pierre Auguste Renoir, 1875
Young Woman with a Japanese Umbrella by Pierre Auguste Renoir, 1876
Young Woman with a Japanese Umbrella by Pierre Auguste Renoir, 1876
Place de la Trinite, Paris by Pierre Auguste Renoir, 1875
Place de la Trinite, Paris by Pierre Auguste Renoir, 1875
At the Concert by Pierre Auguste Renoir, 1880
At the Concert by Pierre Auguste Renoir, 1880
Claude Monet Painting in His Garden at Argenteuil by Pierre Auguste Renoir, 1873
Claude Monet Painting in His Garden at Argenteuil by Pierre Auguste Renoir, 1873
Bougival by Pierre Auguste Renoir, 1888
Bougival by Pierre Auguste Renoir, 1888
The Swing by Pierre-Auguste Renoir, 1876
The Swing by Pierre-Auguste Renoir, 1876
Cagnes Landscape by Pierre Auguste Renoir, 1910
Cagnes Landscape by Pierre Auguste Renoir, 1910
Noirmoutiers by Pierre Auguste Renoir, 1892
Noirmoutiers by Pierre Auguste Renoir, 1892
Woman with a Black Dog by Pierre Auguste Renoir, 1874
Woman with a Black Dog by Pierre Auguste Renoir, 1874
The Port of Pornic by Pierre Auguste Renoir, 1890
The Port of Pornic by Pierre Auguste Renoir, 1890
Sunny Landscape by Pierre Auguste Renoir, 1880
Sunny Landscape by Pierre Auguste Renoir, 1880
The Harvesters by Pierre Auguste Renoir, 1873
The Harvesters by Pierre Auguste Renoir, 1873
The Covered Lane by Pierre Auguste Renoir, 1872
The Covered Lane by Pierre Auguste Renoir, 1872
The Children of Martial Caillebotte by Pierre Auguste Renoir, 1895
The Children of Martial Caillebotte by Pierre Auguste Renoir, 1895
Geraniums in a Copper Basin by Pierre Auguste Renoir, 1880
Geraniums in a Copper Basin by Pierre Auguste Renoir, 1880
Landscape at Cagnes by Pierre Auguste Renoir, 1908
Landscape at Cagnes by Pierre Auguste Renoir, 1908
Le Pont-Neuf, Paris by Pierre Auguste Renoir, 1872
Le Pont-Neuf, Paris by Pierre Auguste Renoir, 1872
The Theater Box by Pierre-Auguste Renoir, 1874
The Theater Box by Pierre-Auguste Renoir, 1874
The Farm by Pierre Auguste Renoir, 1914
The Farm by Pierre Auguste Renoir, 1914
Basket of Flowers by Pierre Auguste Renoir - 1890
Basket of Flowers by Pierre Auguste Renoir – 1890
The Lovers by Pierre Auguste Renoir, 1875
The Lovers by Pierre Auguste Renoir, 1875
Chapel of Our Lady of Protection, Cagnes by Pierre Auguste Renoir, 1905
Chapel of Our Lady of Protection, Cagnes by Pierre Auguste Renoir, 1905
A Cup of Tea in the Garden by Pierre Auguste Renoir, 1907
A Cup of Tea in the Garden by Pierre Auguste Renoir, 1907
Houses at Cagnes by Pierre Auguste Renoir, 1905
Houses at Cagnes by Pierre Auguste Renoir, 1905
The Fountain by Pierre Auguste Renoir, 1885
The Fountain by Pierre Auguste Renoir, 1885
Chrysanthemums by Pierre Auguste Renoir, 1878
Chrysanthemums by Pierre Auguste Renoir, 1878
Among the Roses by Pierre Auguste Renoir, 1882
Among the Roses by Pierre Auguste Renoir, 1882
Flowers in a Vase by Pierre Auguste Renoir, 1866
Flowers in a Vase by Pierre Auguste Renoir, 1866
Cagnes Landscape with Woman and Child by Pierre Auguste Renoir, 1910
Cagnes Landscape with Woman and Child by Pierre Auguste Renoir, 1910
The Fisherman by Pierre Auguste Renoir, 1874
The Fisherman by Pierre Auguste Renoir, 1874
Girls with Lilacs by Pierre Auguste Renoir, 1890
Girls with Lilacs by Pierre Auguste Renoir, 1890
The Great Boulevards by Pierre Auguste Renoir, 1875
The Great Boulevards by Pierre Auguste Renoir, 1875
The Terrace at Cagnes by Pierre Auguste Renoir, 1908
The Terrace at Cagnes by Pierre Auguste Renoir, 1908
Country Dance by Pierre Auguste Renoir, 1883
Country Dance by Pierre Auguste Renoir, 1883
Bouquet of Flowers by Pierre Auguste Renoir, 1878
Bouquet of Flowers by Pierre Auguste Renoir, 1878
The Canoeist's Luncheon by Pierre Auguste Renoir, 1880
The Canoeist’s Luncheon by Pierre Auguste Renoir, 1880
Head of a Little Girl by Pierre Auguste Renoir, 1900
Head of a Little Girl by Pierre Auguste Renoir, 1900
Oarsmen at Chatou by Pierre Auguste Renoir, 1879
Oarsmen at Chatou by Pierre Auguste Renoir, 1879
Madame Chocquet Reading by Pierre Auguste Renoir, 1876
Madame Chocquet Reading by Pierre Auguste Renoir, 1876
Girl Gathering Flowers by Pierre Auguste Renoir, 1872
Girl Gathering Flowers by Pierre Auguste Renoir, 1872
The Seine at Chatou by Pierre Auguste Renoir, 1881
The Seine at Chatou by Pierre Auguste Renoir, 1881
Spring Bouquet by Pierre Auguste Renoir, 1866
Spring Bouquet by Pierre Auguste Renoir, 1866
Algerian Landscape by Pierre Auguste Renoir
Algerian Landscape by Pierre Auguste Renoir
The Piazza San Marco, Venice by Pierre Auguste Renoir, 1881
The Piazza San Marco, Venice by Pierre Auguste Renoir, 1881
Place de la Trinite by Pierre Auguste Renoir, 1875
Place de la Trinite by Pierre Auguste Renoir, 1875
The Seine at Asnieres by Pierre Auguste Renoir, 1879
The Seine at Asnieres by Pierre Auguste Renoir, 1879
Vase of Chrysanthemums by Pierre Auguste Renoir, 1882
Vase of Chrysanthemums by Pierre Auguste Renoir, 1882
Garden Scene in Brittany by Pierre Auguste Renoir, 1886
Garden Scene in Brittany by Pierre Auguste Renoir, 1886
Young Woman in Red in the Fields by Pierre Auguste Renoir, 1900
Young Woman in Red in the Fields by Pierre Auguste Renoir, 1900
Madame Renoir and Her Son Pierre by Pierre Auguste Renoir, 1890
Madame Renoir and Her Son Pierre by Pierre Auguste Renoir, 1890
Under the Arbor at the Moulin de la Galette by Pierre Auguste Renoir, 1876
Under the Arbor at the Moulin de la Galette by Pierre Auguste Renoir, 1876
In St Cloud Park by Pierre Auguste Renoir, 1866
In St Cloud Park by Pierre Auguste Renoir, 1866
Girl with a Watering Can by Pierre Auguste Renoir, 1876
Girl with a Watering Can by Pierre Auguste Renoir, 1876
Children by the Sea by Pierre Auguste Renoir - 1894
Children by the Sea by Pierre Auguste Renoir – 1894
Nini in the Garden by Pierre Auguste Renoir, 1876
Nini in the Garden by Pierre Auguste Renoir, 1876
Mlle Charlotte Berthier by Pierre Auguste Renoir, 1883
Mlle Charlotte Berthier by Pierre Auguste Renoir, 1883

Neuschwanstein—Castle of Dreams

Born in Nymphenburg Palace—the “Castle of the Nymphs”—in Munich, Bavaria, and growing up in the Gothic Revival fantasy castle of Hohenschwangau in the Bavarian Alps, is it any wonder that the creator of Neuschwanstein Castle—King Ludwig II—was prone to day-dreaming?

All around him was picture perfect scenery—glistening lakes, snow-capped mountains, and deep alpine forests.

Hohenschwangau Castle. Credit xlibber,flickr
Hohenschwangau Castle. Credit xlibber,flickr

And he was immersed in a medieval tribute to Bavarian heraldry—particularly the legend of the Knight of the Swan.

Hohenschwangau Castle. Credit Sailko
Hohenschwangau Castle. Credit Sailko

The swan looms large in Bavarian folklore. Hohenschwangau means “Upper Swan District”.

Celebrated in the medieval German romance “Parzival” and later in the operas Lohengrin and Parsifal by Richard Wagner, the Knight of the Swan is a medieval tale about a mysterious rescuer who comes in a swan-drawn boat to defend a damsel, his only condition being that he must never be asked his name.

Lohengrin rescues a damsel in distress
Lohengrin rescues a damsel in distress

This was the stuff to set a young man’s imagination alight and to dare to dream of building the most beautiful castle in the world—Neuschwanstein.

Castle Neuschwanstein against the Bavarian Alps, Germany. Derivative works based on photo by Dmytro Balkhovitin
Castle Neuschwanstein against the Bavarian Alps, Germany. Derivative works based on photo by Dmytro Balkhovitin

All it would take was money and time.

Join us as we explore the beauty and history of Neuschwanstein Castle.

Press play button to add musical atmosphere to your journey.

Our story begins in 1864 when the 18-year-old Ludwig II succeeded his father, King Maximilian II, to the throne of Bavaria.

Ludwig did what all kings do and set about planning an ambitious series of palaces and castles.

But Ludwig was different. He was a dreamer with a big imagination.

The inspiration for the construction of Neuschwanstein came from two journeys he took in 1867 — one in May to the reconstructed Wartburg Castle in Germany, another in July to the Château de Pierrefonds in France.

Wartburg Castle, Thuringia, Germany. Credit Vitold Muratov
Wartburg Castle, Thuringia, Germany. Credit Vitold Muratov
Château de Pierrefonds, Oise, France. Credit Alexicographie
Château de Pierrefonds, Oise, France. Credit Alexicographie

Neuschwanstein can be said to be a combination of these two styles—the Romanesque Palas (the main building housing the great hall) and tower of Wartburg and the numerous ornamental turrets of Pierrefonds.

As an adolescent, Ludwig and his friend read poetry aloud and staged scenes from the Romantic operas of Richard Wagner, which appealed to his fantasy-filled imagination.

He commissioned stage designer Christian Jank to create concepts for Neuschwanstein because Jank had worked on scenery for Richard Wagner’s opera Lohengrin.

Concept for Neuschwanstein Castle by Christian Jank, c.1883
Concept for Neuschwanstein Castle by Christian Jank, c.1883

Employing about 200 craftsmen, Neuschwanstein’s construction site was the biggest employer in the region for two decades.

Neuschwanstein Castle during construction, 1882
Neuschwanstein Castle during construction, 1882
Neuschwanstein upper courtyard under construction, c. 1886
Neuschwanstein upper courtyard under construction, c. 1886
Neuschwanstein Castle, c. 1895
Neuschwanstein Castle, c. 1895
Neuschwanstein Castle. Maëlick, flickr
Neuschwanstein Castle. Maëlick, flickr
Neuschwanstein Castle, c. 1895
Neuschwanstein Castle, c. 1895
Neuschwanstein Castle. Credit Taxiarchos228
Neuschwanstein Castle. Credit Taxiarchos228

Built in the 1860s, Marienbrücke (Mary’s Bridge) is a bridge overlooking Neuschwanstein Castle.

Popular with tourists as a good vantage point for photographs, the bridge spans a large gorge with a waterfall beneath.

View of Neuschwanstein Castle from Marienbrücke (Mary's Bridge). Credit Robert Böck
View of Neuschwanstein Castle from Marienbrücke (Mary’s Bridge). Credit Robert Böck
Neuschwanstein Castle, c. 1895
Neuschwanstein Castle, c. 1895
Neuschwanstein Castle and Lake Alpsee in the Bavarian Alps. Credit Dmytro Balkhovitin
Neuschwanstein Castle and Lake Alpsee in the Bavarian Alps. Credit Dmytro Balkhovitin

The western Palas supports a two-storey balcony with a view on the Alpsee lake.

Alps from a balcony of the Neuschwanstein castle in Germany. Credit Stanhua, flickr
Alps from a balcony of the Neuschwanstein castle in Germany. Credit Stanhua, flickr

The entire Palas is spangled with numerous decorative chimneys and ornamental turrets, the court front with colourful frescos.

Schloss Neuschwanstein Courtyard. Credit Jay, flickr
Schloss Neuschwanstein Courtyard. Credit Jay, flickr
Detail of Frescos in Neuschwanstein Courtyard. Credit Hedwig Storch
Detail of Frescos in Neuschwanstein Courtyard. Credit Hedwig Storch
Neuschwanstein Tower. Credit Ιακώβ
Neuschwanstein Tower. Credit Ιακώβ
Neuschwanstein's Castle roof detail. Credit Oliver-Bonjoch
Neuschwanstein’s Castle roof detail. Credit Oliver-Bonjoch
Neuschwanstein Castle, Lower Courtyard. Credit Bbb
Neuschwanstein Castle, Lower Courtyard. Credit Bbb
Neuschwanstein corridor. Credit Lokilech
Neuschwanstein corridor. Credit Lokilech
Study, Neuschwanstein Castle, c. 1895
Study, Neuschwanstein Castle, c. 1895

Fitted with several of the latest 19th-century innovations, the palace had a battery-powered bell system for the servants, telephone lines, hot-air central heating, running warm water, and automatic flush toilets.

Music room, Neuschwanstein Castle, c. 1895
Music room, Neuschwanstein Castle, c. 1895
Drawing room, Neuschwanstein Castle, c. 1895
Drawing room, Neuschwanstein Castle, c. 1895
Dining room, Neuschwanstein Castle, c. 1895
Dining room, Neuschwanstein Castle, c. 1895
Bedroom, Neuschwanstein Castle, c. 1895
Bedroom, Neuschwanstein Castle, c. 1895

The Throne Hall occupies the third and fourth floors and is surrounded by colorful arcades, with paintings of Jesus, the Twelve Apostles, and six canonized kings.

Throne room, Neuschwanstein Castle, c.1895
Throne room, Neuschwanstein Castle, c.1895
Neuschwanstein Throne Room. Credit Lokilech
Neuschwanstein Throne Room. Credit Lokilech
Neuschwanstein Castle Interior. Credit Schoenitzer
Neuschwanstein Castle Interior. Credit Schoenitzer
Neuschwanstein Castle Interior. Credit Schoenitzer
Neuschwanstein Castle Interior. Credit Schoenitzer

Ludwig’s imagination paid off: Neuschwanstein is magical from any angle and in any season.

Neuschwanstein Castle in winter. Credit University of Denver, flickr
Neuschwanstein Castle in winter. Credit University of Denver, flickr
The upper castle courtyard of Neuschwanstein in winter. Credit Benreis
The upper castle courtyard of Neuschwanstein in winter. Credit Benreis

His architectural and artistic legacy includes many of Bavaria’s most important tourist attractions.

Even more ambitious than Neuschwanstein was another fairy tale castle planned to replace the ruins of Falkenstein Castle in Pfronten, Bavaria.

The fairytale dream concept for Falkenstein Castle of Ludwig II and Christian Jank, 1883
The fairytale dream concept for Falkenstein Castle of Ludwig II and Christian Jank, 1883

But work on Falkenstein never got underway because, by the 1880s, Ludwig’s debt had skyrocketed to 14 million marks.

With no end in sight to his extravagant building projects, the Bavarian government decided to act.

In June of 1886, King Ludwig II was deposed on the grounds of mental illness.

Taken to Berg Castle on the shores of Lake Starnberg, south of Munich, Ludwig took an evening stroll along the lake shore with his personal physician, Bernhard von Gudden.

Allegedly drowned, and possibly murdered, both were found dead that same night.

To this day the details of their deaths remain a mystery.

Only the swans and time know the real story, and they promised to keep it quiet.

Swan on Lake Starnberg. Credit Boschfoto
Swan on Lake Starnberg. Credit Boschfoto

Ludwig’s dream lives on, not only in Bavaria but all around the world thanks to Walt Disney’s Sleeping Beauty Castle which took its inspiration from Neuschwanstein.

Sleeping Beauty Castle at Disneyland, Anaheim, CA. Credit Tuxyso
Sleeping Beauty Castle at Disneyland, Anaheim, CA. Credit Tuxyso

The Real Gangs of New York

You know how I stayed alive this long? All these years? Fear. The spectacle of fearsome acts. Somebody steals from me, I cut off his hands. He offends me, I cut out his tongue. He rises against me, I cut off his head, stick it on a pike, raise it high up so all on the streets can see. That’s what preserves the order of things. Fear.

Those are the gruesome words of Bill “the Butcher” Cutting, played by Daniel Day-Lewis in the Martin Scorsese film Gangs of New York.

The Dead Rabbits Riot in 1857 on Bayard Street in the Five Points.
The Dead Rabbits Riot in 1857 on Bayard Street in the Five Points.

150 years ago, an area in lower Manhattan called the Five Points played host to gladiatorial clashes between US-born native and immigrant Irish gangs.

The Five Points gained international notoriety as a disease-ridden, crime-infested slum that existed well into the 20th century.

Once the domain of middle-class homes built on reclaimed land, it became a sprawling slum within a relatively short period.

Group of people gathered outside tenement house in Baxter Street, Five Points, New York, watch men carry out a coffin
Group of people gathered outside tenement house in Baxter Street, Five Points, New York, watch men carry out a coffin

Stories of violent confrontations were legion, giving the press a never-ending supply of gory material to write about.

Brick-bats, stones and clubs were flying thickly around, and from the windows in all directions, and the men ran wildly about brandishing firearms. Wounded men lay on the sidewalks and were trampled upon. Now the Rabbits would make a combined rush and force their antagonists up Bayard street to the Bowery. Then the fugitives, being reinforced, would turn on their pursuers and compel a retreat to Mulberry, Elizabeth and Baxter streets.The New York Times, July 6, 1857
Bandit’s roost – 59 Mulberry Street in New York City.
It is no unusual thing for a mother and her two or three daughters—all, of course, prostitutes—to receive their ‘men’ at the same time in the same room.New York Tribune, 1850
Every house was a brothel, and every brothel a hell.Five Points missionary Lewis Pease
Five Points intersection by George Catlin, 1827
Five Points, 1827, Engraving after a painting by George Catlin.

The George Catlin depiction of 1827 shows the Five Points intersection as a bustling, densely populated area.

The triangular building in the center is located on what would be known as “Paradise Square”.

Anthony Street veers off to the right, Cross Street on the left and Orange Street runs left to right in the foreground.

The below modified aerial view of the Five Points shows the area around modern day Columbus Park.

Paradise Square would have filled the space currently occupied by the New York City Supreme Court.

Modified aerial view of the Five Points shows the area around modern day Columbus Park

It’s hard to believe that in the 18th century the area that was to become the infamous Five Points was a beautiful meadow covering 48 acres, bordered by a hill known as Bayard’s Mount, and with the spring-fed Collect Pond at its center supplying the city’s fresh water.

People would picnic there during the summer, and skate on the frozen pond in winter.

This 1798 watercolor of the Collect Pond shows Bayard’s Mount, a 110-ft hillock, in the left foreground.

1798 watercolor of Collect Pond showing Bayard's Mount
1798 watercolor of Collect Pond showing Bayard’s Mount

The Old Brewery in the Five Points typified the rapidly growing industries.

Tanneries, breweries, ropewalks, and slaughterhouses all began to use the water and dump waste in the neighborhood.

The pollution caused a major environmental health risk and the pond was eventually drained and filled with earth from the leveling of Bayard’s Mount.

The Old Brewery at Five Points

A new middle-class residential community was built upon the landfill but was poorly conceived and engineered.

Buried vegetation released methane gas and the area lacked adequate storm drainage.

The ground gradually subsided, house foundations shifted, and unpaved streets were buried in mud.

Mosquito-infested pools of human and animal excrement became intolerable for middle-class residents, who moved out, leaving the doors wide open for waves of immigrant poor.

At its height, only certain areas of London’s East End vied with Five Points for sheer population density, disease, infant and child mortality, unemployment, prostitution, and violent crime.

Charles Dickens at his writing desk
Charles Dickens at his writing desk

Charles Dickens described Five Points in 1842 in his book American Notes for General Circulation:

What place is this, to which the squalid street conducts us? A kind of square of leprous houses, some of which are attainable only by crazy wooden stairs without. What lies behind this tottering flight of steps? Let us go on again, and plunge into the Five Points.
Homeless people in slum neighborhood of Five Points
Homeless people in slum neighborhood of Five Points
This is the place; these narrow ways diverging to the right and left, and reeking everywhere with dirt and filth. Such lives as are led here, bear the same fruit as elsewhere. The coarse and bloated faces at the doors have counterparts at home and all the world over.
Debauchery has made the very houses prematurely old. See how the rotten beams are tumbling down, and how the patched and broken windows seem to scowl dimly, like eyes that have been hurt in drunken forays. Many of these pigs live here. Do they ever wonder why their masters walk upright instead of going on all fours, and why they talk instead of grunting?

During the late 19th and early 20th century, a criminal organization known as the Five Points Gang inhabited the Sixth Ward (The Five Points) of Manhattan, New York City.

Members of the Five Points Gang of New York City
Members of the Five Points Gang of New York City

Founded by Paul Kelly (born Paolo Antonio Vaccerelli), an Italian American who earned his money prizefighting and running brothels, the Five Points Gang became a national crime syndicate with a reputation for brutality, and in battles with rival gangs, often fought to the death.

Kelly and his second-in-command Johnny Torrio recruited members from other gangs, including Al Capone who would later lead the Chicago Outfit.

Charles “Lucky” Luciano, also joined the Five Points crew and was later considered the most powerful criminal in the country.

Meyer Lansky, Bugsy Siegel, and Frankie Yale were also recruited into the Five Points Gang and became prominent criminals of the 20th century.

20th-century Mobsters (Clockwise): Al Capone, Lucky Luciano, Meyer Lansky, and Johnny Torrio.
20th-century Mobsters (Clockwise): Al Capone, Lucky Luciano, Meyer Lansky, and Johnny Torrio.

Based on Herbert Asbury’s 1927 bookMartin Scorcese’s 2002 movie “Gangs of New York” received a host of awards and was generally praised for its historical accuracy, including the names of the original gangs of the Five Points—the Bowery Boys, the Dead Rabbits, the Plug Uglies, the Short Tails, the Slaughter Houses, and the Swamp Angels.

Francois Flameng: Interpreter of Beauty

Beautiful places, beautiful people, beautiful clothes—Francois Flameng loved to paint them all.

Born in an art studio in Paris in 1856, Flameng may have known from an early age that he was destined to be an artist.

Indeed, in many ways, he had everything going for him.

Paris was the center of the art world and his father was a celebrated engraver who had once wished to be a painter.

All of his father’s regrets were channeled into making his son a success.

Specializing in history painting and portraiture, Francois Flameng became a professor at the Académie des Beaux-Arts—the premier institution of fine art in France.

If you’d like to add a little atmosphere as we view a gallery of Flameng’s work, press play.

Napoleon I and the King of Rome at Saint-Cloud in 1811 by Francois Flameng
Napoleon I and the King of Rome at Saint-Cloud in 1811 by Francois Flameng
Grand Duchess Maria Pavlovna by Francois Flameng, 1898
Grand Duchess Maria Pavlovna by Francois Flameng, 1898

Many of his studies in Italy are rich in architectural detail in the most vivid light and color.

The Carnival in Venice by Francois Flameng
The Carnival in Venice by Francois Flameng
Ile Pointeaux by Francois Flameng
Ile Pointeaux by Francois Flameng
Equestrienne Au Cirque Fernando by Francois Flameng - c. 1890
Equestrienne Au Cirque Fernando by Francois Flameng – c. 1890
Intelligence by Francois Flameng
Intelligence by Francois Flameng
Reception at Malmaison in 1802 by Francois Flameng, c.1894
Reception at Malmaison in 1802 by Francois Flameng, c.1894
A Concert in Versailles by Francois Flameng
A Concert in Versailles by Francois Flameng
Napoleon I and the King of Rome at Saint-Cloud by Francois Flameng, 1896
Napoleon I and the King of Rome at Saint-Cloud by Francois Flameng, 1896
Portrait of a Lady by Francois Flameng
Portrait of a Lady by Francois Flameng

Flameng would often use a camera lucida to create an optical superimposition of his subject.

Allowing him to duplicate key points of the scene on the drawing surface, it would aid in the accurate rendering of perspective.

How a camera lucida device is used to help with drawing composition
How a camera lucida device is used to help with drawing composition

Once he had the sketch to ensure proportion and perspective were correct, he would paint rapidly yet with such fine detail that within an hour he had what took most artists four hours to complete.

Princess Zinaida Yusupova with her sons Felix and Nikolai at Arkhangelskoye by Francois Flameng - 1894
Princess Zinaida Yusupova with her sons Felix and Nikolai at Arkhangelskoye by Francois Flameng – 1894
Mrs Adeline M. Noble by Francois Flameng
Mrs Adeline M. Noble by Francois Flameng
Napoleon I hunting in the Forest of Fontainebleau, 1807 by Francois Flameng
Napoleon I hunting in the Forest of Fontainebleau, 1807 by Francois Flameng
An Elite Soldier of the Imperial Guard by Francois Flameng
An Elite Soldier of the Imperial Guard by Francois Flameng
I have always thought that portraits ought to be arranged as pictures.Francois Flameng

Flameng said that fashions and hairstyles changed so often that the exact likeness captured in a portrait was gone within a few short years.

Therefore, he said, portraits should aim to be pleasant works of art that one would purchase to adorn the wall of a drawing room, even if it were not a portrait of one’s own image.

Zinaida Yusupova with the famous Yusupov family La Pelegrina pearl by Francois Flameng - 1894
Zinaida Yusupova with the famous Yusupov family La Pelegrina pearl by Francois Flameng – 1894
Maria Fedorovna by Francois Flameng, 1894
Maria Fedorovna by Francois Flameng, 1894

Flameng found that he learned as much about the social aspects of his work as he did the actual practicing of his art.

Making sittings more agreeable for models he had to learn their tastes and habits, likes and dislikes.

That way, he could encourage them to pose in ways that reflected their personality and remain in one position for a long time without noticing it as much.

Portrait of the Duchess Dora Leichtenberg by Francois Flameng - 1896
Portrait of the Duchess Dora Leichtenberg by Francois Flameng – 1896

Of equal importance to remaining true to his artistic integrity was producing a work that was pleasing to the subject and also to her friends and acquaintances.

Portrait of Mme D by Francois Flameng - 1911
Portrait of Mme D by Francois Flameng – 1911

When subjects disagreed with his choice of arrangement or style of composition, he would use all his skill to gradually encourage her to see his point of view without contradicting or offending, always admitting she was right, but gently helping her drop her own preconceived mental image.

Family Portrait of a Boy and his two Sisters admiring a Sketch Book by Francois Flameng, 1900
Family Portrait of a Boy and his two Sisters admiring a Sketch Book by Francois Flameng, 1900
The Chess Game by Francois Flameng
The Chess Game by Francois Flameng
The People of Paris Come to Versailles by Francois Flameng
The People of Paris Come to Versailles by Francois Flameng
Offizier des Chasseurs à Cheval Regiments of the Napoleonic Imperial Guard by Francois Flameng
Offizier des Chasseurs à Cheval Regiments of the Napoleonic Imperial Guard by Francois Flameng
Portrait of Madame Max Decougis by Francois Flameng
Portrait of Madame Max Decougis by Francois Flameng
Even the ordinary woman is a thousand times more worthwhile to paint than the ordinary man. But women are never ordinary.Francois Flameng
Portrait of a Lady by Francois Flameng
Portrait of a Lady by Francois Flameng

Flameng painted the colors and pageantry of war.

But he was no stranger to its violence.

At age 14, he was playing with fellow students at the Lycée Louis-le-Grand, when a bombshell exploded in the courtyard.

It was a gift from the Prussians to mark the onset of the Franco-Prussian War of 1870, and it prompted him to enlist.

Accepted in the ambulance corps, when Paris fell to the Prussians, he saw seven children killed under the window of his father’s house in Montparnasse.

Napoleon and his staff reviewing the mounted chasseurs of the Imperial Guard by Francois Flameng
In the Woods by Francois Flameng
In the Woods by Francois Flameng
A portrait painter should not only be endowed with talent, but also possess the qualities of a philosopher, of an observer, of a psychologist, and be provided with inexhaustible patience.Francois Flameng
Lady Duveen, née Salamon by Francois Flameng, 1910
Lady Duveen, née Salamon by Francois Flameng, 1910
Portrait Of Mademoiselle Herpin by Francois Flameng - 1908
Portrait Of Mademoiselle Herpin by Francois Flameng – 1908
Picnic by Francois Flameng
Picnic by Francois Flameng
Evening by Francois Flameng
Evening by Francois Flameng
Napoleon After The Battle Of Waterloo by Francois Flameng
Napoleon After The Battle Of Waterloo by Francois Flameng
Portrait of a mother with her children in the garden by Francois Flameng
Portrait of a mother with her children in the garden by Francois Flameng
An Evening's Entertainment for Josephine by Francois Flameng
An Evening’s Entertainment for Josephine by Francois Flameng

Francois Flameng didn’t only paint beauty.

Renowned for his paintings that showed some of the horrors of the First World War, he was an accredited documenter for the War Ministry and named honorary president of the Society of Military Painters.

Flameng’s war paintings were derided by many critics for being too realistic and not including heroic drama.

World War I by François Flameng
World War I by François Flameng
The offensive of the Yser, First French line near Het-Sas, by François Flameng
The offensive of the Yser, First French line near Het-Sas, by François Flameng
World War I Attack by François Flameng
World War I Attack by François Flameng

The Light that Inspired the Skagen Painters

Skagen is a village in the northernmost part of Denmark.

From the late 1870s until the turn of the century, a group of Scandinavian artists descended on Skagen every summer.

It was the light that drew them.

A translucent light that merged the sea and the sky—especially during the evening “blue hour”.

Influenced by the “en plein air” techniques of French Impressionist painters like Claude Monet, they broke away from traditions taught at the academies and developed their own unique styles.

The long beaches stretched for miles and miles …

Listen to Claude Debussy’s haunting Clair de Lune as we travel back in time to late 19th-century Skagen through the eyes of the Skagen Painters.

Summer Evening at Skagen Beach by P.S. Krøyer, 1899
Summer Evening at Skagen Beach by P.S. Krøyer, 1899
Summer Evening on Skagen's Southern Beach by P.S. Krøyer, 1893
Summer Evening on Skagen’s Southern Beach by P.S. Krøyer, 1893
Nor moon nor stars were out.
They did not dare to tread so soon about,
Though trembling, in the footsteps of the sun.
The light was neither night’s nor day’s, but one
Which, life-like, had a beauty in its doubt;
And Silence’s impassioned breathings round
Seemed wandering into sound.
Elizabeth Barrett Browning, A Sea-Side Walk
Summer evening at the South Beach, Skagen by Peder Severin Krøyer, 1893
Summer evening at the South Beach, Skagen by Peder Severin Krøyer, 1893
Skagen by Michael Peter Ancher, c.1900
Skagen by Michael Peter Ancher, c.1900
Summer evening on the south Beach of Skagen by Peder Severin Krøyer, 1897
Summer evening on the south Beach of Skagen by Peder Severin Krøyer, 1897
The Skagen Beach by Oscar Gustaf Bjorck, 1882
The Skagen Beach by Oscar Gustaf Bjorck, 1882
Summer Day at Skagen South Beach by Peder Severin Krøyer, 1884
Summer Day at Skagen South Beach by Peder Severin Krøyer, 1884
Boat at Skagen's South Beach by Oscar Gustaf Bjorck, 1884
Boat at Skagen’s South Beach by Oscar Gustaf Bjorck, 1884
I have loved hours at sea, gray cities,
The fragile secret of a flower,
Music, the making of a poem
That gave me heaven for an hour
Sara Teasdale, I Have Loved Hours At Sea
A Stroll on the Beach by Michael Ancher, 1896
A Stroll on the Beach by Michael Ancher, 1896

Rendering light with paint in such a way that it makes you feel you are there and you need to squint at the sun’s reflections on the water.

Artists on the Beach by Peder Severin Kroyer, 1882
Artists on the Beach by Peder Severin Kroyer, 1882
The North Sea in Stormy Weather. After Sunset by Laurits Tuxen, 1909
The North Sea in Stormy Weather. After Sunset by Laurits Tuxen, 1909

One of the shared interests of the Skagen painters was to paint scenes of their own social gatherings—eating together, celebrating, or playing cards.

At Lunch by Peder Severin Krøyer, 1883
At Lunch by Peder Severin Krøyer, 1883

As if you could reach out and touch them, Krøyer’s characters are full of movement, full of life.

A breakfast. The artist, his wife and the writer Otto Benzon by Peder Severin Krøyer, 1893
A breakfast. The artist, his wife and the writer Otto Benzon by Peder Severin Krøyer, 1893

The group gathered together regularly at the Brøndums Inn in Skagen, which still operates as a hotel today.

Filled with the paintings the artists donated to cover the cost of board and lodging, the Brøndums’ dining-room became the center of their social life.

The dining room from Branden's hotel, Skagen Museum. Credit Bengt Oberger
The dining room from Branden’s hotel, Skagen Museum. Credit Bengt Oberger

Can you feel the excitement in the air and hear the clinking of glasses?

Hip, Hip, Hurrah! by P.S. Krøyer, 1888
Hip, Hip, Hurrah! by P.S. Krøyer, 1888
The Actor's Lunch, Skagen by Michael Peter Ancher, 1902
The Actor’s Lunch, Skagen by Michael Peter Ancher, 1902
An Artists' Gathering by Viggo Johansen, 1903
An Artists’ Gathering by Viggo Johansen, 1903

Deep in concentration, an after-dinner game of cards continues into the small hours.

A game of l'hombre in Brøndums Hotel by Anna Palm de Rosa, 1885
A game of l’hombre in Brøndums Hotel by Anna Palm de Rosa, 1885

Many of the Skagen painters are depicted here enjoying Midsummer Eve celebrations on Skagen beach around a bonfire, traditionally lit to ward off evil spirits believed to roam freely when the sun turned southward again.

The painting includes Peder Severin Krøyer’s daughter Vibeke, mayor Otto Schwartz and his wife Alba Schwartz, Michael Ancher, Degn Brøndum, Anna Ancher, Holger Drachmann and his 3rd wife Soffi, the Swedish composer Hugo Alfvén and Marie Krøyer.

Midsummer Eve bonfire on Skagen's beach by P.S. Krøyer, 1906
Midsummer Eve bonfire on Skagen’s beach by P.S. Krøyer, 1906

Anna Ancher was the only one of the Skagen Painters to be born and grow up in Skagen.

Her father owned the Brøndums Hotel where the artists stayed during the summer months and she married Michael Ancher, one of the first members of the Skagen colony of artists.

Expressing a more truthful depiction of reality and everyday life, she was a pioneer in observing the interplay of color and natural light.

Harvesters by Anna Ancher, 1905
Harvesters by Anna Ancher, 1905
Harvest Time by Anna Ancher, 1901
Harvest Time by Anna Ancher, 1901
Sewing Fisherman's Wife by Anna Ancher, 1890
Sewing Fisherman’s Wife by Anna Ancher, 1890
They love the sea,
Men who ride on it
And know they will die
Under the salt of it
Carl Sandburg, Young Sea

Combining realism and classical composition, Michael Ancher painted heroic fishermen and their experiences at sea.

Becoming known as monumental figurative art, his strict training at the Royal Danish Academy of Fine Arts was tempered by his wife Anna’s more naturalistic approach.

Painted in 1885, Michael Ancher’s ‘Will He Round the Point?” (below) earned him and the Skagen colony particular attention since it was sold to King Christian IX of Denmark.

Will He Round the Point by Michael Ancher, 1885
Will He Round the Point by Michael Ancher, 1885
Perhaps I should not have been a fisherman, he thought. But that was the thing that I was born for.Ernest Hemingway, The Old Man and the Sea
The Boat is Set in the Sea by Oscar Björck, 1885
The Boat is Set in the Sea by Oscar Björck, 1885
The lifeboat is driven through the dunes by Michael Ancher, 1883
The lifeboat is driven through the dunes by Michael Ancher, 1883
Fishermen on the Beach on a Quiet Summer Evening by Michael Ancher, 1888
Fishermen on the Beach on a Quiet Summer Evening by Michael Ancher, 1888

Life was hard.

A fisherman’s life was not an easy one.

Better to die surrounded by people who would give their life for you.

That’s what close-knit communities were made of.

The Drowned Fisherman by Michael Peter Ancher, 1896
The Drowned Fisherman by Michael Peter Ancher, 1896
Fishermen at Skagen by Peder Severin Kroyer, 1894
Fishermen at Skagen by Peder Severin Kroyer, 1894
Now is no time to think of what you do not have. Think of what you can do with that there is Ernest Hemingway, The Old Man and the Sea
Fishermen on the Beach at Skagen byPeder Severin Kroyer, 1891
Fishermen on the Beach at Skagen byPeder Severin Kroyer, 1891

The Skagen artists also painted each other and their children going about everyday aspects of life—collecting flowers, walking the dog, reading in the shade of the garden or inside the house, meal times with the children, and saying prayers before bed.

Anna Ancher returning from the field by Michael Ancher, 1901
Anna Ancher returning from the field by Michael Ancher, 1901
Portrait of my wife. The painter Anna Ancher by Michael Ancher, 1883
Portrait of my wife. The painter Anna Ancher by Michael Ancher, 1883
Summer Evening at Skagen. The Artist's Wife and Dog by the Shore by P.S. Krøyer, 1892
Summer Evening at Skagen. The Artist’s Wife and Dog by the Shore by P.S. Krøyer, 1892
Roses by P.S. Krøyer, 1893
Roses by P.S. Krøyer, 1893
Interior with poppies and a woman reading by Anna Ancher, 1905
Interior with poppies and a woman reading by Anna Ancher, 1905
Living room with light blue curtains and blue Clematis, 1913
Living room with light blue curtains and blue Clematis, 1913
Midday Meal in the Garden by Anna Ancher, 1915
Midday Meal in the Garden by Anna Ancher, 1915
The Benzon daughters by Peder Severin Krøyer, 1897
The Benzon daughters by Peder Severin Krøyer, 1897
Evening Prayer by Anna Ancher, 1888
Evening Prayer by Anna Ancher, 1888

8 Lessons on How to be Polite from Victorian Ladies

First published in 1860 by Florence Hartley and now available for free in the public domain, The Ladies’ Book of Etiquette, and Manual of Politeness provides full directions for correct manners, deportment, and conversation that are as relevant today as they were 150 years ago.

Contains Amazon affiliate links.

Here are 8 timeless nuggets of advice from a Victorian lady that will help you make more friends, earn more respect, and increase your social currency.

1. Do unto others as you would have them do unto you

politeness is goodness of heart put into daily practice; there can be no true politeness without kindness, purity, singleness of heart, and sensibility.

Florence Hartley warned people against believing that politeness was merely a façade to hide the truth.

She explained that extending courtesy to everyone takes effort and willpower.

In other words, it isn’t easy, but it is worth the effort.

Do’s and don’ts from Florence Hartley:

Do try to set people at ease.

Do practice self-sacrificing, friendly, and unselfish behavior—be genuinely, in word and deed, polite.

Don’t say things in public that may hurt others’ feelings.

Don’t make others feel uncomfortable by putting your own convenience first.

Politeness is a genuine desire to show neighborly love. Without a good heart, politeness is hypocritical and deceitful.

True politeness is the language of a good heart, and those possessing that heart will never, under any circumstances, be rude.

2. Be a Good Listener

Conversation by Mihaly Munkacsy – 1881
The art of conversation consists in the exercise of two fine qualities. You must originate, and you must sympathize; you must possess at the same time the habit of communicating and of listening attentively. The union is rare but irresistible.

Unless you’re with friends, focus your attention squarely on the person you’re conversing with.

Show genuine interest in what the other person is saying.

Do not be distracted by anything said in another group.

Remember, it takes two to make a conversation, so don’t steal the spotlight. Give the other person an opportunity to speak, but avoid silence, or answering in monosyllables.

If your companion relates an incident or tells a story, don’t interrupt with questions part way through—even if you don’t understand something. Wait until she’s finished, and then ask questions.

There is nothing more annoying than being interrupted. Never break in upon another conversation. Wait until the conversation is finished before addressing the person you wanted to speak to.

3. Rudeness repels. Courtesy attracts.

I am not amused. Well … maybe just a little.

Never meet rudeness in others by being rude yourself; even the most impolite will feel more shame by your courtesy, than by attempting to respond in kind.

Politeness forbids any display of resentment.

A favor becomes twice as valuable if granted with courtesy, and the pain of a refusal is softened when expressed with polite regret.

Never by word or action notice the defects of another; always be charitable.

Courtesy is genuine when delivered from the heart.

The polished surface throws back the arrow.
True politeness is being polite at all times, and under all circumstances.

4. Put Your Audience First

People should not talk to please themselves, but to please those who hear them. This helps the speaker ask themselves some important questions:

Is what I’m saying worth hearing?

Is there sufficient wit or sense in what I’m about to say?

Am I adapting my conversation appropriately for the time, place, and audience?

Do’s and Don’ts from Florence Hartley:

Do take care in conversation to avoid topics that might be painful for your companion to hear.

Do turn to another subject as quickly as possible if you perceive you have caused anxiety for your friend.

Don’t hurt the feelings of another for the sake of appearing witty or smart.

Don’t try to impress people with your knowledge, but listen as well as talk, and modestly follow their lead.

Avoid affectation; it is the sure test of a deceitful, vulgar mind. The best cure is to try to have those virtues which you would affect, and then they will appear naturally.

5. Do not criticize or correct anyone

Fair Critics by Charles Courtney Curran – 1887

Florence Hartley strongly advises against correcting others on mispronounced words or grammatical errors that might arise during a conversation.

If you must correct someone, speak to them in private—never in public—and be gentle and kind with how you phrase your critique.

Don’t watch for faults in people, waiting for an opportunity to show your superior wisdom. Let modesty and kind feeling be your guide.

If your companion uses words or expressions which you do not understand, do not feign knowledge or be ashamed of your ignorance, but frankly ask for an explanation.

If you can’t remember names involved in relating an incident, it’s better to avoid the story altogether.

Don’t use substitutes for proper names or places and never phrases like “What-d-ya call it”, “Thingummy”, “What’s his name”.

Do not complete sentences for anyone or anticipate the punchline of a joke or anecdote. Whilst you may have heard the story before, it may be new to others, so let the storyteller finish in their own words.

Be careful, when traveling, not to criticize the native city or country of others by trying to prove how your home is better.

Never discredit an absent friend. It is the height of rudeness. If you put someone down whom others admire, you will most likely be viewed as envious and it will be your own character that comes into question, not the person you are criticizing.

6. Honor the confidentiality of conversations

A Little Tea and Gossip by Robert Payton Reid – 1887

Florence Hartley goes to great lengths to remind us that what people tell us should be assumed to be in confidence.

We should avoid the temptation to tell others what may seem like irresistibly juicy gossip. This is perhaps one of the most difficult challenges given the ease with which we can pass on information today.

But if we abide by it, we are more likely to earn others’ respect and make long-lasting, genuine friendships.

Amongst well-bred persons, every conversation is considered in a measure confidential. A lady or gentleman tacitly confides in you when he (or she) tells you an incident which may cause trouble if repeated, and you violate a confidence as much in such a repetition, as if you were bound over to secrecy. Remember this.

7. The Best Way to Win an Argument is to Avoid One

Avoid argument; it is not a conversation, and frequently leads to ill feeling.

If you are unfortunately drawn into an argument, keep your temper under control, and if you find your adversary is getting agitated, try to introduce a different topic.

The Argument by Albert Beck Wenzell

8. Always be learning.

Read widely and stay up to date on current events.

To be able to converse really well, you must read much, treasure in your memory the pearls of what you read; you must have a quick comprehension, observe passing events, and listen attentively whenever there is any opportunity of acquiring knowledge. A quick tact is necessary, too, in conversation.

A Tale of Two Sisters

It was the best of times. It was the worst of times.

This is the tragic story of two sisters.

Two beautiful Russian princesses who lived fairy tale lives.

Until one fateful day in 1918.

The Best of Times

To be a princess in Victorian-era Europe meant you were born with a silver spoon and you joined a set of elites—life’s lucky lottery winners.

Endless balls and parties, changing from one costume to the next.

Life was a dream, a fairytale.

Ball in Honour of Alexander II by Mihály Zichy, 1864
Ball in Honour of Alexander II by Mihály Zichy, 1864

Theatre, ballet, opera, concerts, sporting events, afternoon tea.

Such a hectic social calendar and so little time.

Performance at the Bolshoi Theater by Mihály Zichy (1827 - 1906)
Performance at the Bolshoi Theater by Mihály Zichy (1827 – 1906)

Wealthy noble suitors professed their love, proposed, and showered you with the finest gifts.

Ball at the Noble Assembly in 1913 by Dmitry Kardovsky
Ball at the Noble Assembly in 1913 by Dmitry Kardovsky

These were halcyon days enjoyed by the few. The best of times.

The Worst of Times

Being poor in 19th-century Europe was not something to be recommended.

To be a peasant in Russia was about as harsh as it could get.

But life was a game of chance and if you were that unfortunate, you were not alone.

Busy Time for the Mowers by Grigoriy Myasoyedov, 1887
Busy Time for the Mowers by Grigoriy Myasoyedov, 1887

Ninety-Five percent of Russians were poor peasants who owned no land.

They paid high rents to landlords who just happened to be members of the ruling aristocracy.

Living in little more than mud huts in villages cut off from the world, the illiterate peasants worked the land to scrape a living to survive and pay their rent.

Peasant Children by .Vladimir Yegorovich Makovsky, 1880
Peasant Children by .Vladimir Yegorovich Makovsky, 1880

When the Industrial Revolution came to Russia, poverty followed the people from the countryside to the cities.

Factories were dark, dirty, and dangerous.

Low wages and long hours kept the former peasants in their place and they were drawn to speeches by men with ideas on changing the world and the promise of a better life.

Vladimir Lenin at the Rally of Putilov Plant Workers in May 1917 by Isaak Brodsky
Vladimir Lenin at the Rally of Putilov Plant Workers in May 1917 by Isaak Brodsky

Against this backdrop were born two sisters—Princess Elisabeth, born 1864, and Princess Alix, born 1872.

They were part of a large noble German family of seven children.

The Hessian family in May 1875 (clockwise from far left)—Ella, Grand Duke Ludwig holding Marie, Alice, Victoria, Irene, Ernie and Alix in the center
The Hessian family in May 1875 (clockwise from far left)—Ella, Grand Duke Ludwig holding Marie, Alice, Victoria, Irene, Ernie and Alix in the center

But there was something connecting Elisabeth and Alix in particular.

It was as though they were marked by the hand of fate.

Four of the Hesse sisters (left to right)—Irene, Victoria, Elisabeth and Alix, 1885
Four of the Hesse sisters (left to right)—Irene, Victoria, Elisabeth and Alix, 1885

Princess Elisabeth of Hesse and by Rhine

Portrait of the Grand Duchess Elizabeth, 1896
Portrait of the Grand Duchess Elizabeth, 1896

Known as “Ella” within her family, Princess Elisabeth was named after St Elizabeth of Hungary, a princess herself and greatly venerated Catholic saint and patroness of the Third Order of St. Francis.

St Elizabeth, who was married at 14 and widowed at 20, built a hospital to serve the sick and became a symbol of Christian charity after her death just 4 years later.

The story of St Elizabeth would strangely touch the life of Princess Ella.

Stained glass from the Minorite Church (the Transfiguration Cathedral) of Cluj, representing St. Elizabeth of Hungary
Stained glass from the Minorite Church (the Transfiguration Cathedral) of Cluj, representing St. Elizabeth of Hungary

Growing up, she lived a modest life by royal standards, even though her father was from one of the oldest and noblest houses in Germany and her mother was Queen Victoria’s daughter.

She swept floors, cleaned her own room, and even accompanied her mother to care for soldiers at a nearby hospital when war broke out between Austria and Prussia.

Ella was charming and kind and considered to be one of the most beautiful of all the princesses in Europe.

Princess Elisabeth of Hesse, 1887
Princess Elisabeth of Hesse, 1887

Frequently visiting his Hessian relatives and not failing to notice Ella’s beauty was her elder cousin, the young man who would later become the German Kaiser Willhelm II.

Writing and sending her numerous love poems, he fell in love with her and proposed in 1878.

One cannot help wondering how her life would have been different had she accepted.

Wilhelm II. Emperor of Germany, 1888
Wilhelm II. Emperor of Germany, 1888

Ella’s heart was eventually won by Grand Duke Sergei Alexandrovich of Russia—a choice her grandmother Queen Victoria did not approve of.

We must always listen to our grandmothers because they know things that we do not.

But such is young love.

Grand Duchess Elizabeth Feodorovna of Russia and Grand Duke Sergei Alexandrovich of Russia, 1883
Grand Duchess Elizabeth Feodorovna of Russia and Grand Duke Sergei Alexandrovich of Russia, 1883
Everyone fell in love with her from the moment she came to Russia from her beloved Darmstadtone of Sergei's cousins.

They were married in June 1884 and at the wedding, fate also struck her little sister when she met 16-year-old Nicholas, the future Tsar Nicholas II.

Residing in one of the Kremlin palaces and a summer home outside of Moscow, they lived happily, hosting frequent parties.

Ella encouraged the young Nicholas to pursue her sister Alix, again much to the dismay of Queen Victoria, who somehow had a sixth sense for what was coming.

Grandmothers know.

Then on a cold February morning of 1905, Ella’s husband Sergei was assassinated inside the Kremlin by a Socialist-Revolutionary.

Sergei had previously rounded up 20,000 Jews and evicted them from their homes for no reason and without warning.

Devoutly religious, Ella herself prophesized that “God will punish us severely”.

It was just the beginning.

Grand Duchess Elizabeth Feodorovna as a nun after her husband's death, 1918
Grand Duchess Elizabeth Feodorovna as a nun after her husband’s death, 1918

Consumed with sadness and guilt, Elisabeth became a devout nun.

Selling her possessions in 1909, she worked tirelessly for several years, helping the poor and sick in Moscow, often in the worst slums.

In 1916, Ella saw her sister for the last time.

The Murder of Elisabeth

It was July, 1918 when Lenin ordered the arrest of Elisabeth.

She spent a few days with other prisoners from Russian noble families before they were all carted to a small village with an abandoned mineshaft 66 ft deep.

Elisabeth was first.

She was beaten and hurled down the shaft.

Then the others followed and a hand grenade was thrown down to kill them, but only one man died.

According to one of the murderers, Elisabeth and the others survived the fall and after the grenade was tossed down, he heard Elisabeth and others singing a hymn.

Down went a second grenade and finally, brushwood shoved into the entrance and set alight.

After the revolution, her convent erected a statue of Elisabeth in the garden. It read simply:

To the Grand Duchess Elizabeth Feodorovna: With Repentance.

Princess Alix of Hesse and by Rhine

Sixth child among seven and the fourth daughter, Alix was nicknamed “Sunny” by her mother and “Alicky” by her British relatives so as to distinguish her from her aunt, Princess Alexandra of Denmark who would become Queen of England as the wife of Edward VII.

Princess Alix of Hesse, 1881
Princess Alix of Hesse, 1881

Blossoming into a beautiful young woman with sparkling blue eyes and red gold hair, she was Queen Victoria’s favorite granddaughter.

The Queen had her in mind to marry Edward Prince of Wales’s eldest son, Prince Albert Victor, Duke of Clarence and Avondale, thus securing her a future position as Queen of England.

What is it about grandmothers just knowing what is best for us?

A very different course of events awaited Alix as she was destined to marry Nicholas, the last Tsar of Russia.

Alexandra Fedorovna by A.Makovskiy (1903)
Alexandra Fedorovna by A.Makovskiy (1903)

Alix fell in love with Nicholas in 1889 and Nicholas wrote in his diary:

It is my dream to one day marry Alix H. I have loved her for a long time, but more deeply and strongly since 1889 when she spent six weeks in Petersburg. For a long time, I have resisted my feeling that my dearest dream will come true.
Alix of Hesse and Nicholas II of Russia, 1894
Alix of Hesse and Nicholas II of Russia, 1894

Nicholas had to propose twice because at first Alix did not want to convert to Russian Orthodoxy but was assured by her sister Elisabeth that it was very similar to her German Lutheranism.

After their engagement, Alix returned to England and was joined by Nicholas where they became godparents of the boy who would become the first British monarch to voluntarily abdicate the throne—King Edward VIII.

The last Russian Empress Alexandra Feodorovna, spouse of Nicholas II
The last Russian Empress Alexandra Feodorovna, spouse of Nicholas II

When Tsar Alexander III died in 1894, he left Nicholas as the new Emperor of Russia.

It was a whirlwind for Alix—she became Empress on her wedding day.

Shy and nervous, she was disliked from the beginning by the Russian people who saw her as cold and curt.

It set in motion a serious of events that would profoundly change the course of history.

Tsar Nicholas II with his family, Empress Alexandra, daughters Olga, Tatjana, Maria, Anastasia and son Alexej
Tsar Nicholas II with his family, Empress Alexandra, daughters Olga, Tatjana, Maria, Anastasia and son Alexej

Despite producing five beautiful daughters, the Russian people frowned upon her distaste for Russian culture and her inability to produce a male heir to the throne until Alexei, her little ‘sunbeam” arrived in 1904.

By this time, she had isolated herself from the Russian court, doting on her son and becoming a recluse.

She believed in the divine right of kings that it was not necessary to seek the approval of the people.

In a letter to her grandmother, Queen Victoria, her aunt wrote of her:

Alix is very Imperious and will always insist on having her own way; she will never yield one iota of power she will imagine she wields…Alix's aunt, German Empress Frederick

It was this thinking and her unwillingness to embrace her people that sealed her fate and that of her entire family.

The Murder of Alix

Dangerously weakened by World War I, Imperial Russia’s government could not bear the financial burden.

Mass hunger became the norm for millions of Russians who refused to accept it any longer and turned on their monarchy.

The entire family became prisoners in their own palace.

The provisional government hoped their foreign relatives might take them in.

Nicholas’s first cousin, George V of Great Britain, refused to offer the family asylum because the public sentiment was turning against royalty.

France was reluctant to accept them because the war with Germany was still raging and Alix was seen as a German sympathizer.

Hope abandoned the Romanovs.

The Bolsheviks seized power and moved the family to a more remote location.

It was Tuesday, 16 July 1918, a date that passed by peacefully without incident.

Nicholas walked with his daughters at 4 o’clock in the small garden.

Alix and Nicholas played cards until 10:30 and then retired to bed.

In the morning, everything changed.

Nicholas was shot in the chest several times and a bullet entered the left side of Alix’s skull just above her ear, exiting from the right side.

Their children were executed in a similar manner.

And that was the end of that.

Elisabeth and Alix were no more.

Two sisters caught up in the winds of change.

Two beautiful princesses whose lives were cut short because ideas changed.

And so it goes.

Why?

It is the oldest question known to mankind.

The mysteries of this world are often unfathomable.

But one thing is for certain.

The same question will continue to be asked until we find ways to live together in peace.

How to be a Gentleman – Lessons from History

Some say that believing in gentlemen is like believing in fairy tales. In our fast-paced, frenetic world, we can be forgiven for thinking that the elusive gentleman is a thing of the past.

Perhaps we don’t see him because so much of our attention today is drawn to the negative. Each day, we are bombarded with negative headlines. Our politicians’ rudeness and disrespect for each other grabs media attention. Our gentleman goes unnoticed, drowned out by negative noise.

According to a recent survey by The Associated Press-NORC Center for Public Affairs Research, 74 percent of Americans think manners and behavior have deteriorated over the last several decades.

But did you know that one word could reverse that view completely?

Can a single word change the world?

Is it possible for a single word, if its meaning is fully embraced, to change the world?

Courtesy
: polite behavior that shows respect for other people
: something that you do because it is polite, kind, etc.
: something that you say to be polite especially when you meet someone

Source: Merriam Webster

Let us turn to our 19th-century forebears for some lessons on courtesy from the Gentleman’s Book of Etiquette and Manual of Politeness, by Cecil B. Hartley, 1860. The Victorians loved to call on history for their inspiration, and so too can we—there is much to learn from them.

Here are 10 simple rules that 19th-century gentlemen lived by.

1. A Gentleman Knows How to Treat a Lady

The Gallant Suitor by Edmund Blair Leighton
The Gallant Suitor by Edmund Blair Leighton

To Victorians, there was a proper etiquette on how to treat a lady. Some conventions may have changed, but the underlying sentiment is as relevant today as it ever was.

Here’s what the Gentleman’s Book of Etiquette has to say:

If you are about to enter, or leave, a store or any door, and unexpectedly meet a lady going the other way, stand aside and allow her to pass. If she is going the same way, and the door is closed, pass before her, saying, “allow me,” or, “permit me,”—open the door, and hold it open whilst she passes.

While we may not use the exact words from the Book of Etiquette, the polite action of allowing someone with right of way to pass before us, or opening a door for them, or even keeping the door open for the person following us is such a simple courtesy. And it can brighten someone’s day and give others renewed faith in humanity—especially if they’ve had a rough day at work.

Keep any appointment made with a lady, for she would forgive any other fault in good breeding sooner than a broken engagement.

Gentlemen keep their appointments with a lady. The earned respect and rapport simply by being on time far outweighs any inconvenience that might arise from planning ahead.

If you are seated in the most comfortable chair in a public room, and a lady, an invalid, or an old man enters, rise, and offer your seat, even if they are strangers to you. Many men will attend to these civilities when with friends or acquaintances, and neglect them amongst strangers, but the true gentleman will not wait for an introduction before performing an act of courtesy.

Whether on a subway, in a waiting room, or any public place with limited seating, it is the mark of a gentleman to offer his seat to a lady, a senior citizen, or anyone with special needs. A very simple act that sets the gentleman apart.

2. A Gentleman Cultivates Tact

Elizabeth and Raleigh by Emanuel Gottlieb Leutze, 1848
Elizabeth and Raleigh by Emanuel Gottlieb Leutze, 1848

How important is tact? In polite society, it is invaluable.

Talent is something, but tact is everything. Talent is serious, sober, grave, and respectable; tact is all that and more too. It is not a sixth sense, but it is the life of all the five. It is the open eye, the quick ear, the judging taste, the keen smell, and the lively touch; it is the interpreter of all riddles—the surmounter of all difficulties—the remover of all obstacles.

Not convinced yet?

It is useful in all places, and at all times; it is useful in solitude, for it shows a man his way into the world; it is useful in society, for it shows him his way through the world. Talent is power—tact is skill; talent is weight—tact is momentum; talent knows what to do—tact knows how to do it; talent makes a man respectable—tact will make him respected; talent is wealth—tact is ready money.

For all intents and purposes, tact beats talent ten to one!

3. A Gentleman Avoids Unnecessary Criticism

Monkeys as Judges of Art by Gabriel Cornelius von Max, 1889
Monkeys as Judges of Art by Gabriel Cornelius von Max, 1889

The Gentleman’s Book of Etiquette explains the importance of being very careful about how we criticize others.

A true gentleman will not only refrain from ridiculing the follies, ignorance, or infirmities of others, but he will not even allow himself to smile at them. He will treat the rudest clown with the same easy courtesy which he would extend to the most polished gentleman, and will never by word, look, or gesture show that he notices the faults, or vulgarity of another.

We all have weaknesses, aversions, different tastes and preferences, so we need to exercise restraint in criticizing others who see things differently to us.

If you were to laugh at a man for his aversion to a cat, or cheese, (which are common antipathies,) or, by inattention and negligence, to let them come in his way, where you could prevent it, he would, in the first case, think himself insulted, and, in the second, slighted, and would remember both.

By thoughtlessly criticizing, we run the risk of embarrassing others, damaging their self-esteem, or outright insulting them. Far better to look for things to praise, and many times the mere absence of praise for something draws attention to it, whereby the other person can take note without loss of face.

We all know people who trample on the opinions of others. The Gentleman’s Book of Etiquette labels this a type of tyranny.

… the petty tyrants of the fireside and the social circle, who trample like very despots on the opinions of their fellows. You meet people of this class everywhere; they stalk by your side in the streets; they seat themselves in the pleasant circle on the hearth, casting a gloom … and they start up dark and scowling to chill and frown down every participator. They “pooh! pooh!” at every opinion advanced; they make the lives of their mothers, sisters, wives, children, unbearable. A gentleman is ever humble, and the tyrant is never courteous.

4. A Gentleman Avoids Profane Language

From Life on the Mississippi by Mark Twain
From Life on the Mississippi by Mark Twain

According to the Gentleman’s Book of Etiquette, swearing can have a deleterious effect on our minds and impairs our thinking.

Use no profane language, utter no word that will cause the most virtuous to blush. Profanity is a mark of low breeding; and the tendency of using indecent and profane language is degrading to your minds. Its injurious effects may not be felt at the moment, but they will continue to manifest themselves to you through life. They may never be obliterated; and, if you allow the fault to become habitual, you will often find at your tongue’s end some expressions which you would not use for any money. By being careful on this point you may save yourself much mortification and sorrow.

Then, as now, most of us pick up these bad habits through childhood and they stay with us. They become ingrained and require vigilance to control.

Good men have been taken sick and become delirious. In these moments they have used the most vile and indecent language. When informed of it, after a restoration to health, they had no idea of the pain they had given to their friends, and stated that they had learned and repeated the expressions in childhood, and though years had passed since they had spoken a bad word, the early impressions had been indelibly stamped upon the mind.

5. A Gentleman Learns to Restrain Anger

The face of a bearded man expressing anger. Etching in the crayon manner by W. Hebert, c. 1770, after C. Le Brun. Credit Wellcome Images
The face of a bearded man expressing anger. Etching in the crayon manner by W. Hebert, c. 1770, after C. Le Brun. Credit Wellcome Images

We’ve all felt that situation where the angrier we get, the less we see sense. Throughout history, angry quarrels have resulted in fist fights, gun fights, and even war. Often, we see things differently once we’ve had chance to calm down—and then we can’t believe what all the fuss was about.

A man in a passion ceases to be a gentleman, and if you do not control your passions, rely upon it, they will one day control you. The intoxication of anger, like that of the grape, shows us to others, but hides us from ourselves, and we injure our own cause in the opinion of the world when we too passionately and eagerly defend it. Neither will all men be disposed to view our quarrels in the same light that we do; and a man’s blindness to his own defects will ever increase in proportion as he is angry with others, or pleased with himself.

The Gentleman’s Book of Etiquette advises to avoid those who like to stir up trouble, and not to get overly curious about the affairs of others.

As a preventative of anger, banish all tale-bearers and slanderers from your conversation, for it is these blow the devil’s bellows to rouse up the flames of rage and fury, by first abusing your ears, and then your credulity, and after that steal away your patience, and all this, perhaps, for a lie. To prevent anger, be not too inquisitive into the affairs of others, or what people say of yourself, or into the mistakes of your friends, for this is going out to gather sticks to kindle a fire to burn your own house.

6. A Gentleman Uses Kind Words

The Surrender of Breda by Diego Velázquez, 1635
The Surrender of Breda by Diego Velázquez, 1635

In 1635, during the Eighty Years’ War, the Spanish General Ambrogio Spinola conquered the city of Breda in the Spanish Netherlands. Instead of chastising the vanquished Dutch, Spinola forbade his troops from jeering, and offered kindly words in which he praised the brave defense of the city. He was a gentleman. This moment of humanity in the midst of war is celebrated in the famous painting “The Surrender of Breda” by Diego Velázquez.

Use kind words. They do not cost much. It does not take long to utter them. They never blister the tongue or lips in their passage into the world, or occasion any other kind of bodily suffering. And we have never heard of any mental trouble arising from this quarter.

Philosophers tell us that angry words fuel the flames of hostility. So why shouldn’t kind words have the opposite effect and help make us kinder and less inclined to lose our temper?

Kind words make other people good-natured. Cold words freeze people, and hot words scorch them, and sarcastic words irritate them, and bitter words make them bitter, and wrathful words make them wrathful. And kind words also produce their own image on men’s souls. And a beautiful image it is. They soothe, and quiet, and comfort the hearer. They shame him out of his sour, morose, unkind feelings, and he has to become kind himself.

American President Theodore Roosevelt knew the importance of military strength, but he also knew the power of kind words:

Speak softly, and carry a big stick.

7. A Gentleman Cultivates Humility

The King and the Beggar-maid by Edmund Blair Leighton
The King and the Beggar-maid by Edmund Blair Leighton

Having a humble opinion of ourselves is the secret to pleasing the world. Good people invariably display gentleness, courtesy, and humility. When we become overly concerned with our own dignity without consideration for others, we lose friends, make enemies, and foster a spirit of unhappiness.

Avoid a conceited manner. It is exceedingly ill-bred to assume a manner as if you were superior to those around you, and it is, too, a proof, not of superiority but of vulgarity. And to avoid this manner, avoid the foundation of it, and cultivate humility. The praises of others should be of use to you, in teaching, not what you are, perhaps, but in pointing out what you ought to be.

Affectation is adopting or displaying an unnatural mode of behavior that is meant to impress others. The Gentleman’s Book of Etiquette thinks it is the result of bad taste, and of mistaken notions of our own qualities. It pervades our whole demeanor and detracts from our virtues and therefore should be avoided.

Beauty itself loses its attraction, when disfigured by affectation.

8. A Gentleman Avoids Pride

"Such very superior dancing is not often seen", original illustration by Hugh Thomson (1860-1920) for Pride and Prejudice by Jane Austen, 1894
“Such very superior dancing is not often seen”, original illustration by Hugh Thomson (1860-1920) for Pride and Prejudice by Jane Austen, 1894

As Mr Darcy discovered in Jane Austen’s novel Pride and Prejudice, in which she writes about the manners of the landed gentry during the British Regency, pride is one of the greatest obstacles to being a gentleman. No man, regardless of rank or privilege, has the right to behave with a haughty or discourteous air towards his fellow men.

What most ennobles human nature, Was ne’er the portion of the proud.

A kind word and gracious smile will endear us to anyone, but a haughty attitude will push people away. The gentleman understands human nature and can make allowances for it. The polite know how to make others polite.

Avoid pride; it often miscalculates, and more often misconceives. The proud man places himself at a distance from other men; seen through that distance, others, perhaps, appear little to him; but he forgets that this very distance causes him also to appear little to others.

9.  A Gentleman Cultivates Good Manners

Pepys and Lady Batten by James Digman Wingfield, 1861
Pepys and Lady Batten by James Digman Wingfield, 1861

As gentlemen, we must shower the ladies of the family—our mother, wife, and sisters—with little attentions and genuine courtesy. A rude husband, son, or brother is not a gentleman.

Table manners are most important to master for gentlemen. We must eat slowly, but not toy with our food while paying too much attention to conversation. We need to keep pace with others at the table so that we don’t keep them waiting for us to hastily finish.

If we meet, in society, with any one, be it a gentleman or a lady, whose timidity or bashfulness, shows them unaccustomed to meeting others, endeavor, by our own gentleness and courtesy, to place them more at ease, and introduce to them those who will aid you in this endeavor.

Being punctual, or even a little early, for all appointments is a mark of a gentleman. This helps put us at ease so that we can remain calm and composed, with perfect gentlemanly deportment.

Be ready to apologize when we have committed a fault which gives offence. Better, far better, to retain a friend by a frank, courteous apology for offence given, than to make an enemy by obstinately denying or persisting in the fault.

Gentlemen should always seek to behave in such a way that we are missed with sorrow when we are gone. Many men are living in such a selfish manner that they are not likely to be remembered. They leave behind them no worthwhile legacy, and are forgotten almost as though they had never existed.

10. A Gentleman Cultivates Toleration

Travel teaches toleration
Travel teaches toleration

Queen Victoria’s favorite Prime Minister Benjamin Disraeli once said that travel teaches toleration.

In a multi-cultural world, travel is one of the most important things we can do to broaden our experiences and become more tolerant of differing views, customs, and tastes.

In a foreign country nothing stamps the difference between the gentleman and the clown more strongly than the regard they pay to foreign customs. While the latter will exclaim against every strange dress or dish, and even show signs of disgust if the latter does not please him, the former will endeavor, as far as is in his power, to “do in Rome as Romans do.”

When we travel, we must avoid speaking continually in praise of our own country, and avoid criticizing others.

Study well the geography of any country which you may visit, and, as far as possible, its history also. You cannot feel much interest in localities or monuments connected with history, if you are unacquainted with the events which make them worthy of note.

Ready to change the world?

See our sister article 8 Lessons on People-skills from Victorian Ladies.

References

Contains affiliate link:
The Gentlemen’s Book of Etiquette and Manual of Politeness
The Associated Press-NORC Center for Public Affairs Research

Princess Alice and the Tragic Kiss of Fate

Princess Alice, the second daughter of Queen Victoria, didn’t lead the charmed life of many 19th-century princesses.

After she died, the Times of London wrote:

The humblest of people felt that they had the kinship of nature with a Princess who was the model of family virtue as a daughter, a sister, a wife and a mother.

This is the tragic story of the princess who died from a kiss.

Happy beginnings

Our story begins in England in 1840, when the young Queen Victoria meets the love of her life—a German prince named Albert.

Queen Victorian and Prince Albert, 1840
Queen Victorian and Prince Albert, 1840

That they were happy was never in doubt, as Victoria’s own letters and diary entries attest:

Albert is extremely handsome; his hair is about the same colour as mine; his eyes are large and blue, and he has a beautiful nose and a very sweet mouth with fine teeth; but the charm of his countenance is his expression, which is most delightful.Victoria

On the evening of their wedding day, 10 February 1840, Victoria wrote:

I NEVER, NEVER spent such an evening!!! MY DEAREST DEAREST DEAR Albert … his excessive love & affection gave me feelings of heavenly love & happiness I never could have hoped to have felt before! He clasped me in his arms, & we kissed each other again & again! His beauty, his sweetness & gentleness – really how can I ever be thankful enough to have such a Husband! … to be called by names of tenderness, I have never yet heard used to me before – was bliss beyond belief! Oh! This was the happiest day of my life!

With such a match made in heaven, one would imagine all of Victoria’s children living charmed, blissful lives.

But fate had other plans.

Favorite name

The first of nine children—also named Victoria—arrived on 21 November, 1840.

But it was the arrival of their third child and second daughter, Alice on 25 April 1843, where our story starts to unfold.

Alice was named in honour of Victoria’s first Prime Minister and mentor, Lord Melbourne, who had said the name “Alice” was his favorite for a girl

Princess Alice asleep by Edward Landseer, 1843
Princess Alice of Great Britain in 18th-Century Costume by Franz Xavier Winterhalter, 1845
Princess Alice of Great Britain in 18th-Century Costume by Franz Xavier Winterhalter, 1845
Princess Alice by Franz Xavier Winterhalter, 1859
Princess Alice by Franz Xavier Winterhalter, 1859

A happy day tinged with sadness

At the suggestion of her older sister, Victoria, she became engaged to a handsome German Prince, Louis of Hesse, in April of 1861.

Princess Alice and Louis of Hesse, 1860
Princess Alice and Louis of Hesse, 1860

They planned to marry on 1 July the following year.

But six months before the wedding, tragedy struck.

Princess Alice in 1861
Princess Alice in 1861

On 14 December 1861, her father, Prince Albert, died.

Despite her mother’s grief and the royal family still being in deep mourning, the wedding went ahead as planned.

But although Alice wore a white dress for the ceremony, she had to wear black mourning clothes before and after.

Princess Alice of the United Kingdom, with her fiancée Prince Louis of Hesse and by Rhine
Princess Alice of the United Kingdom, with her fiancée Prince Louis of Hesse and by Rhine

Unlike her sister Victoria, who would become Queen of Prussia through her marriage to German Emperor Frederick III, Alice’s home in the little city of Darmstadt, Hesse, in what is now Germany, was far more modest.

The Prince and Princess Louis of Hesse by John Jabez Edwin Mayall, 1863
The Prince and Princess Louis of Hesse by John Jabez Edwin Mayall, 1863

Although Queen Victoria expected a new palace would be built for the newlyweds, the people of Darmstadt had different ideas.

So Louis and Alice settled on a house in Darmstadt’s “Old Quarter”, overlooking the street.

Rumbling carts and street noise could be heard through the thin walls, but Alice liked her surroundings and started taking painting lessons from a local artist.

The Hessian family in May 1875 (clockwise from far left)—Ella, Grand Duke Ludwig holding Marie, Alice, Victoria, Irene, Ernie and Alix in the center
The Hessian family in May 1875 (clockwise from far left)—Ella, Grand Duke Ludwig holding Marie, Alice, Victoria, Irene, Ernie and Alix in the center

Alice’s compassion for the suffering of others was well-known within the royal family.

When her grandmother fell ill from a severe infection, Alice nursed and comforted her in her final hours—just as she had done for her father.

Albert, Prince Consort, on his deathbed at Windsor Castle, with members of the royal family and the royal household in attendance, 14 December 1861. Credit Wellcome Images
Albert, Prince Consort, on his deathbed at Windsor Castle, with members of the royal family and the royal household in attendance, 14 December 1861. Credit Wellcome Images

And Alice was there to comfort her distraught mother, becoming her unofficial secretary for the next six months.

When war broke out between Austria and Prussia and her husband had to join the conflict on the side of Austria, she dutifully went to work making bandages for troops and preparing hospitals, despite being pregnant with her third child.

A fateful fall

It wasn’t long before more painful tragedy would befall Alice.

In 1873, her youngest and favourite son Friedrich, called “Frittie”, died after falling from a window.

Prince Friedrich of Hesse and by Rhine, 1873

Little Frittie’s hemophilia meant that bleeding from his internal wounds could not be stopped.

Alice never recovered from his death.

Beside herself with grief, she wrote to her mother, Queen Victoria, for some solace.

I feel lower and sadder than ever and miss him so much, so continually.

But it was a time of anxiety for the Queen. She was not to be disturbed.

Victoria was trying to pair her son Prince Alfred with the Russian Grand Duchess Maria Alexandrovna, but the Russians had refused to send her to England for “pre-marriage inspection”.

Instead, they invited Queen Victoria to meet the family in Germany, which Alice thought was a wonderful idea.

Lesson #1: timing was everything when dealing with Queen Victoria, no matter who you were.

Her mother sent a scathing letter:

You have entirely taken the Russian side, and I do not think, dear child, that you should tell me … what I ought to do.

So much for seeking comfort.

The Kiss of Death

Alice dedicated herself to Ernest, her only surviving son, and her newborn daughter Marie.

But she suffered ill health from the stresses of her duties and retreated to Balmoral Castle hoping the fresh air of Scotland would help her recover.

Balmoral Castle, Scotland. Late 19th century
Balmoral Castle, Scotland. Late 19th century

Shortly after her return in November of 1878, a diphtheria epidemic swept through Darmstadt and hit the royal household hard.

All of her children except Elisabeth, who was staying with her paternal grandmother, became infected, as did her husband.

So swift was the disease once it had taken hold, that when Alice was called to the bedside of her daughter Marie, by the time she arrived, Marie had already choked to death.

Highly contagious, the family had to be contained in separate bedrooms, and Alice kept the news of Marie’s death from her children for several weeks.

Until one day in December, when she knew she had to break the awful news to her son, Ernest.

Devastated, Ernest refused to believe it and sobbed uncontrollably.

At that moment, the hand of fate dealt Alice a life-threatening blow.

Out of concern for Ernest’s grief, she comforted him with a kiss.

At first, nothing happened.

She met her sister as she was passing through Darmstadt on her way to England, and even wrote a more cheerful letter to her mother.

Then on 14 December—the exact date of her father Albert’s death—the symptoms of diphtheria took hold and extinguished her life.

Her last words were “Dear Papa”.

Why is fate so cruel? And why do the nicest, warmest, and kindest people suffer?

It is one of life’s great mysteries.

What history teaches us is that we are never alone in our grief—many others have come before us.

We are all connected through time.

Alice memorial at St-Ludwig church, Darmstadt, Germany
Alice memorial at St-Ludwig church, Darmstadt, Germany

Castle de Haar—straight out of a fairy tale

Rising majestically above the trees, deep in the center of the Netherlands, the towers of Castle de Haar glisten in the morning sunlight.

This is no ordinary castle.

It is the largest in the Netherlands, and one of the most luxurious in Europe.

From Humble Beginnings

To go from this, in 1892 …

De Haar House, before restoration
De Haar House, before restoration

… to this, in 1912 …

Castle de Haar aerial view. Credit Jan Koning
Castle de Haar aerial view. Credit Jan Koning

… required big money. Rothschild money.

Castle de Haar. Credit Jim van der Mee, flickr
Castle de Haar. Credit Jim van der Mee, flickr
De Haar Castle near Utrecht Holland by Reijer Zwart on 500px.com
Sunset at Castle de Haar by Marcel Tuit on 500px.com

In 1391, the family De Haar was granted rights to the original castle and surrounding lands that existed on the same site as the current castle.

Changing hands to the Van Zuylen family in 1440, then burned down and rebuilt in the early 1500s, the castle had fallen into ruins by the late 17th century.

Castle de Haar Main Hall. Credit Daniel Mennerich
Castle de Haar Main Hall. Credit Daniel Mennerich

Eventually, De Haar was inherited by Etienne Gustave Frédéric Baron van Zuylen van Nyevelt van de Haar.

Try saying that with a mouthful of Edam.

Etienne married Baroness Hélène de Rothschild in 1887—and the money connection was forged.

Restoration on a Grand Scale

20-years of restoration has created one of the world’s most beautiful and romantic castles.

Castle de Haar. Credit Bert Kaufmann, flickr
Castle de Haar. Credit Bert Kaufmann, flickr
De Haar Castle by Amit Kirpane on 500px.com

Fully financed by Hélène’s family, the Rothschilds, the famous Dutch architect Pierre Cuypers  set about building 200 rooms and 30 bathrooms.

Well, you never know when you’ve got to go, do you?

Installing all the mod-cons of the late Victorian and Edwardian Eras, the castle had electrical lighting running off its own generator and steam-based central heating.

A large collection of copper pots and pans adorns the kitchen that was very modern for its day, having a 20 ft-long furnace heated with either coal or peat.

Castle de Haar Kitchen. Credit Arjandb

Decorated with fine detail throughout, the kitchen tiles have the coat of arms of both the De Haar and Van Zuylen families.

Castle de Haar Kitchen. Credit Arjandb
Castle de Haar Kitchen. Credit Arjandb

Richly ornamented woodcarving reminiscent of a Roman Catholic church adorns the interior along with old Flemish tapestries and paintings.

Castle de Haar Main Hall. Credit Arjandb
Castle de Haar Main Hall. Credit Arjandb
Castle de Haar Main Hall. Credit Arjandb
Castle de Haar Main Hall. Credit Arjandb
Castle de Haar Bedroom. Credit Arjandb
Castle de Haar Bedroom. Credit Arjandb
Castle de Haar interior. Credit Arjandb
Castle de Haar interior. Credit Arjandb
Castle de Haar Cuypers Room. Credit Arjandb
Castle de Haar Cuypers Room. Credit Arjandb
Castle de Haar Bathroom. Credit Arjandb
Castle de Haar Bathroom. Credit Arjandb
Castle de Haar Bathroom. Credit Arjandb
Castle de Haar Bathroom. Credit Arjandb
Castle de Haar interior. Credit Arjandb
Castle de Haar interior. Credit Arjandb

Formal Gardens

Reminiscent of the French gardens of Versailles, the surrounding park contains many waterworks and 7000 trees.

Castle de Haar aerial view. Credit Johan Bakker
Castle de Haar aerial view. Credit Johan Bakker
Castle de Haar aerial view. Credit Jan Koning
Castle de Haar aerial view. Credit Jan Koning
Kasteel de Haar by Emiliano Quintela on 500px.com
De Haar Castle by dmarchitan on 500px.com
Rose garden at Castle de Haar. Credit Ewald Zomer
Rose garden at Castle de Haar. Credit Ewald Zomer

Elf Fantasy Fair

Attracting some 22,500 visitors every year, the Elf Fantasy Fair held in April at Castle de Haar is the largest fantasy event in Europe.

Next to fantasy, there are also themes from science fiction, gothic, manga, cosplay and historical reenactment genres.

Two fairies at the Elf Fantasy Fair at Castle de Haar. Credit Juvarra
Two fairies at the Elf Fantasy Fair at Castle de Haar. Credit Juvarra
Three participants in the Elf Fantasy Fair at Castle de Haar. Credit Hans Splinter, flickr
Three participants in the Elf Fantasy Fair at Castle de Haar. Credit Hans Splinter, flickr
Click to show Google Street View of Castle de Haar

Belle of the Ball: A 5-Minute Guide to Ball Gowns

Delicately and exotically trimmed, and made of luxurious fabrics, ball gowns are the most formal female attire for social occasions.

Trimmed with lace, pearls, sequins, embroidery, ruffles and ruching, the most common fabrics are satin, silk, taffeta and velvet.

Cut off the shoulder with decollete necklines, the ball gown shape hasn’t changed much since the mid-19th century.

Too Early by James Tissot, 1873
Too Early by James Tissot, 1873
Aristocrats gathering around Emperor Franz Joseph at a ball in the Hofburg Imperial Palace, painting by Wilhelm Gause, 1900
Aristocrats gathering around Emperor Franz Joseph at a ball in the Hofburg Imperial Palace, painting by Wilhelm Gause, 1900

The Regency Era

During the Regency era, ball gowns had the Empire silhouette, with a high waistline, short sleeves, and a fairly narrow skirt.

1820 Ball gown. American. Silk. metmuseum
1820 Ball gown. American. Silk. metmuseum

Widely adopted after the French Revolution, the neoclassic style originated from “chitons”—tubular garments of Ancient Greece that were draped over the shoulder and held in place with a brooch.

Drawing inspiration from the artistic notions of the Renaissance, the puffed sleeves resembled 16th-century “slashing”—a decorative technique of making small cuts on the outer fabric to reveal a brightly colored lining.

1820 Ball gown. American. Silk. metmuseum
1820 Ball gown. American. Silk. metmuseum
1820 Ball gown. British. Cotton plain weave with metallic thread embroidery and silk ribbons with metallic passementerie and tassels. LACMA
1820 Ball gown. British. Cotton plain weave with metallic thread embroidery and silk ribbons with metallic passementerie and tassels. LACMA
1820 Ball gown. British. Cotton plain weave with metallic thread embroidery and silk ribbons with metallic passementerie and tassels. LACMA
1820 Ball gown. British. Cotton plain weave with metallic thread embroidery and silk ribbons with metallic passementerie and tassels. LACMA

Embellished with gold thread or sparkling beads, these lavish gowns glittered in the candlelight of the dance hall.

Creating a soft dreamy look, the thin, gauzy materials were cooler to wear on the crowded dance floor.

1820 Ball gown. British. Silk satin and silk embroidered with metal. © Victoria and Albert Museum, London
1820 Ball gown. British. Silk satin and silk embroidered with metal. © Victoria and Albert Museum, London
1820 Ball gown. British. Silk satin and silk embroidered with metal. © Victoria and Albert Museum, London
1820 Ball gown. British. Silk satin and silk embroidered with metal. © Victoria and Albert Museum, London
1820 Ball gown. British. Silk satin and silk embroidered with metal. © Victoria and Albert Museum, London
1820 Ball gown. British. Silk satin and silk embroidered with metal. © Victoria and Albert Museum, London

The Victorian Era

In the Victorian era, skirts began to widen.

Layer upon layer of petticoats would provide the desired fullness but were hot and heavy to wear.

Undergarment frameworks called crinolines were developed to provide the flared look without the weight.

1842 Ball gown. British. Silk, cotton. metmuseum
1842 Ball gown. British. Silk, cotton. metmuseum
1842 Ball gown. British. Silk, cotton. metmuseum
1842 Ball gown. British. Silk, cotton. metmuseum

Inspired by the court of Charles II, this next ball gown was the most glamorous of all of Queen Victoria’s surviving clothes.

The rich brocade of the underskirt was woven in Benares, India.

A copy of seventeenth-century Venetian raised-point needle lace, the berthe (fichu) was likely made in Ireland and perhaps acquired at the Great Exhibition of 1851.

Queen Victoria's Costume for the Stuart Ball 1851. © Her Majesty Queen Elizabeth II 2017
Queen Victoria’s Costume for the Stuart Ball 1851. © Her Majesty Queen Elizabeth II 2017
Queen Victoria's Costume for the Stuart Ball 1851. © Her Majesty Queen Elizabeth II 2017
Queen Victoria’s Costume for the Stuart Ball 1851. © Her Majesty Queen Elizabeth II 2017
Queen Victoria's Costume for the Stuart Ball 1851. © Her Majesty Queen Elizabeth II 2017
Queen Victoria’s Costume for the Stuart Ball 1851. © Her Majesty Queen Elizabeth II 2017
1856 Ball gown. American. Silk. metmuseum
1856 Ball gown. American. Silk. metmuseum
1856 Ball gown. American. Silk. metmuseum
1856 Ball gown. American. Silk. metmuseum
1860 Ball gown. French. Emile Pingat. Silk. metmuseum
1860 Ball gown. French. Emile Pingat. Silk. metmuseum
1860 Ball gown. French. Emile Pingat. Silk. metmuseum
1860 Ball gown. French. Emile Pingat. Silk. metmuseum

Crinolines remained popular throughout the 1850s and 1860s, reaching a circumference of up to six yards.

1864 Ball gown. French. Emile Pingat. Silk. metmuseum
1864 Ball gown. French. Emile Pingat. Silk. metmuseum
1864 Ball gown. French. Emile Pingat. Silk. metmuseum
1864 Ball gown. French. Emile Pingat. Silk. metmuseum
1868 Ball gown. French. Silk. metmuseum
1868 Ball gown. French. Silk. metmuseum
1868 Ball gown. French. Silk. metmuseum
1868 Ball gown. French. Silk. metmuseum
1869 Ball Gown. British. Cotton, silk. metmuseum
1869 Ball Gown. British. Cotton, silk. metmuseum
1869 Ball Gown. British. Cotton, silk. metmuseum
1869 Ball Gown. British. Cotton, silk. metmuseum

Beginning in the 1870s, a narrower silhouette came into vogue, and more attention was focused on the back of the skirt.

Trains would be drawn up behind the dress and fastened into a “bustle”.

1875 Ball gown. British. Silk, cotton. metmuseum
1875 Ball gown. British. Silk, cotton. metmuseum
1875 Ball gown. British. Silk, cotton. metmuseum
1875 Ball gown. British. Silk, cotton. metmuseum
1876 Ball gown. French. Silk. metmuseum
1876 Ball gown. French. Silk. metmuseum
1876 Ball gown. French. Silk. metmuseum
1876 Ball gown. French. Silk. metmuseum
1878 Ball gown. British. Silk. metmuseum
1878 Ball gown. British. Silk. metmuseum
1878 Ball gown. British. Silk. metmuseum
1878 Ball gown. British. Silk. metmuseum
1880 Ball gown. British. Silk. metmuseum
1880 Ball gown. British. Silk. metmuseum
1880 Ball gown. British. Silk. metmuseum
1880 Ball gown. British. Silk. metmuseum
1887. French. Silk, Glass. metmuseum
1887. French. Silk, Glass. metmuseum
1887. French. Silk, Glass. metmuseum
1887. French. Silk, Glass. metmuseum

By the end of the 19th century, bustles had fallen out of favour and skirts took on a simple bell-like appearance.

1898 Ball gown. French. Jacques Doucet. Silk, metal, linen. metmuseum
1898 Ball gown. French. Jacques Doucet. Silk, metal, linen. metmuseum
1898 Ball gown. French. Jacques Doucet. Silk, metal, linen. metmuseum
1898 Ball gown. French. Jacques Doucet. Silk, metal, linen. metmuseum
1900 Ball gown. French. House of Worth. Silk. metmuseum
1900 Ball gown. French. House of Worth. Silk. metmuseum

The Edwardian Era

In the Edwardian era, women’s ball gowns followed the distinctive “S-curve” silhouette.

1908 Ball gown. American. Cotton, linen, silk. metmuseum

Standing out from the crowd at a ball was a challenge even for the most well-heeled.

Densely sequined and beaded, this next gown worn by a member of the Astor family would have shimmered beautifully on the dance floor.

1910 Ball Gown. American. Silk. metmuseum
1910 Ball Gown. American. Silk. metmuseum
1908 Ball gown. American. Silk, cotton, glass, metallic thread. metmuseum
1908 Ball gown. American. Silk, cotton, glass, metallic thread. metmuseum

The Roaring Twenties and Beyond

During the 1920s, hemlines rose and decorations became more showy.

After the horrors of World War One, people wanted to let their hair down.

Women found a new sense of liberation from the traditional expectations of their role in society.

Donning daring knee-length dresses, they flouted social and sexual norms—some becoming known by the pejorative term “flappers”.

Formalities would take a back seat for a decade, but the dresses still glittered with glamour.

1920s Evening dress. French. Callot Soeurs. Silk, metallic. metmuseum
1920s Evening dress. French. Callot Soeurs. Silk, metallic. metmuseum
1921 Evening dress. French. Callot Soeurs. Silk, metallic thread. metmuseum
1921 Evening dress. French. Callot Soeurs. Silk, metallic thread. metmuseum

Every party eventually comes to an end.

As the Roaring Twenties gave way to the 1930’s Great Depression, gowns became more conservative.

1930s Evening gowns. metmuseum
1930s Evening gowns. metmuseum

After the end of World War II, Christian Dior spurred a new era of decadence with his “new look” of nipped-in waistlines and full skirts.

1950's Ball Gowns. House of Dior. metmuseum
1950’s Ball Gowns. House of Dior. metmuseum

The 1950s was a golden age for ball gown design in Britain.

Today’s Ballgowns

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10 Fascinating Facts About the Great Exhibition of 1851

In 1851, Great Britain stood at the very pinnacle of industrial and cultural leadership of the world.

But running in parallel was an undercurrent of class inequality, a fear of foreigners, and a contempt for internationalism.

Against this backdrop, Queen Victoria’s husband, Prince Albert organized the first world’s fair as a means to unite nations and encourage economic growth through international trade.

The first of many to come, the Great Exhibition was the symbol of Victorian progress and modernization.

Here are 10 fascinating facts about the Great Exhibition of 1851.

1. The Great Exhibition was a showcase for British pride

Although the Great Exhibition was a platform for countries from around the world to display their own achievements, Britain’s primary concern was to promote its own superiority.

British exhibits held the lead in almost every field where strength, durability, utility and quality were concerned, whether in iron and steel, machinery, or textiles.

It was thought foreign visitors would look positively upon British accomplishments, customs, and institutions—learning more in the six months during the exhibition than the prior thirty-six years since the fall of Napoleon.

The Opening of the Great Exhibition by Queen Victoria on 1 May 1851 by Henry Courtney Selous, 1852
The Opening of the Great Exhibition by Queen Victoria on 1 May 1851 by Henry Courtney Selous, 1852

Great Britain also wanted to instill optimism and the hope for a better future.

Following two difficult decades of political and social upheaval in Europe, Great Britain hoped to convey that technology—particularly its own—was the key to a better future.

One of a pair of extravagant vases with finely painted views of the Crystal Palace on one side, and patriotic portraits of the Queen and Prince Consort on the other. © Victoria and Albert Museum, London
One of a pair of extravagant vases designed to be solely exhibition pieces with finely painted views of the Crystal Palace on one side, and patriotic portraits of the Queen and Prince Consort on the other. © Victoria and Albert Museum, London

Despite being an advocate for internationalism, Prince Albert’s main objective was predominantly a national one—for Great Britain to make clear to the world its role as industrial leader.

The British Department viewed towards the transept
The British Department viewed towards the transept. © Victoria and Albert Museum, London

Even so, some saw the rise of a new industrial power—one that would threaten Britain’s dominance in years to come.

With the industrial revolution well underway in the United States,  the Great Exhibition was an opportunity for the former British colony to show its machines, products, and agricultural wealth on the world stage.

Unavoidably compared to Great Britain, many looked favorably on the United States’ offerings.

The British Nave - Dickinson's comprehensive pictures of the Great Exhibition of 1851
The British Nave – Dickinson’s comprehensive pictures of the Great Exhibition of 1851. © Victoria and Albert Museum, London

2. The Great Exhibition was a symbol of the Victorian Age

From the 1850’s onward, the term “Victorianism” became popular for describing the strength, bullish superiority, and pride of an ever-improving Britain.

Opening of the Great Exhibition, 1 May 1851 by Eugène Louis Lami
Opening of the Great Exhibition, 1 May 1851 by Eugène Louis Lami. © Victoria and Albert Museum, London

Colonial raw materials and British art were displayed in the most prestigious parts of the exhibition.

Reflecting it’s important as the jewel in the crown of the British Empire, a disproportionately large area was allocated to India.

Opulently appointed, the India exhibits focused on the trappings of empire rather than technological achievements.

The India exhibit - Dickinson's comprehensive pictures of the Great Exhibition of 1851
The India exhibit – Dickinson’s comprehensive pictures of the Great Exhibition of 1851. © Victoria and Albert Museum, London
The India exhibit - Dickinson's comprehensive pictures of the Great Exhibition of 1851
The India exhibit – Dickinson’s comprehensive pictures of the Great Exhibition of 1851. © Victoria and Albert Museum, London
The India exhibit - Dickinson's comprehensive pictures of the Great Exhibition of 1851
The India exhibit – Dickinson’s comprehensive pictures of the Great Exhibition of 1851. © Victoria and Albert Museum, London

Technology and moving machinery proved popular, as did working exhibits like the entire process of cotton production from spinning to finished cloth.

Drawing attention from the curious-minded were scientific instruments, the like of which most people had never seen before, including electric telegraphs, microscopes, air pumps and barometers, as well as musical, horological, and surgical instruments.

Moving Machinery. A view from The Great Exhibition of 1851
Moving Machinery. A view from The Great Exhibition of 1851. © Victoria and Albert Museum, London

Queen Victoria previewed the exhibition the day before the official opening and wrote in her journal “We saw beautiful china from Minton’s factory and beautiful designs”.

The combination of glazed and decorated bone china with unglazed Parian figures was praised by the Great Exhibition jury for its ‘original design, high degree of beauty and harmony of effect’.

Queen Victoria purchased a 116 piece ‘Victoria pierced’ dessert service in bleu celeste at the Great Exhibition.

She was overwhelmed by the spectacular service with allegorical figure supports modelled by Pierre-Emile Jeannest.

Victoria pierced tiered centrepiece for a dessert service
Victoria pierced tiered centrepiece for a dessert service. . © Victoria and Albert Museum, London

She purchased the service as a gift for the Empress of Prussia but gave permission for it to remain on display for the duration of the exhibition.

Vase and cover, Minton (manufacturer), Stoke-on-Trent
Vase and cover, Minton (manufacturer), Stoke-on-Trent. © Victoria and Albert Museum, London

3. The Crystal Palace was purpose-built to house the Great Exhibition

Drawing on his experience building greenhouses for the Duke of Devonshire, architect Joseph Paxton designed the largest greenhouse in the world—so spacious was its interior that it fully enclosed some of Hyde Park’s own trees.

The Crystal Palace was an enormous success, considered an architectural marvel, but also an engineering triumph that reflected the importance of the Exhibition itself.

The Crystal Palace in Hyde Park for Grand International Exhibition of 1851
The Crystal Palace in Hyde Park for Grand International Exhibition of 1851
William Makepeace Thackeray (1811 - 1863)
William Makepeace Thackeray (1811 – 1863)

In the lead-up to the momentous Great Exhibition of 1851, William Makepeace Thackeray’s “May-Day Ode” appeared in The Times, its verses echoing through London’s streets like a triumphant fanfare. Published just one day prior to the opening ceremony, the poem served as more than just an ode to architectural innovation and colonial might.

As though ’twere by a wizard’s rod
As blazing arch of lucid glass
Leaps like a fountain from the grass
To meet the sun.

Thackeray’s lyrical brushstrokes painted the Crystal Palace not just as a testament to human ingenuity, but as a sacred space touched by the divine, bathed in the ethereal light of God’s grace. This literary offering stood as a potent symbol of Britain’s ambition, showcasing not only its industrial prowess and imperial reach, but also its enduring cultural and artistic influence. Open entire poem in a popup window: May-Day Ode

The transept from the Grand Entrance, Souvenir of the Great Exhibition , William Simpson (lithographer), Ackermann & Co. (publisher), 1851, V&A
The transept from the Grand Entrance, Souvenir of the Great Exhibition , William Simpson (lithographer), Ackermann & Co. (publisher), 1851, V&A. © Victoria and Albert Museum, London

4. Six Million People visited 13,000 exhibits

Lasting six months, the average daily attendance at the exhibition was 42,831, with a peak attendance of 109,915 on 7 October.

One third of the entire population of Britain visited the Great Exhibition.

Whilst the western half of the building was occupied with exhibits by Great Britain and her colonies and dependencies, the eastern half was filled with foreign exhibits, with their names inscribed on banners suspended over the various divisions.

The Great Industrial Exhibition of 1851. The Foreign Nave by Joseph Nash
The Great Industrial Exhibition of 1851. The Foreign Nave by Joseph Nash. © Victoria and Albert Museum, London
The United States exhibit - Dickinson's comprehensive pictures of the Great Exhibition of 1851
The United States exhibit – Dickinson’s comprehensive pictures of the Great Exhibition of 1851. © Victoria and Albert Museum, London
The Canadian exhibit - Dickinson's comprehensive pictures of the Great Exhibition of 1851
The Canadian exhibit – Dickinson’s comprehensive pictures of the Great Exhibition of 1851. © Victoria and Albert Museum, London
Guernsey, Jersey, Malta, Ceylon - Dickinson's comprehensive pictures of the Great Exhibition of 1851
Guernsey, Jersey, Malta, Ceylon – Dickinson’s comprehensive pictures of the Great Exhibition of 1851. © Victoria and Albert Museum, London
The China exhibit - Dickinson's comprehensive pictures of the Great Exhibition of 1851
The China exhibit – Dickinson’s comprehensive pictures of the Great Exhibition of 1851. © Victoria and Albert Museum, London
Holland section. Visitors are examining stalls showing goods of Dutch deisgn. © Victoria and Albert Museum, London
Holland section. Visitors are examining stalls showing goods of Dutch deisgn. © Victoria and Albert Museum, London. © Victoria and Albert Museum, London
The Turkey exhibit - Dickinson's comprehensive pictures of the Great Exhibition of 1851
The Turkey exhibit – Dickinson’s comprehensive pictures of the Great Exhibition of 1851. © Victoria and Albert Museum, London
The Italian Court - Dickinson's comprehensive pictures of the Great Exhibition of 1851
The Italian Court – Dickinson’s comprehensive pictures of the Great Exhibition of 1851. © Victoria and Albert Museum, London
'Part of the French Court, No. 1 (Sèvres)', with a display of porcelain by the Sèvres factory visible in the background. © Victoria and Albert Museum, London
‘Part of the French Court, No. 1 (Sèvres)’, with a display of porcelain by the Sèvres factory visible in the background. © Victoria and Albert Museum, London

5. Numerous Victorian A-list celebrities visited the Great Exhibition

Attending the Great Exhibition were many notable celebrities of the time, including Charles Darwin, Samuel Colt, members of the Orléanist Royal Family and the writers Charlotte Brontë, Charles Dickens, Lewis Carroll, George Eliot and Alfred Tennyson.

Victorian A-list celebrities
Victorian A-list celebrities: Charles Darwin, George Eliot, Charlotte Bronte, Lewis Carroll, Charles Dickens, Alfred Lord Tennyson

Charlotte Brontë described her visit:

Yesterday I went for the second time to the Crystal Palace. We remained in it about three hours, and I must say I was more struck with it on this occasion than at my first visit. It is a wonderful place …

Read more …

… vast, strange, new and impossible to describe. Its grandeur does not consist in one thing, but in the unique assemblage of all things. Whatever human industry has created you find there, from the great compartments filled with railway engines and boilers, with mill machinery in full work, with splendid carriages of all kinds, with harness of every description, to the glass-covered and velvet-spread stands loaded with the most gorgeous work of the goldsmith and silversmith, and the carefully guarded caskets full of real diamonds and pearls worth hundreds of thousands of pounds. It may be called a bazaar or a fair, but it is such a bazaar or fair as Eastern genii might have created. It seems as if only magic could have gathered this mass of wealth from all the ends of the earth – as if none but supernatural hands could have arranged it this, with such a blaze and contrast of colours and marvellous power of effect. The multitude filling the great aisles seems ruled and subdued by some invisible influence. Amongst the thirty thousand souls that peopled it the day I was there not one loud noise was to be heard, not one irregular movement seen; the living tide rolls on quietly, with a deep hum like the sea heard from the distance.

6. The Great Exhibition broke through class barriers

Ever present in Victorian society was the nagging guilt that this age of individualism, capitalism, and overwhelming self-confidence could not be embraced by all.

Crushing poverty ran concurrent with enormous wealth.

But Prince Albert was not oblivious to the plight of the poor and was determined to make the Great Exhibition accessible to all.

Ticket prices came down dramatically as the exhibition progressed—in today’s equivalent, prices varied from £311 for a season ticket to about £5 for one day.

Thus even the working classes could afford to attend —four and half million of the cheapest day tickets were sold.

A rank in which no aristocratic distinctions were observed from the doors of the Crystal Palace to the very centre of the Metropolis. The proudest equipage of the peer was obliged to fall in behind the humblest fly or the ugliest Henson; there being no privileged order but the order of arrival.Punch, vol.1, 1851, 190.
The Transept from the South Gallery, The Great Exhibition of 1851. Watercolour over pencil heightened with body colour on buff paper, 1851
The Transept from the South Gallery, The Great Exhibition of 1851. Watercolour over pencil heightened with body colour on buff paper, 1851. © Victoria and Albert Museum, London
Refreshment Department of the Great International Exhibition of 1851
Refreshment Department of the Great International Exhibition of 1851. © Victoria and Albert Museum, London

7. The world’s largest diamond had its own exhibit

The Koh-i-Noor, meaning the “Mountain of Light,” was the world’s largest known diamond in 1851.

One of the most popular attractions of the India exhibit, it was acquired in 1850 as part of the Lahore Treaty.

Dazzling and bewildering, the prismatically separated light of the Koh-i-Noor diamond was a metaphor for the Crystal Palace as a whole.

The eye is completely dazzled by the rich variety of hues which burst upon it on every side.Art Journal Illustrated Catalogue, 1851.

Originally thought to weigh as much as 793 carats, the earliest recorded weight was 186 carats, from which Prince Albert ordered it cut down to 105.6 carats so as to give the much brighter, oval-cut appearance preferred by Victorians—and fit for his Queen.

Today, the Koh-i-Noor diamond is set into The Queen Mother’s Crown and housed in the Tower of London.

The Koh-i-Noor Diamond 'mountain of light'. Credit Ji Ruan, flickr
The Koh-i-Noor Diamond ‘mountain of light’. Credit Ji Ruan, flickr

8. The Great Exhibition was a great success, but was not without controversy

Just as today, there were naysayers who thought the Great Exhibition would be a flop.

Some people feared that in the face of grinding poverty, the building would be gutted by a revolutionary mob.

The folly and absurdity of the Queen in allowing this trumpery must strike every sensible and well-thinking mind, and I am astonished the ministers themselves do not insist on her at least going to Osborne during the Exhibition, as no human being can possibly answer for what may occur on the occasion. The idea … must shock every honest and well-meaning Englishman. But it seems everything is conspiring to lower us in the eyes of Europe.King Ernest Augustus I of Hanover

But the Great Exhibition of 1851 demonstrated the wisdom of internationalism at a time of widespread isolationism in Europe.

Its success inspired Napoleon III to open the second World’s Fair in Paris in 1855 and to hold some of the world’s grandest, including the Exposition Universelle 1889, for which the Eiffel Tower was built as a grand entrance.

By the time of the World’s Columbian Exposition in Chicago in 1893, attitudes had progressed even further by focusing not on nationalistic prowess, but on the history of the world and its peoples.

9. The profits funded three of London’s most loved museums

Built in the area to the south of the exhibition and nicknamed ‘Albertopolis’, the Victoria and Albert Museum, the Science Museum and the Natural History Museum were all founded using the surplus profit from the Great Exhibition which amounted to a sum equal to £18 million in today’s money.

Even with the cost of these beautiful buildings, there was enough money left over to set up a trust for grants and scholarships for industrial research that continues to this day.

Victoria and Albert Museum. Credit Nick Garrod, flickr
Victoria and Albert Museum. Credit Nick Garrod, flickr
Inside The Natural History Museum, London. Credit Gene Krasko
Inside The Natural History Museum, London. Credit Gene Krasko
The Modern World gallery in the science museum, london. Credit Geni
The Modern World gallery in the science museum, london. Credit Geni

10. The Crystal Palace was destroyed by fire in 1936

After the Great Exhibition had come to a close, plans were drawn up to move the entire Crystal Palace structure to a new location in the suburbs of south-east London.

In 1852, the building went into private ownership and was moved to Sydenham, Kent.

Completely dismantled and re-built in the new Beaux-arts style, the greatly enlarged Crystal Palace was opened by Queen Victoria in 1854.

Costing six times as much to move as the original palace had cost to build, it became an extravagant money pit and the owners quickly fell into debt.

Unlike the unmitigated success of the Great Exhibition, the new Crystal Palace was plagued with financial woes.

Although Sunday was the only free day for the working classes, religious observance prevented the palace from opening.

Even when the palace did start to open on Sundays, people had largely lost interest and attendance was low.

Crystal Palace Fire of 1936
Crystal Palace Fire of 1936

Falling into a state of disrepair, and despite a restoration project by Sir Henry Buckland in the 1920s, tragedy struck on 30 November, 1936.

In a few hours we have seen the end of the Crystal Palace. Yet it will live in the memories not only of Englishmen, but the whole world.Sir Henry Buckland.

100,000 people came to watch the blaze, as 89 fire engines and over 400 firemen fought valiantly through the night.

One of the onlookers was Winston Churchill, who said, “this is the end of an age”.

The Language of Flowers – the secret Victorian love code

For Victorians, flowers were the language of love.

Proclaiming feelings in public was considered socially taboo, so the Victorians expressed intimacy through flowers.

Myriad market stalls and street sellers sprang up to cater to the Victorians’ need to communicate covertly.

Learning the particular meanings and symbolism assigned to each flower gave Victorians a way to play the subtle game of courtship in secret.

The Flower Market by Victor Gabriel Gilbert
The Flower Market by Victor Gabriel Gilbert
The Lower Market, Paris by Victor Gabriel Gilbert, 1881
The Lower Market, Paris by Victor Gabriel Gilbert, 1881
The Flower Seller, Avenue de L'Opera, Paris by Louis Marie de Schryver, 1891
The Flower Seller, Avenue de L’Opera, Paris by Louis Marie de Schryver, 1891
The Flower Market by Victor Gabriel Gilbert
The Flower Market by Victor Gabriel Gilbert
Flower Vendor on the Grandes Boulevards, Paris by Victor Gabriel Gilbert
Flower Vendor on the Grandes Boulevards, Paris by Victor Gabriel Gilbert

Coded into gifts of blooms, plants, and floral arrangements were specific messages for the recipient, expressing feelings that were improper to say in Victorian society.

The Bunch of Lilacs by James Tissot, 1875
The Bunch of Lilacs by James Tissot, 1875

Alongside the language of flowers was a growing interest in botany.

Housing exotic and rare plants, conservatories enjoyed a golden age during the Victorian era, while floral designs dominated interior decoration.

Dora laughing held the dog up childishly to smell the flowers by George Goodwin Kilburne, 1874
Dora laughing held the dog up childishly to smell the flowers by George Goodwin Kilburne, 1874

Dedicated to the “language of flowers” were hundreds of guide books, with most Victorian homes owning at least one.

Often lavishly illustrated, the books used verbal analogies, religious and literary sources, folkloric connections, and botanical attributes to derive the meanings associated with flowers.

Floral poetry and the language of flowers, 1877
Floral poetry and the language of flowers, 1877

The appearance or behavior of plants and flowers often influenced their coded meanings.

Plants sensitive to touch represented chastity, whereas the deep red rose symbolized the potency of romantic love.

Pink roses were less intense than red, white suggested virtue, and yellow meant friendship.

Elegant Lady with a Bouquet of Roses by Emile Vernon
Elegant Lady with a Bouquet of Roses by Emile Vernon
Young Girl with a Rose by Emile Vernon
Young Girl with a Rose by Emile Vernon
Lovers under a Blossom Tree by John Callcott Horsley (English, 1817 - 1903)
Lovers under a Blossom Tree by John Callcott Horsley (English, 1817 – 1903)

To express adoration, a suitor would send dwarf sunflowers.

Sun and Moon Flowers by George Dunlop Leslie, 1889
Sun and Moon Flowers by George Dunlop Leslie, 1889

Myrtle symbolized good luck and love in a marriage.

At her wedding in 1858, Princess Victoria, the eldest child of Queen Victoria, carried a sprig of myrtle taken from a bush planted from a cutting given to the Queen by her mother-in-law.

Thus began a tradition for royal brides to include myrtle in their bouquets.

In the royal wedding of 2011, Catherine Middleton included sprigs of myrtle from Victoria’s original plant in her own wedding bouquet.

The Marriage of Victoria, Princess Royal, 25 January 1858 by John Phillip
The Marriage of Victoria, Princess Royal, 25 January 1858 by John Phillip

Displaying small “talking bouquets” or “posies” of meaningful flowers called nosegays or tussie-mussies became popular.

The Posy by Edward Killingworth Johnson
The Posy by Edward Killingworth Johnson

Decorative “posy holders” with rings or pins allowed them to be worn and displayed by their owners.

1854 Bouquet holders. metmuseum
1854 Bouquet holders. metmuseum

Made from brass, copper, gold-gilt metal, silver, porcelain, glass, enamel, pearl, ivory, bone and straw, the holders often had intricate engravings and patterning.

19th century bouquet holders. metmuseum
19th century bouquet holders. metmuseum

Other Flower Meanings

BurdockImportunity. Touch me not.
Buttercup (Kingcup)Ingratitude. Childishness.
CamomileEnergy in adversity.
Carnation, StripedRefusal.
Chrysanthemum, WhiteTruth.
ColtsfootJustice.
The Flower Market by Victor Gabriel Gilbert
The Flower Market by Victor Gabriel Gilbert
CrocusAbuse not.
DaffodilRegard.
DaisyInnocence.
JasmineAmiability.
At the Flower Market by Victor Gabriel Gilbert
At the Flower Market by Victor Gabriel Gilbert
DandelionRustic oracle.
DogwoodDurability.
DragonwortHorror.
IvyFidelity. Marriage.
Flower Seller with Child by Victor Gabriel Gilbert
Flower Seller with Child by Victor Gabriel Gilbert
Everlasting PeaLasting pleasure.
ElderflowerZealousness.
FennelWorthy all praise. Strength.
Lemon BlossomsFidelity in love.
The Flower Market by Victor Gabriel Gilbert
The Flower Market by Victor Gabriel Gilbert
FlytrapDeceit.
FoxgloveInsincerity.
AnemoneForsaken.
LavenderDistrust.
Flower offering to a child by Victor Gabriel Gilbert
Flower offering to a child by Victor Gabriel Gilbert
MarigoldUneasiness.
HemlockYou will be my death.
HibiscusDelicate beauty.
HoneysuckleGenerous & devoted affection.
Flower Seller by Victor Gabriel Gilbert
Flower Seller by Victor Gabriel Gilbert

Who will buy?

The film versions of Oliver! and My Fair Lady made the London flower sellers famous, but their life was far harsher than their Hollywood depictions.

So high was the demand for flowers that it created many opportunities for street traders and the exploitation of child labour.

Victorian social researcher Henry Mayhew wrote about flower sellers in his book London Labour and the London Poor, 1851—a groundbreaking and influential survey of the city’s poor:

Sunday is the best day for flower selling, and one experienced man computed, that in the height and pride of the summer four hundred children were selling flowers on Sundays in the streets. The trade is almost entirely in the hands of children, the girls outnumbering the boys by more than eight to one. The ages of the girls vary from six to twenty, few of the boys are older than twelve, and most of them are under ten. They are generally very persevering and will run along barefooted, with their, “Please, gentleman, do buy my flowers.  Poor little girl!” or “Please kind lady, buy my violets. O, do! please!  Poor little girl!   Do buy a bunch, please, kind lady!”

St Martin-in-the-Fields by William Logsdail, 1888
St Martin-in-the-Fields by William Logsdail, 1888

Peleș and Pelișor – Castles of the Romanian Royal Family

Flanked and backed by majestic fir trees, Peleș Castle, sits atop a rise in the foothills of the Carpathian Mountains near Sinaia, Romania.

Never intended as a fortress, it is a lavishly furnished and decorated 170-room palace, with 30 bathrooms covering 34,000 sq ft.

Inspired by Schloss Neuschwanstein in Bavaria, Peleş Castle is a romantic blend of Neo-Renaissance and Gothic Revival styles.

Constructed between 1873 and 1883 at a cost of 16 million gold Romanian coins (~$120 million today), major improvements continued until 1914.

Peleş Castle. Credit Camil72
Peleş Castle. Credit Camil72

Housing one of the finest collections of art in Eastern and Central Europe, consisting of statues, paintings, furniture, arms and armor, gold, silver, stained glass, ivory, fine china, tapestries, and rugs, it spans over four centuries of history.

The collection of arms and armor has over 4,000 pieces, divided between Eastern and Western war pieces and ceremonial or hunting pieces.

Peleş Castle interior. Credit Diana PopescuPeleş Castle interior. Credit Diana Popescu

Peleş Castle armory with over 400 pieces in the collection. Antoine Fleury-Gobert
Peleş Castle armory with over 400 pieces in the collection. Antoine Fleury-Gobert
Peleş Castle interior. Credit Diana Popescu
Peleş Castle interior. Credit Diana Popescu
Peleş Castle interior. Credit Diana Popescu
Peleş Castle interior. Credit Diana Popescu
Peleş Castle interior. Credit Mihai Raducanu
Peleş Castle interior. Credit Mihai Raducanu
Peleş Castle interior. Credit Diana Popescu
Peleş Castle interior. Credit Diana Popescu
Peleş Castle interior. Credit Diana Popescu
Peleş Castle interior. Credit Diana Popescu

Commissioned by King Carol I of Romania, his towering statue by Raffaello Romanelli overlooks the main entrance of Peleş Castle.

A statue of King Carol I by Raffaello Romanelli overlooks the main entrance of Peleş Castle. Credit Gaspar Ros
A statue of King Carol I by Raffaello Romanelli overlooks the main entrance of Peleş Castle. Credit Gaspar Ros

When King Carol I was walking in the Carpathian Mountains of Sinaia in 1866, he came across the site of the future castle and fell in love with the scenery.

Carpathian Mountains of Sinaia, Romania, ca. 1895
Carpathian Mountains of Sinaia, Romania, ca. 1895

He commissioned a royal summer retreat and hunting preserve together with several other buildings and a power plant.

Peleș was the world’s first castle fully powered by locally produced electricity.

Peleş Castle. Sinaia, Romania. c. 1895
Peleş Castle. Sinaia, Romania. c. 1895

Peleș Castle was a truly European collaboration.

While Europe’s leaders eyed each other with suspicion and readied for war, ordinary workers from diversely different backgrounds worked together to build their palaces.

Elisabeth of Wied, the Queen of Romania, noted in her diary:

“Italians were masons, Romanians were building terraces, the Gypsies were coolies. Albanians and Greeks worked in stone, Germans and Hungarians were carpenters. Turks were burning brick. Engineers were Polish and the stone carvers were Czech. The Frenchmen were drawing, the Englishmen were measuring, and so was then when you could see hundreds of national costumes and fourteen languages in which they spoke, sang, cursed and quarreled in all dialects and tones, a joyful mix of men, horses, cart oxen and domestic buffaloes.”

Peleş Castle. Credit Bodor Istvan
Peleş Castle. Credit Bodor Istvan

Statues by the Italian sculptor Romanelli, mostly of Carrara marble, adorn the seven Italian neo-Renaissance terrace gardens.

Peleş Castle. Credit Mark Ahsmann
Peleş Castle. Credit Mark Ahsmann

Guarding lions, fountains, urns, stairways, marble paths, and other decorative pieces grace the gardens.

Peleş Castle. Credit Mihai Padurariu
Peleş Castle. Credit Mihai Padurariu

Visiting in 1896, Emperor Franz Joseph I of Austria-Hungary wrote:

The Royal Castle amongst other monuments, surrounded by extremely pretty landscape with gardens built on terraces, all at the edge of dense forests. The castle itself is very impressive through the riches it has accumulated.

Peleş Castle. Credit Mark Ahsmann
Peleş Castle. Credit Mark Ahsmann

Accomplished as a writer under the nom de plume Carmen Sylva, Queen Elisabeth of Romania wrote poems, plays, novels, and short stories in German, Romanian, French and English.

Considered a dreamer and eccentric, she was once a favorite of Queen Victoria as a prospective bride for her son, the future Edward VII.

Said to be unmoved by her pictures, Edward chose Alexandra of Denmark instead.

Elizabeth, Queen of Romania, holding a feather fan and wearing a Sash and insignia, a diamond necklace and a small head band, 1881
Elisabeth, Queen of Romania, holding a feather fan and wearing a Sash and insignia, a diamond necklace and a small headband, 1881

Prince Carol of Romania first noticed Elisabeth in Berlin in 1861 and the two were married 8 years later in her hometown of Neuwied, in the German state of Rhineland-Palatinate.

They had one daughter who tragically died at age three. Elisabeth never got over it.

Ferdinand I of Romania
Ferdinand I of Romania

Failing to produce a male heir, the couple became estranged and King Carol adopted his nephew, and successor, Ferdinand.

Queen Elisabeth encouraged a love affair between Ferdinand and one of her ladies in waiting, Elena Văcărescu.

Doomed from the start, a marriage between Ferdinand and Elena would have been forbidden by the Romanian constitution.

Elisabeth and Elena were exiled while Ferdinand was introduced to a granddaughter of Queen Victoria, his distant cousin Princess Marie of Edinburgh.

Married in January 1893, and with the birth of their son at Peleş Castle in October of that same year, Ferdinand and Marie would give meaning to the phrase “cradle of the dynasty, cradle of the nation” that the king had bestowed upon the castle.

The infant Carol would later become King Carol II of Romania and grow up under the thumb of his domineering great-uncle King Carol I.

Princess Marie (known as Missy) and her children, Prince Carol and Princess Elizabeth, 1895
Princess Marie (known as Missy) and her children, Prince Carol and Princess Elizabeth, 1895

In the early 20th century, Romania had a famously relaxed “Latin” sexual morality and Princess Marie pursued a series of love affairs.

Shy and weak, Ferdinand was easily overshadowed by the charismatic Marie, but fiercely resented being cuckolded.

Feeling that Marie was unqualified to raise the young Prince Carol, the stern King took him under his wing and thoroughly spoiled him.

Regarding the king as a cold, overbearing tyrant, Marie worried that he would crush her son’s spirit.

(Left) King Carol I of Romania with his nephew King Ferdinand and great nephew Carol II, 1905 (Right) King Carol I of Romania with his nephew and heir, Carol II, 1907
(Left) King Carol I of Romania with his nephew King Ferdinand and great nephew Carol II, 1905 (Right) King Carol I of Romania with his nephew and heir, Carol II, 1907

But life wasn’t so bad for Ferdinand and Marie.

Commissioned by the King and built within the same complex as Peleş Castle, the Art Nouveau style Pelișor Castle became their new home.

Pelișor Castle, Romania. Credit Dobre Cezar
Pelisor Castle, Romania. Credit Dobre Cezar

An accomplished artist herself, Marie made many interior design decisions for Pelișor and considered Art Nouveau an antidote to sterile historicism.

Creating her own personal style, she combined Art Nouveau with elements from Byzantine and Celtic art.

Pelisor Castle. Credit Gaspar Ros
Pelisor Castle. Credit Gaspar Ros
Pelisor Castle. Credit Gaspar Ros
Pelisor Castle. Credit Gaspar Ros
Pelisor Castle. Credit Gaspar Ros
Pelisor Castle. Credit Gaspar Ros
Pelisor Castle. Credit Gaspar Ros
Pelisor Castle. Credit Gaspar Ros
The 'Honor Hall' stained glass ceiling and carved woodwork. Credit Curious Expeditions
The ‘Honor Hall’ stained glass ceiling and carved woodwork. Credit Curious Expeditions
Art Nouveau Door at Pelisor Castle. Credit Curious Expeditions
Art Nouveau Door at Pelisor Castle. Credit Curious Expeditions

As if foretelling the future, Queen Elisabeth held the private opinion that a Republican form of government was preferable to monarchy, writing in her journal:

“I must sympathize with the Social Democrats, especially in view of the inaction and corruption of the nobles. These “little people”, after all, want only what nature confers: equality. The Republican form of government is the only rational one. I can never understand the foolish people, the fact that they continue to tolerate us.”

But for these “little people”, Romania’s transition away from monarchy was neither rational nor romantic.

With the monarchy abolished in 1947, Romania fell under the iron grip of Communism and the castle complex became first a place of recreation for Romanian dignitaries, then a museum, and finally closed for most of dictator Nicolae Ceauşescu’s regime.

It wasn’t until 2006 that the legal ownership of the palace complex, including Pelișor, was returned to the heirs of the Romanian royal family.

At 95, King Michael I of Romania, the last surviving head of state from World War II, wishes Pelișor castle remain a home for his heirs.

Peleş Castle. Credit Radueduard
Peleş Castle. Credit Radueduard
Peleş Castle. Credit Munteanu Anca
Peleş Castle. Credit Munteanu Anca
Peleş Castle. Credit Mihai Padurariu
Peleş Castle. Credit Mihai Padurariu
Peleş Castle. Credit Gaspar Serrano, flickr
Peleş Castle. Credit Gaspar Serrano, flickr
Peleş Castle. Credit Mihai Padurariu
Peleş Castle. Credit Mihai Padurariu


18 Victorian Seaside Pleasure Piers

Britain’s heritage of piers dates from the boom in seaside resorts during the Victorian era.

The first seaside piers were built in England in the early 19th century.

Originally constructed as simple wooden landing stages for boat trips, piers later developed into complex entertainment venues, with ornate pavilions, delicate ironwork, and exotic lighting.

Serving the town of Ryde on the Isle of Wight off England’s south coast is the world’s oldest seaside pleasure pier. Ryde Pier opened on 26 July 1814.

It was the introduction of the railways that, for the first time, enabled ordinary folk to travel to seaside resorts.

Opening of the Stockton and Darlington Railway in 1825 by John Dobbin

By 1850, there were a dozen piers at British seaside resorts.

Providing a walkway out to sea, these fashionable and select extensions of the seafront promenade allowed holidaymakers to experience being close to the sea at all times—even at low tide.

As the industrial revolution gained pace, iron piles were introduced that were literally screwed into the ground, providing enough rigidity to support a whole range of entertainments and attractions along the pier’s length, from theaters to penny arcades, from ballrooms to bowling alleys.

Opened in 1855, Margate Pier was the first of this new breed of pleasure pier, catering to the needs of thousands of tourists.

By 1900, there were 80 fully fledged piers, with some seaside towns having two or three piers.

Remarking on the pace of pier development in the 1890s, one commentator said it would be necessary to alter the map of England and represent it as a huge creature of the porcupine type, with gigantic piers instead of quills.

Here are 18 of the most beautiful seaside pleasure piers of the Victorian era.

Margate Pier, Kent, 1855

Margate claims a number of firsts for its once magnificent Victorian pier. It was the first pier from the famous pier designer Eugenius Birch, the first iron pier, and had been an 1100 foot wooden jetty called “Jarvis Landing Stage” since 1824—long before the reign of pleasure piers.

A drifting vessel and storm damage ultimately led to the pier’s demise, with some relics to be found in Margate Museum.

Margate Pier, Kent, England
Margate Pier, Kent, England, 1895

Great Yarmouth’s Britannia Pier, Norfolk, 1858

Originally measuring 700ft, the wooden structure was used for evening band performances and open air concert parties.

As Great Yarmouth grew in prominence as a holiday destination, the wooden structure was replaced by a steel construction, housing a 2000-seat pavillion.

Great Yarmouth Britannia Pier, England, 1895
Great Yarmouth Britannia Pier, England, 1895
Great Yarmouth promenade and Britannia Pier, England, 1895
Great Yarmouth promenade and Britannia Pier, England, 1895

Southport Pier, Merseyside, 1860

At 3,600 ft, Southport Pier is the second longest pier in Great Britain after Southend Pier, but at one time reached 4380 ft.

A cable operated tramway opened in 1865, running from the promenade to the far end of the pier and a tram has run in various guises ever since, only recently closing in June 2015 due to rising maintenance costs.

Southport Pier and Bridge, England, 1895
Southport Pier and Bridge, England, 1895
Southport Pier and Bridge, England, 1895
Southport Pier and Bridge, England, 1895

Worthing Pier, West Sussex, 1862

Opened as a simple 960-ft promenade deck, Worthing Pier was upgraded in 1888 with a 650-seat pavillion.

When only the stranded pier head remained after storm damage on Easter Monday, 1913, it became affectionately known as “Easter Island”.

Worthing Pier, West Sussex, England, 1895
Worthing Pier, West Sussex, England, 1895

Blackpool North Pier, Lancashire, 1863

Intended only as a promenade, the popularity of Blackpool as a major tourist resort forced the oldest and longest of its three piers to offer other attractions including theatres and bars.

While Blackpool’s other piers entertained the working classes with penny arcades and open air dancing, North Pier attracted an upper-class clientele with orchestral concerts and respectable comedians.

Designed by Eugenius Birch, it is the oldest remaining of his fourteen piers.

Blackpool, North Pier, c. 1895
Blackpool, North Pier, c. 1895
Blackpool North Pier, Lancashire, England, 1895
Blackpool North Pier, Lancashire, England, 1895

Brighton West Pier, East Sussex, 1866

Designed by Eugenius Birch to attract tourism to Brighton, the West Pier was constructed during the 1860s boom in pleasure pier building.

At its peak in 1919, it attracted two million visitors, but its popularity declined after World War II, eventually closing in 1975 after the owners filed for bankruptcy.

Decay and two major fires in 2003 have rendered it a mere shell of its former self.

Brighton Pier, England, 1895
Brighton Pier, England, 1895

Birnbeck Pier, Weston-super-mare, Somerset, 1867

Serving as a boarding point for steamships in the Bristol Channel, Birnbeck Pier was popular with tourists during the late 19th and early 20th centuries and is the only pier in England that links the mainland to an island.

Designed by Eugenius Birch, it is designated as part of England’s “Heritage at Risk”, being derelict and vulnerable to further decay since 1994.

Weston-super-Mare, Birnbeck Pier 1895
Weston-super-Mare, Birnbeck Pier 1895

 Saltburn Pier, North Yorkshire, 1869

Arriving in Saltburn in 1861, the Stockton and Darlington Railway prompted a growth in tourism that spurred the construction of a 1500 ft pier with a steamship landing stage and a Cliff Hoist to provide access from the town via the steep cliff.

Saltburn-by-the-Sea Pier and bathing machines, Yorkshire, 1895
Saltburn-by-the-Sea Pier and bathing machines, Yorkshire, 1895

Eastbourne Pier, East Sussex, 1870

Opened by Lord Edward Cavendish, son of the 7th Duke of Devonshire, Eastbourne pier was 1000 ft long and with its bands and theatre, only offered the highest class of entertainment.

At the seaward end was a 400-seat domed pavilion, which was later replaced by a 1000-seat theatre, bar, camera obscura and office suite. Midway along the pier were two saloons.

Designed by Eugenius Birch, it was built on stilts resting on cups on the seabed so that the whole structure could move during rough weather

Eastbourne Pier postcard. Credit Ian Boyle, Simplon Postcards
Eastbourne Pier postcard. Credit Ian Boyle, Simplon Postcards
Eastbourne Pier postcard. Credit Ian Boyle, Simplon Postcards
Eastbourne Pier postcard. Credit Ian Boyle, Simplon Postcards

Clacton Pier, Essex, 1871

The first building in the new resort of Clacton-on-Sea, the pier was originally a wooden structure 480 ft long and 12 ft wide, serving as a docking station for steamships.

Becoming a popular destination for day trips, Clacton Pier was extended in 1893 to 1180 ft and a pavillion and other entertainment facilities were added.

Fire and storm damage caused significant structural weakness, but an ambitious restoration project was undertaken in 1994 to creae a modern amusement park.

Clacton-on-Sea Pier, England, 1895
Clacton-on-Sea Pier, England, 1895
Clacton Pier, Essex, 1895
Clacton Pier, Essex, 1895

Hastings Pier, East Sussex, 1872

Designed by Eugenius Birch—famous for the West Pier at Brighton and Eastbourne’s Pier—Hastings Pier was opened on the first ever August Bank Holiday in 1872.

After a tumultuous history of storm damage, fires, and failed attempts to salvage the pier, it closed in 2008. National Lottery funding in 2012 eventually kickstarted a major redevelopment plan with the pier opening again on 27 April 2016.

Hastings Pier, England, 1895
Hastings Pier, England, 1895

Rhyl Pier, Wales, 1872

Damaged by ships and storms and eventually demolished in 1972, Rhyl Pier once reached out 2,355 ft into the sea in North Wales and included a pier railway.

Beside it stood the five-domed ornate Pavillion Theatre, once a famous Rhyl landmark.

Rhyl Pier, Wales, 1895
Rhyl Pier, Wales, 1895
Rhyl pier sea water baths
Rhyl pier sea water baths

Llandudno Pier, Wales, 1877

At 2295 ft, Llandudno Pier is the longest pier in Wales and is often chosen for Victorian and Edwardian seaside filming locations.

A 2,000-seat Pavillion Theater opened in 1886 with three stories and a flamboyant cast-iron veranda running the entire seaward façade. It burned down in 1994 and was not replaced.

Llandudno Pier, Wales, 1895
Llandudno Pier, Wales, 1895

Skegness Pier, Lincolnshire, 1881

At the time of its opening, the Skegness Pier, at 1,842 ft, was the fourth longest in England.

Featuring a saloon and concert hall at the pier head, it was damaged by a drifting ship in 1919 and today is only 387 ft long.

Skegness Pier, England, 1895
Skegness Pier, England, 1895

Folkestone Pier, Kent, 1888

Opened by Lady Folkestone on 21st July 1888, the pier’s pavilion could seat 800 patrons and provided high-brow entertainments for Folkestone’s largely aristocratic clientele. A stroll on the pier cost 2 pennies.

Folkestone pier, England, 1895
Folkestone pier, England, 1895

Southend Pier, Essex, 1889

Spending time by the sea was considered good for one’s health and many Victorian Londoners came to Southend for this reason.

But the sea recedes at Southend for over a mile, necessitating the original 60o-ft structure to be extended to 7,000 ft, making it the longest pier in Europe and the longest pleasure pier in the world today.

Southend-on-Sea Pier, England, 1895
Southend-on-Sea Pier, England, 1895

Morecambe Pier, Lancashire, 1896

Originally extending 1800 ft into the Irish Sea at Morecambe Bay, the pier suffered storm and fire damage but continued to soldier on, providing entertainment until 1978 when it was finally demolished.

West End Pier, Morecambe, England, 1895
West End Pier, Morecambe, England, 1895
Morecambe West End Pier, England, 1895
Morecambe West End Pier, England, 1895

Herne Bay Pier, Kent, 1899

Completed in 1899, and at 3,787 ft, it was the second longest pier in England until being demolished in 1978.

Still existing today is the restaurant at the pierhead which later became a ticket office and cafe.

At a short distance from the entrance, a large concert marquee housed the local Cremona orchestra and an electric tram cost 1 penny to take people from one end of the pier to the other.

Herne Bay Pier, England
Herne Bay Pier, England, 1895

Colwyn Bay Pier, North Wales, 1900

Opening in June 1900 at a length of 750 ft, the pier included a massive 2500-seat pavillion in the Moorish Revival style.

Boasting a large balcony extending around three sides of the auditorium, the pavilion featured a full orchestra pit.

Despite many changes of ownership due to financial difficulties, fires, and several regeneration attempts, the pier sits in a state of disrepair and collapse.

The promenade at Colwyn Bay, Wales
The promenade at Colwyn Bay, Wales
Colwyn Bay Pier and Pavillion, Wales
Colwyn Bay Pier and Pavillion, Wales

References
Wikipedia
Designing the Seaside: Architecture, Society and Nature by Fred Gray
National Piers Society

Valentine’s Day in the Victorian Era

From Christian martyrs to Chaucer to Shakespeare, Valentine’s Day can be traced back to Ancient Rome, but it is the Victorians who made it into the holiday we know today.

A British Valentine

Victorian Valentine cards were flat paper sheets, often printed with colored illustrations and embossed borders. The sheets, when folded and sealed with wax, could be mailed.

In 1837, a government postal official named Rowland Hill published a seminal pamphlet: Post Office Reform; Its Importance and Practicability.

Hill is credited with inventing the postage stamp and originating the modern postal service.

Rowland Hill photo, 1879
Rowland Hill photo, 1879

He observed that postal charges were by distance and by the number of pages, rather than by weight.

To send one sheet from London to Edinburgh cost 1s 1½d, which was more than a days wage for the working class, and almost 14 times the actual cost to the Post Office.

The world's first postage stamp, the "Penny Black" on the first day of valid use, May 6, 1840
The world’s first postage stamp, the “Penny Black” on the first day of valid use, May 6, 1840

On 10 January 1840, Great Britain introduced the Uniform Penny Post, meaning that Valentine cards could be mailed for just one penny. The mass produced Valentine card was born.

Valentines were sent in such great numbers that postmen were given a special allowance for refreshments to help them through the extraordinary exertions of the two or three days leading up to February 14th.

Just one year after the Uniform Penny Postage, 400,000 valentines were posted throughout England.  By 1871, 1.2 million cards were processed by the General Post Office in London.

A popular poem of the time, by James Beaton, alludes to the mass popularity of Valentine Cards.

The letters in St. Valentine so vastly will amount,
Postmen may judge them by the lot, they won’t have time to count;
They must bring round spades and measures, to poor love-sick souls
Deliver them by bushels, the same as they do coals.

Rather than purchase a ready-made valentine, some Victorians assembled original valentines from materials purchased at a stationer’s shop: lace, bits of mirror, bows and ribbons, seashells and seeds, gold and silver foil appliqués, silk flowers, and clichéd printed mottoes like “Be Mine” and “Constant and True.”

Victorian valentines commonly feature churches or church spires, signifying honorable intentions and fidelity.

Victorian Valentine Card, 1870
Victorian Valentine Card, 1870

The cards, often handmade, featured lace, pressed grass and Valentine’s jokes.

One card, titled “The Bark of Love”, featured a fairy in a gilded carriage drawn by two swans.

Another, rather saucy card, featured what is possibly a pair of Victorian undergarments, with the message, “I think of you with inexpressible delight”.

Valentine Card, c.1870
Valentine Card, c.1870
Valentine Card, paper; glass, c.1870
Valentine Card, paper; glass, c.1870

An American Valentine

Esther Howland (1828–1904), known as the “Mother of the American Valentine”, was an artist and businesswoman who is responsible for popularizing Valentine’s Day greeting cards in America.

You say my heart, my too fond heart, Is cold, my dear, to you; Ah! canst thou such a thought impart To one who loves so true?
Cloth and lace Valentine card made by Esther Howland, ca. 1870s.
Cloth and lace Valentine card made by Esther Howland, ca. 1870s.

During her college years, students often secretly exchanged poems elaborately scrawled on sheets of paper.

After she graduated, Howland received an ornate English Valentine from a business associate of her father when she was 19 years old.

Elaborate Valentine greeting cards were imported from Europe and not affordable to many Americans.

She wanted to change that and started importing paper lace and floral decorations from England to make her own cards.

Weddings now are all the go, Will you marry me or no?
Valentine by Esther Howland
Valentine by Esther Howland
Valentine by Esther Howland
Valentine by Esther Howland

By the mid-1850s Valentine’s Day cards were so popular that the New York Times published sharp criticism on February 14, 1856:

Our beaux and belles are satisfied with a few miserable lines, neatly written upon fine paper, or else they purchase a printed Valentine with verses ready made, some of which are costly, and many of which are cheap and indecent.
In any case, whether decent or indecent, they only please the silly and give the vicious an opportunity to develop their propensities and place them, anonymously, before the comparatively virtuous.
The custom with us has no useful feature, and the sooner it is abolished the better.

The sending of Valentine Cards in the US didn’t pick up pace until after the Civil War.

On February 4, 1867, the New York Times wrote that in 1862 post offices in New York City had accepted 21,260 Valentines for delivery. 1863 showed a slight increase, but the number fell to 15,924 the year after.

However, in 1865, perhaps with bitter memories of the war starting to fade, New Yorkers mailed more than 66,000 Valentines, and more than 86,000 the following year.

Valentine’s Day was truly becoming big business. According to the New York times, some New Yorkers paid exorbitant prices for Valentines:

It puzzles many to understand how one of these trifles can be gotten up in such shape as to make it sell for $100; but the fact is that even this figure is not by any means the limit of their price.
There is a tradition that one of the Broadway dealers not many years ago disposed of no less than seven Valentines which cost $500 each, and it may be safely asserted that if any individual was so simple as to wish to expend ten times that sum upon one of these missives, some enterprising manufacturer would find a way to accommodate him.

Queen Victoria’s Valentine

The question of whether Queen Victoria had a romantic attachment to her man servant John Brown – or even married him in secret – is often hotly debated in the British press today.

In her letters and journal, Queen Victoria called John Brown “darling one” and wrote, ” … so often I told him no one loved him more than I did or had a better friend than me: and he answered ‘Nor you — than me … No one loves you more'”

Queen Victoria sent Valentines Day cards to John Brown, which were said to be of such “cloying winsomeness” and “artlessness” that some believe they stand as evidence of how innocent their relationship was.

Queen Victoria at Osborne House by Edwin Henry Landseer, 1864
Queen Victoria at Osborne House by Edwin Henry Landseer, 1864

Victorian Valentines: 1840 – 1900.

References

10 History Lessons from the Masterpiece TV Series “Victoria”

Victoria is a British drama television series created by Daisy Goodwin and starring Jenna Coleman and Rufus Sewell.

There are many fascinating history lessons contained within the PBS Masterpiece series.

Here are 10 of our favorites.

1. Victoria’s dog “Dash”

Thought to have been Victoria’s closest childhood companion, Dash was a Cavalier King Charles spaniel initially given to her mother, the Duchess of Kent, by Sir John Conroy, the head of the Duchess’s household.

So close were Victoria and Dash that on one occasion when she went sailing on a yacht, Dash couldn’t bear being apart from her and jumped into the sea to swim after her.

Writing in her diary of Dash, she would shower him with words of affection: “dear sweet little Dash” and “dear Dashy”.

Portrait of Princess Victoria of Kent (later Queen Victoria, Empress of India) with her spaniel Dash after George Hayter
Portrait of Princess Victoria of Kent (later Queen Victoria, Empress of India) with her spaniel Dash after George Hayter

When Dash died, a marble effigy over the grave in Windsor Home Park read:

Here lies DASH
The favourite spaniel of Her Majesty Queen Victoria
In his 10th year
His attachment was without selfishness
His playfulness without malice
His fidelity without deceit
READER
If you would be beloved and die regretted
Profit by the example of DASH

2. The Kensington System

Raised largely isolated from other children under what was known as the “Kensington System”, Victoria had few if any childhood friends.

Devised by her mother and  Conroy to render Victoria weak and dependent on their guidance, it comprised an elaborate set of rules and protocols.

Victoria, aged four Painting by Stephen Poyntz Denning, 1823
Victoria, aged four Painting by Stephen Poyntz Denning, 1823

Victoria’s every move was monitored and recorded.

Her mother and Conroy decided who she could and couldn’t see and trips outside the palace grounds were few and far between.

At some point, possibly from when she knew she would be Queen one day, Victoria’s courage grew and she resisted constant threats and intimidation to try to force her into appointing Conroy as her personal secretary and treasurer.

Kensington Palace with statue of Victoria. Credit Shisha-Tom
Kensington Palace with statue of Victoria. Credit Shisha-Tom

3. Sir John Conroy (1786 – 1854)

Serving as comptroller to the Duchess of Kent and her young daughter, Princess Victoria, Conroy was originally an equerry to Victoria’s father, Prince Edward, Duke of Kent and Strathearn.

Sir John Ponsonby Conroy, 1st Baronet by Henry William Pickersgill, 1837
Sir John Ponsonby Conroy, 1st Baronet by Henry William Pickersgill, 1837

Thanks to the oppressive Kensington System, Victoria hated Conroy and had her revenge by expelling him from the royal household when she ascended to the throne.

Remaining in the Duchess’s service for a number of years, his attempts to discredit Victoria and plot to have her mother appointed as regent were unsuccessful.

Rumours circulated that the Duchess and Conroy were lovers. According to an account by the Duke of Wellington, the 10-year-old Victoria had reportedly caught Conroy and her mother engaged in “some familiarities”.

By 1842, Conroy retired to his Berkshire estate with a pension but died 12 years later, heavily in debt.

4. Lord Melbourne (1779 – 1848)

Serving as Home secretary and twice as Prime Minister, Lord “M”, as Victoria affectionately called him, is best known for mentoring her for the first three years of her reign.

William Lamb, 2nd Viscount Melbourne, by Sir Edwin Henry Landseer
William Lamb, 2nd Viscount Melbourne, by Sir Edwin Henry Landseer

As a younger man at Eton and Trinity College, Cambridge, he made friends with Romantic poets Percy Bysshe Shelley and Lord Byron.

Whilst the association may have imbued him with some romantic charm, he later suffered great embarrassment and humiliation when his wife, Lady Caroline Ponsonby, had a public affair with Lord Byron.

Spending four or five hours a day visiting and corresponding with Victoria, tutoring her was the pinnacle of his career.

His influence faded when Victoria married Prince Albert and he died in retirement at Melbourne Hall in the Derbyshire countryside.

The city of Melbourne, Australia, was named in his honour in March 1837.

Melbourne Hall, Derbyshire. Credit Kevin T, flickr
Melbourne Hall, Derbyshire. Credit Kevin T, flickr

5. Rotten Row

A fashionable thoroughfare for upper-class Londoners to be seen horseriding, Rotten Row originally connected Kensington Palace with St James’s Palace.

Rotten Row and Hyde Park Corner, London
Rotten Row and Hyde Park Corner, London

Created by King William III and completed in 1690, Rotten Row was lit with 300 oil lamps and was the first artificially lit highway in Britain.

As can be seen at least twice in the Masterpiece first episode of Victoria, acquaintances would stop to chat on Rotten Row and the adjacent South Carriage Drive to bid each other good day.

Lord Melbourne is seen stopping on Rotten Row to chat with Lady Emma Portman and later, Sir Robert Peel.

Called “Route du Roi”, French for “King’s Road”, it became known by the nickname “Rotten Row”.

6. Everyone was “on the make”

This episode of Victoria highlighted just how much wheeling and dealing was at the centre of Victorian society at all levels.

While the upper classes sought to manipulate their way to political favors or plot the downfall of a rival, the working class was peddling anything they could to make ends meet.

The Peddler's Wares by Felix Schlesinger
The Peddler’s Wares by Felix Schlesinger

From Queen Victoria’s used gloves to half-used candles, there was some serious rivalry to find “nice little earners” on the side.

Working as a servant in the royal household was a great privilege and considerably better paid than elsewhere.

A domestic servant in a modest household might earn about £12/year, whereas the lowest level in the palace received £15 15s/year.

We think we have it tough today, but at the beginning of Queen Victoria’s reign, an entry-level servant received the equivalent of £385/year (~$477/year). That’s £7.40/week ($9.16/week).

No wonder they were all “on the make”.

7. Uncle Cumberland

Every good drama has a villain. And Victoria is no exception.

The dastardly “Uncle Cumberland” aka Ernest Augustus, King of Hanover, makes a fine villain.

As the fifth son of George III, he thought he stood no chance of ever becoming monarch.

But fate works in mysterious ways.

Ernst August von Hannover (1771-1851) by Edmund Koken
Ernst August von Hannover (1771-1851) by Edmund Koken

None of his four elder brothers produced a legitimate heir who lived beyond infancy.

And so when his elder brother William IV died in 1837, he became king … of Hanover.

Hanover was part of the old Holy Roman Empire and honored “Salic Law”, barring women from succession.

Not so in the United Kingdom, where Victoria succeeded as next in line.

This must have rattled Uncle Cumberland quite a bit and so he plotted to have Victoria replaced by the co-regency of her mother and himself.

Completing the villainous look was a huge scar across his left eye that he received in 1793 from a sabre blow to the head.

Played down in most of his portraits, the damage to his eye is somewhat visible in the painting below from when he was 22 years old.

Ernest Augustus in an 1823 miniature based on an 1802 portrait by William Beechey
Ernest Augustus in an 1823 miniature based on an 1802 portrait by William Beechey

8. Victoria was no more than 5ft tall

A diminutive queen reigning over a mighty global empire must have seemed at odds to the taller males in the royal household.

To put things into perspective, even Napoleon Bonaparte, who was considered very short thanks to British propaganda (but was actually 5 ft 6″), would have stood a whole head taller than Victoria.

Masterpiece’s drama plays on Victoria’s height—from Lord Melbourne’s line “every inch a queen” to her feet dangling six inches from the floor as she sits on the old throne at Buckingham House.

Victoria may have been small in stature, but she was a giant in terms of the courage and willpower she showed to overcome such an oppressive childhood.

Queen Victoria by Franz Xaver Winterhalter
Queen Victoria by Franz Xaver Winterhalter

9. Buckingham House

Originally a townhouse built for the Duke of Buckingham in 1703, Buckingham Palace was once known as Buckingham House.

Acquired by King George III in 1761 as a residence for Queen Charlotte (when it was called “The Queen’s House”), Buckingham House was enlarged in the 19th century by the famous architect John Nash, who had been responsible for much of Regency London’s beautiful layout.

A view of the East Front of Buckingham House, before it was rebuilt as Buckingham Palace, 1819
A view of the East Front of Buckingham House, before it was rebuilt as Buckingham Palace, 1819

Becoming the principal royal residence in 1837, Queen Victoria was the first monarch to reside at Buckingham Palace.

Although the state rooms glowed with gilt and brightly colored semi-precious stones, the fireplaces were so ineffective that the palace was usually cold and drafty.

Today’s Buckingham Palace has 775 rooms and the largest private garden in London.

A view of the Crimson Drawing Room at Buckingham House
A view of the Crimson Drawing Room at Buckingham House

10. Candles and Gaslighting

Besides the staff making a “nice little earner” on half-used candles, we learned in the first Masterpiece episode of Victoria that shortly after her moving into the palace, gas lighting was installed.

Candle chandelier
Candle chandelier

In 1792, William Murdoch, a Scottish engineer and inventor,  was the first to exploit the flammability of gas for the practical application of lighting.

By 1807, London’s Pall Mall was lit by gaslighting to celebrate the birthday of the Prince of Wales who later became King George IV.

A Peep at the Gas-lights in Pall Mall by Thomas Rowlandson, 1809
A Peep at the Gas-lights in Pall Mall by Thomas Rowlandson, 1809

Believed to help reduce crime, gas street lighting became widespread during the 1840s.

Along with new technology came new jobs as 380 lamplighters were employed by 1842 in London alone.

At the same time, Buckingham Palace and the new Houses of Parliament also went over to gas lighting.

Good ventilation was important for gas lighting because it consumed a lot of oxygen and since Buckingham Palace had such bad ventilation, there were serious concerns about gas build-up on lower floors.

Have you watched Season 2 yet?

A Slice of American Life in a Gilded Age by William Merritt Chase

William Merritt Chase was an American painter who thrived during America’s Gilded Age.

He is best known for his portraits and landscapes in the impressionist “en plein air” (painted outdoors) style.

He captured the domestic comforts of his own family and the blissful lifestyle of some of the wealthy.

While working in the family business, Chase showed an early talent for art, studying under local, self-taught artists in Indianapolis, who urged him to further his studies at the National Academy in New York.

Declining family fortunes cut short his training and he left New York to join his family in St Louis—working to help support them, but continuing his art.

Catching the eye of wealthy St Louis art collectors, Chase was sent on an expense-paid trip to Europe in exchange for some of his paintings and help in procuring others for their collections.

As one of the finest centers for art training in Europe, Chase joined the Academy of Fine Arts, Munich, where his figurative and impressionist loose brushwork began to shine.

Further travels in Italy rounded out his skills and he returned to the United States as one of a new wave of highly accomplished European-trained artists.

Seated, left to right: Edward Simmons, Willard L. Metcalf, Childe Hassam, J. Alden Weir, Robert Reid Standing, left to right: William Merritt Chase, Frank W. Benson, Edmund C. Tarbell, Thomas Wilmer Dewing, Joseph DeCamp
Seated, left to right: Edward Simmons, Willard L. Metcalf, Childe Hassam, J. Alden Weir, Robert Reid Standing, left to right: William Merritt Chase, Frank W. Benson, Edmund C. Tarbell, Thomas Wilmer Dewing, Joseph DeCamp

American statesman Samuel Greene Wheeler Benjamin once said of Chase’s style,

A noble sense of color is perceptible in all his works, whether in the subtle elusive tints of flesh, or in the powerful rendering of a mass of color. In the painting of a portrait he endeavors, sometimes very successfully, to seize character

Whether relaxing in the country, strolling in the park, playing with children at the beach, boating on a summer afternoon or simply contemplating life, his paintings show us a slice of American life at a beautiful time. A time tinted with gold. A Gilded Age.

Mrs Chase Playing the Piano by William Merritt Chase, 1883
Mrs Chase Playing the Piano by William Merritt Chase, 1883
Going to see Grandma by William Merritt Chase, 1889
Going to see Grandma by William Merritt Chase, 1889
The Actress Linda Dietz Carlton by William Merritt Chase, c.1879
The Actress Linda Dietz Carlton by William Merritt Chase, c.1879
Afternoon by the Sea by William Merritt Chase, c.1888
Afternoon by the Sea by William Merritt Chase, c.1888
Sketch for the Portrait of Mother and Child) by William Merritt Chase, c.1915
Sketch for the Portrait of Mother and Child) by William Merritt Chase, c.1915
Afternoon in the Park by William Merritt Chase, c.1887
Afternoon in the Park by William Merritt Chase, c.1887
Dorothy and Her Sister by William Merritt Chase, c.1900
Dorothy and Her Sister by William Merritt Chase, c.1900
Contemplation by William Merritt Chase, 1889
Contemplation by William Merritt Chase, 1889
Connoisseur - The Studio Corner by William Merritt Chase, c.1883
Connoisseur – The Studio Corner by William Merritt Chase, c.1883
Children Playing Parlor Croquet by William Merritt Chase, c.1888
Children Playing Parlor Croquet by William Merritt Chase, c.1888
Child with Prints by William Merritt Chase, c.1884
Child with Prints by William Merritt Chase, c.1884
Chase Homestead, Shinnecock by William Merritt Chase, c.1893
Chase Homestead, Shinnecock by William Merritt Chase, c.1893
Beach Scene - Morning at Canoe Place by William Merritt Chase, c.1896
Beach Scene – Morning at Canoe Place by William Merritt Chase, c.1896
In the Studio by William Merritt Chase, 1892
In the Studio by William Merritt Chase, 1892
An Afternoon Stroll by William Merritt Chase, 1895
An Afternoon Stroll by William Merritt Chase, 1895
Landscape Shinnecock, Long Island by William Merritt Chase, 1896
Landscape Shinnecock, Long Island by William Merritt Chase, 1896
Young Woman in Pink by William Merritt Chase , 1905
Young Woman in Pink by William Merritt Chase , 1905
Portrait of Miss Dorothy Chase by William Merritt Chase, c.1913
Portrait of Miss Dorothy Chase by William Merritt Chase, c.1913
Sunlight and Shadow in Prospect Park by William Merritt Chase, 1887
Sunlight and Shadow in Prospect Park by William Merritt Chase, 1887
Alice Dieudonnee Chase, Shinnecock Hills by William Merritt Chase, c.1901
Alice Dieudonnee Chase, Shinnecock Hills by William Merritt Chase, c.1901
The Sisters (also known as The Sisters - Mrs. Sullivan and Mrs. Oskar LIvingston; The Sisters - Mrs. Oskar Livingston and Mrs. James Francis Sullivan) by William Merritt Chase, 1905
The Sisters (also known as The Sisters – Mrs. Sullivan and Mrs. Oskar LIvingston; The Sisters – Mrs. Oskar Livingston and Mrs. James Francis Sullivan) by William Merritt Chase, 1905
Prospect Park, Brooklyn by William Merritt Chase, 1887
Prospect Park, Brooklyn by William Merritt Chase, 1887
Susan Watkins by William Merritt Chase, 1914
Susan Watkins by William Merritt Chase, 1914
Terrace at the Mall, Cantral Park by William Merritt Chase, 1890
Terrace at the Mall, Cantral Park by William Merritt Chase, 1890
Sunlight and Shadow by William Merritt Chase, 1884
Sunlight and Shadow by William Merritt Chase, 1884
Summertime by William Merritt Chase, 1886
Summertime by William Merritt Chase, 1886
The Song by William Merritt Chase, 1907
The Song by William Merritt Chase, 1907
Woman with a Large Hat by William Merritt Chase, 1904
Woman with a Large Hat by William Merritt Chase, 1904
Woman in Kimono Holding a Japanese Fan by William Merritt Chase
Woman in Kimono Holding a Japanese Fan by William Merritt Chase
William Launt Palmer by William Merritt Chase, 1887
William Launt Palmer by William Merritt Chase, 1887
Weary (also known as Who Rang) by William Merritt Chase, 1889
Weary (also known as Who Rang) by William Merritt Chase, 1889
Wash Day - A Back Yard Reminiscence of Brooklyn by William Merritt Chase, 1886
Wash Day – A Back Yard Reminiscence of Brooklyn by William Merritt Chase, 1886
Tompkins Park, Brooklyn by William Merritt Chase,1887
Tompkins Park, Brooklyn by William Merritt Chase,1887
Dr Benjamin Taylor by William Merritt Chase, 1902
Dr Benjamin Taylor by William Merritt Chase, 1902
Child on a Garden Walk by William Merritt Chase, 1888
Child on a Garden Walk by William Merritt Chase, 1888
The Blue Kimono by William Merritt Chase, 1898
The Blue Kimono by William Merritt Chase, 1898
Bessie Potter by William Merritt Chase, 1895
Bessie Potter by William Merritt Chase, 1895
Bank of a Lake in Central Park by William Merritt Chase, 1890
Bank of a Lake in Central Park by William Merritt Chase, 1890
The Birthday Party by William Merritt Chase, 1902
The Birthday Party by William Merritt Chase, 1902
August B. Loeb, Esq by William Merritt Chase, 1905
August B. Loeb, Esq by William Merritt Chase, 1905
At the Shore by William Merritt Chase, 1886
At the Shore by William Merritt Chase, 1886
At the Seaside by William Merritt Chase, 1892
At the Seaside by William Merritt Chase, 1892
A Long Island Lake by William Merritt Chase, c.1890
A Long Island Lake by William Merritt Chase, c.1890
The Little Garden by William Merritt Chase, 1895
The Little Garden by William Merritt Chase, 1895
The Lake for Miniature Yachts by William Merritt Chase, 1890
The Lake for Miniature Yachts by William Merritt Chase, 1890
Lady in White by William Merritt Chase
Lady in White by William Merritt Chase
Lady in Pink by William Merritt Chase, 1883
Lady in Pink by William Merritt Chase, 1883
Girl at a Bureau by William Merritt Chase
Girl at a Bureau by William Merritt Chase
A Friendly Visit by William Merritt Chase, c.1895
A Friendly Visit by William Merritt Chase, c.1895
Friendly Advice by William Merritt Chase, 1913
Friendly Advice by William Merritt Chase, 1913
For the LIttle One (also known as Hall at Shinnecock) by William Merritt Chase, c.1895
For the LIttle One (also known as Hall at Shinnecock) by William Merritt Chase, c.1895
The Fairy Tale (also known as A Summer Day) by William Merritt Chase, c.1892
The Fairy Tale (also known as A Summer Day) by William Merritt Chase, c.1892
End of the Season by William Merritt Chase, c.1884
End of the Season by William Merritt Chase, c.1884
An Early Stroll in the Park by William Merritt Chase, c.1890
An Early Stroll in the Park by William Merritt Chase, c.1890
Afternoon Shadows by William Merritt Chase, c. 1897
Afternoon Shadows by William Merritt Chase, c. 1897

A 5-Minute Guide to the House of Worth

Something wonderful happened to the world of fashion during the second half of the 19th century.

Beautiful gowns were no longer the exclusive privilege of the aristocracy …

The splendour of the Royal Court
The splendour of the Royal Court

… but were available to anyone with the wherewithal to display their finery on the boulevards, in the opera houses, and in café society.

The Boulevard at Night, in front of the Theatre des Varietes by Jean-Georges Béraud, 1883
The Boulevard at Night, in front of the Theatre des Varietes by Jean-Georges Béraud, 1883
The Staircase of the Opera by Louis Beroud
The Staircase of the Opera by Louis Beroud
La Patisserie Gloppe au Champs Elyssées by Jean-Georges Béraud , 1889
La Patisserie Gloppe au Champs Elyssées by Jean-Georges Béraud , 1889

It was a time to “see and be seen”.

Woman with Opera Glasses by Frederik Henrdik Kaemmerer
Woman with Opera Glasses by Frederik Henrdik Kaemmerer

And who was responsible for this change?

None other than the English entrepreneur Charles Frederick Worth, “the father of Haute Couture”.

Charles Frederick Worth. At ages 14, 30, and 69
Charles Frederick Worth. At ages 14, 30, and 69

Born in Lincolnshire, England, Charles Frederick Worth spent his early career working for department stores and textile merchants in London.

Besides learning all there was to know about fabrics and the dressmaking business, he would spend hours in the National Gallery studying historical portraits.

Portrait of Mrs. Sarah Siddons by Thomas Gainsborough, 1785
Portrait of Mrs. Sarah Siddons by Thomas Gainsborough, 1785
Mr and Mrs William Hallett (“The Morning Walk”) by Thomas Gainsborough, 1785
Mr and Mrs William Hallett (“The Morning Walk”) by Thomas Gainsborough, 1785

It was this time in London that would inspire his later works.

As the center of world fashion, Paris beckoned, and Worth found employment with the prominent textile firm Maison Gagelin, soon becoming a leading salesman, then dressmaker.

Quai du Louvre by Claude Monet,1867
Quai du Louvre by Claude Monet,1867

Establishing a reputation for himself and winning commendations at the expositions in Paris and London, news of Worth’s skills caught the attention of the Empress Eugénie, wife of Emperor Napoleon III of France.

Appointed court designer, Charles Frederick Worth’s success was all but guaranteed.

Portrait of the Empress Eugénie (1826-1920) by Franz Xaver Winterhalder, 1853, wearing a gown designed by Worth
Portrait of the Empress Eugénie (1826-1920) by Franz Xaver Winterhalder, 1853, wearing a gown designed by Worth

Soon after, he opened his own design house in Paris at 7 Rue de la Paix—first in partnership with Otto Bobergh and later as sole proprietor.

The House of Worth and Haute Couture were born.

House of Worth, 7 rue de la Paix, Paris, and Paris and Biarritz salons
House of Worth, 7 rue de la Paix, Paris, and Paris and Biarritz salons

Haute Couture is the fusion of fashion and costume.

It is wearable art.

And wealthy women of the 19th century would pay handsomely for it.

With seemingly endless social engagements, clients changed dress up to four times a day, some purchasing their entire wardrobes from Worth.

Elegant Soiree by Jean-Georges Béraud
Elegant Soiree by Jean-Georges Béraud

The House of Worth was known for showing several designs for each season on live models.

Clients would select their favorites and Worth would tailor-make gowns with elegant fabrics, detailed trimmings, and superb fit.

By the 1870s, Worth’s name frequently appeared in ordinary fashion magazines, spreading his fame to women well beyond courtly circles.

I told you it was a dress from Worth’s. I know the look.
I told you it was a dress from Worth's. I know the look

Combining colors and textures using meticulously chosen textiles and trims, House of Worth produced works of art.

That so many examples have survived in such good condition is testament not only to the popularity of Worth among wealthy patrons but also the quality of textiles insisted upon by Charles Frederick Worth.

What better way to celebrate the extraordinary House of Worth than the dulcet tones of Claude Debussy.

This is one of Worth’s earlier designs when he was still in partnership with Otto Bobergh under the name Worth and Bobergh.

Skirts of the 1860s were wide, full, and bell-shaped, supported initially by multiple layers of petticoats and later by crinolines made from graduated hoops of cane or steel.

1862. Evening ensemble. Silk. metmuseum
1862. Evening ensemble. Silk. metmuseum

As the 1870s got underway, the shape of skirts changed, with flatter front and sides and the fullness pulled back and supported behind by a “bustle”.

1875. Afternoon Dress. Silk. metmuseum
1875. Afternoon Dress. Silk. metmuseum
1877. Dinner Dress. Silk. metmuseum
1877. Dinner Dress. Silk. metmuseum
1878. Two-Piece Day Dress. Silk faille and brocaded silk lampas weave trimmed with lace, silk satin, and beads. philamuseum
1878. Two-Piece Day Dress. Silk faille and brocaded silk lampas weave trimmed with lace, silk satin, and beads. philamuseum
1878. Reception Dress. Silk, linen. cincinnatiartmuseum
1878. Reception Dress. Silk, linen. cincinnatiartmuseum
1882. Evening Dress. Silk. metmuseum
1882. Evening Dress. Silk. metmuseum
1883. Afternoon Dress. Dark blue satin; dark blue satin brocaded with bouquets of coral pink to rust colored roses and white stemmed flowers; petal pink chiffon; rust satin. Credit MCNY
1883. Afternoon Dress. Dark blue satin; dark blue satin brocaded with bouquets of coral pink to rust colored roses and white stemmed flowers; petal pink chiffon; rust satin. Credit MCNY
1887. Ball Gown. Silk, glass, metallic thread. metmuseum
1887. Ball Gown. Silk, glass, metallic thread. metmuseum
1888. Evening Gown. Silk, beads, metallic. metmuseum
1888. Evening Gown. Silk, beads, metallic. metmuseum

As the 1880s came to a close, the lines of skirts transitioned away from the bustle to form a clearer shape, but the sleeves swelled to enormous proportions, earning them the nickname “elephant sleeves”.

1889. Evening Dress. metmuseum
1889. Evening Dress. metmuseum
1892. Dinner Dress. silk satin with woven chrysanthemum pattern; large velvet gigot sleeves; lace decoration on cuffs and collar. KCI
1892. Dinner Dress. silk satin with woven chrysanthemum pattern; large velvet gigot sleeves; lace decoration on cuffs and collar. KCI
1893 Evening Ensemble. Silk, linen, metal. metmuseum
1893 Evening Ensemble. Silk, linen, metal. metmuseum
1893. Evening Dress. Silk. metmuseum
1893. Evening Dress. Silk. metmuseum
1893. Ensemble. Silk, jet, metal. metmuseum
1893. Ensemble. Silk, jet, metal. metmuseum
1894. Ball Gown. silk brocade with tassel pattern; two-piece dress with gigot sleeves; silk taffeta bow at breast; silk chiffon decoration at hem of skirt. Credit KCI
1894. Ball Gown. silk brocade with tassel pattern; two-piece dress with gigot sleeves; silk taffeta bow at breast; silk chiffon decoration at hem of skirt. Credit KCI
1894. Afternoon Dress. Silk faille set of bodice and skirt; silk lace and velvet bows at neck and cuffs; apron-shaped overskirt with silk fringe at front. Credit KCI
1894. Afternoon Dress. Silk faille set of bodice and skirt; silk lace and velvet bows at neck and cuffs; apron-shaped overskirt with silk fringe at front. Credit KCI
1895. Ball Gown. French. Silk. metmuseum
1895. Ball Gown. French. Silk. metmuseum
“Lily Dress” evening dress, black velvet with application of ivory silk in the form of lilies, embroidered with pearls and sequins, 1896. © L. Degrâces et Ph. offre/Galliera/Roger-Viollet
“Lily Dress” evening dress, black velvet with application of ivory silk in the form of lilies, embroidered with pearls and sequins, 1896. © L. Degrâces et Ph. offre/Galliera/Roger-Viollet
1896. Wedding Dress. Silk, pearl. metmuseum
1896. Wedding Dress. Silk, pearl. metmuseum
1898. Evening Dress. Silk, cotton. metmuseum
1898. Evening Dress. Silk, cotton. metmuseum
1898. Evening Dress. Silk, cotton, metal. metmuseum
1898. Evening Dress. Silk, cotton, metal. metmuseum
1898. Evening gown. Silk. metmuseum
1898. Evening gown. Silk. metmuseum
1898. Ball Gown. Silk, rhinestones, metal. metmuseum
1898. Ball Gown. Silk, rhinestones, metal. metmuseum
1898. Evening Dress. Silk, rhinestones. metmuseum
1898. Evening Dress. Silk, rhinestones. metmuseum
1900. Ball Gown. Silk, cotton, metallic thread, glass, metal. metmuseum
1900. Ball Gown. Silk, cotton, metallic thread, glass, metal. metmuseum
1900 Evening Dress. Silk. metmuseum
1900 Evening Dress. Silk. metmuseum
1900. Evening Dress. Pale green silk chiffon and velvet; S-curve silhouette; appliqué of plant pattern; sequin and cord embroidery with water's-edge pattern. Credit KCI
1900. Evening Dress. Pale green silk chiffon and velvet; S-curve silhouette; appliqué of plant pattern; sequin and cord embroidery with water’s-edge pattern. Credit KCI

House of Worth gowns were worn by the very wealthiest of clients.  The dinner dress (below left) was worn by the wife of the great American banker J.P. Morgan, Jr.

At night, the stars in the evening dress (below right) would twinkle as the wearer moved and the light caught the different textures.

1900 & 1905. Silk, rhinsetones, metal. metmuseum
1900 & 1905. Silk, rhinsetones, metal. metmuseum
1900. Ball Gown. Silk. metmuseum
1900. Ball Gown. Silk. metmuseum
1901. Tea Gown. Silk. metmuseum
1901. Tea Gown. Silk. metmuseum
1902. Evening Dress. Silk, rhinestones, metal. metmuseum
1902. Evening Dress. Silk, rhinestones, metal. metmuseum
1906 Peignoir. Silk. metmuseum
1906 Peignoir. Silk. metmuseum
1910. Tea Gown. Silk, rhinestones, metal. metmuseum
1910. Tea Gown. Silk, rhinestones, metal. metmuseum
1911 Evening Dress. Silk, metal, glass. metmuseum
1911 Evening Dress. Silk, metal, glass. metmuseum
1916. Evening Dress. French. silk metal, rhinestones. metmuseum
1916. Evening Dress. French. silk metal, rhinestones. metmuseum
1918 Dinner Dress. Silk synthetic. metmuseum
1918 Dinner Dress. Silk synthetic. metmuseum
1925. Evening Dress. Silk, beads, metal thread. metmuseum
1925. Evening Dress. Silk, beads, metal thread. metmuseum
1930s Evening ensemble. Silk, plastic. metmuseum
1930s Evening ensemble. Silk, plastic. metmuseum
1940s. 'Féminité' dress and Ensemble. Silk, synthetic, beads. metmuseum
1940s. ‘Féminité’ dress and Ensemble. Silk, synthetic, beads. metmuseum

Charles Frederick Worth passed away in 1895 and The House of Worth remained in operation under his descendents but faced increasing competition from the 1920s onwards, eventually closing in 1956.

The House of Worth brand was revived in 1999 but failed to compete successfully in Haute Couture.

An Impression of Winter by Claude Monet

What impression do you have of winter?

Perhaps you’re a snowbird who escapes the cold for warmer climes.

Perhaps you’re a winter sports fan who loves nothing more than gliding down the slopes with the wind in your hair and the scenic beauty whizzing past.

Perhaps you love to snuggle up next to a roaring fire, hot drink in hand, watching the snow fall.

We all have a slightly different impression of winter depending on our perspective.

In 19th-century France, a group of artists led by Claude Monet made quite an impression on the art world.

They realized that how we see the world is not in all its detail, but as an “impression”, with our minds filling in the gaps.

Capturing this “impressionistic image” in paint was their specialty.

It gave them the opportunity to use color and light to convey those “fleeting moments” that stay with us as memories.

Monet loved the changing light of the seasons.

In his paintings of winter, we can feel the cold yet bask in the warmth of their beauty.

A feast for the senses. Food for the soul.

The Boulevard de Pontoise at Argenteuil, Snow Effect by Claude Monet - 1875
The Boulevard de Pontoise at Argenteuil, Snow Effect by Claude Monet – 1875
Snow Scene at Argenteuil by Claude Oscar Monet - 1875
Snow Scene at Argenteuil by Claude Oscar Monet – 1875
Skaters at Giverny by Claude Oscar Monet - 1899
Skaters at Giverny by Claude Oscar Monet – 1899
The Banks of the Fjord at Christiania by Claude Oscar Monet - 1895
The Banks of the Fjord at Christiania by Claude Oscar Monet – 1895
Snow at Argenteuil by Claude Oscar Monet - 1874-1875
Snow at Argenteuil by Claude Oscar Monet – 1874-1875
Sandviken Village in the Snow by Claude Oscar Monet - 1895
Sandviken Village in the Snow by Claude Oscar Monet – 1895
Route, effet de neige, soleil couchant (Snow Effect along a Road with Setting Sun) by Claude Oscar Monet
Route, effet de neige, soleil couchant (Snow Effect along a Road with Setting Sun) by Claude Oscar Monet
Road to Giverny in Winter by Claude Oscar Monet - 1885
Road to Giverny in Winter by Claude Oscar Monet – 1885
Road at Louveciennes, Snow Effect by Claude Oscar Monet - 1869-1870
Road at Louveciennes, Snow Effect by Claude Oscar Monet – 1869-1870
Red Houses at Bjornegaard in the Snow, Norway by Claude Oscar Monet - 1895
Red Houses at Bjornegaard in the Snow, Norway by Claude Oscar Monet – 1895
Mount Kolsaas, Rose Reflection by Claude Oscar Monet - 1895
Mount Kolsaas, Rose Reflection by Claude Oscar Monet – 1895
Mount Kolsaas by Claude Oscar Monet - 1895
Mount Kolsaas by Claude Oscar Monet – 1895
Lavacourt, Sun and Snow by Claude Oscar Monet - 1878-1881
Lavacourt, Sun and Snow by Claude Oscar Monet – 1878-1881
Lavacourt in Winter by Claude Oscar Monet - 1879
Lavacourt in Winter by Claude Oscar Monet – 1879
Ice Floes, Misty Morning by Claude Oscar Monet - 1894
Ice Floes, Misty Morning by Claude Oscar Monet – 1894
Ice Floes on the Seine at Bougival by Claude Oscar Monet - 1867-1868
Ice Floes on the Seine at Bougival by Claude Oscar Monet – 1867-1868
Houses in the Snow, Norway by Claude Oscar Monet - 1895
Houses in the Snow, Norway by Claude Oscar Monet – 1895
Grainstacks in the Morning, Snow Effect by Claude Oscar Monet - 1891
Grainstacks in the Morning, Snow Effect by Claude Oscar Monet – 1891
Grainstacks at Sunset, Snow Effect by Claude Oscar Monet - 1890-1891
Grainstacks at Sunset, Snow Effect by Claude Oscar Monet – 1890-1891
Frost by Claude Oscar Monet - 1885
Frost by Claude Oscar Monet – 1885
Frost by Claude Oscar Monet - 1875
Frost by Claude Oscar Monet – 1875
Floating Ice near Bennecourt by Claude Oscar Monet - 1893
Floating Ice near Bennecourt by Claude Oscar Monet – 1893
Floating Ice by Claude Oscar Monet - 1880
Floating Ice by Claude Oscar Monet – 1880
Entering the Village of Vetheuil in Winter by Claude Oscar Monet - 1879
Entering the Village of Vetheuil in Winter by Claude Oscar Monet – 1879
Coming into Giverny in Winter, Sunset by Claude Oscar Monet - 1885
Coming into Giverny in Winter, Sunset by Claude Oscar Monet – 1885
Church at Jeufosse, Snowy Weather by Claude Oscar Monet - 1893
Church at Jeufosse, Snowy Weather by Claude Oscar Monet – 1893
Boulevard St-Denis, Argenteuil, Snow Effect by Claude Oscar Monet - 1875
Boulevard St-Denis, Argenteuil, Snow Effect by Claude Oscar Monet – 1875
Amsterdam in the Snow by Claude Oscar Monet - 1874
Amsterdam in the Snow by Claude Oscar Monet – 1874
A Cart on the Snow Covered Road with Saint-Simeon Farm by Claude Oscar Monet - c. 1865
A Cart on the Snow Covered Road with Saint-Simeon Farm by Claude Oscar Monet – c. 1865
White Frost by Claude Oscar Monet - 1875
White Frost by Claude Oscar Monet – 1875
View of Argenteuil in the Snow by Claude Oscar Monet - 1875
View of Argenteuil in the Snow by Claude Oscar Monet – 1875
Train in the Snow, the Locomotive by Claude Oscar Monet - 1875
Train in the Snow, the Locomotive by Claude Oscar Monet – 1875
The Seine at Port Villez, Snow Effect by Claude Oscar Monet - 1885
The Seine at Port Villez, Snow Effect by Claude Oscar Monet – 1885
The Seine at Bougival by Claude Oscar Monet - 1869
The Seine at Bougival by Claude Oscar Monet – 1869
The Road to Vetheuil, Snow Effect by Claude Oscar Monet - 1879
The Road to Vetheuil, Snow Effect by Claude Oscar Monet – 1879
The Road in Vetheuil in Winter by Claude Oscar Monet - 1879
The Road in Vetheuil in Winter by Claude Oscar Monet – 1879
The Road by Saint-Simeon Farm in Winter by Claude Oscar Monet - 1867
The Road by Saint-Simeon Farm in Winter by Claude Oscar Monet – 1867
The Magpie by Claude Oscar Monet - 1869
The Magpie by Claude Oscar Monet – 1869
The Effect of Snow at Limetz by Claude Oscar Monet - 1886
The Effect of Snow at Limetz by Claude Oscar Monet – 1886
The Church at Vetheuil, Snow by Claude Oscar Monet - 1878-1879
The Church at Vetheuil, Snow by Claude Oscar Monet – 1878-1879

A Ghost Story of Christmas

It was the winter of 1843.

Long after the sober folks had gone to bed, Charles Dickens paced the streets of London.

Unaware of time and place, he would walk fifteen or twenty miles many a night, his head filled with thoughts about his latest project.

It was nearly finished.

Victorian London, Drury Lane. Credit spitalfields.com
Victorian London, Drury Lane. Credit spitalfields.com

A Christmas Carol was born of an idea that the best way to bring about awareness for the plight of the poor was through story.

Dickens had considered writing pamphlets and essays, but these were not the ways to reach people’s hearts.

People loved stories.

A few weeks earlier, his friend the Baroness Burdett-Coutts had considered donating to the system of religiously-inspired schools known as the “Ragged Schools”.

She had asked Dickens if he would visit the school at Saffron Hill in London and relay his impressions.

Cruikshank represents a ragged school at the Saffron Hill slum in London, which Charles Dickens visited on behalf of philanthropist Angela Burdett Coutts in 1843. This visit undoubtedly shaped his conception of Ignorance and Want — and the importance of elementary education as an antidote to poverty — in A Christmas Carol). (Philip V. Allingham)
Cruikshank represents a ragged school at the Saffron Hill slum in London, which Charles Dickens visited on behalf of philanthropist Angela Burdett Coutts in 1843. This visit undoubtedly shaped his conception of Ignorance and Want — and the importance of elementary education as an antidote to poverty — in A Christmas Carol). (Philip V. Allingham)
I have seldom seen in all the strange and dreadful things I have seen in London and elsewhere, anything so shocking as the dire neglect of soul and body exhibited in these children (Mackenzie, Dickens, pp. 143-44).Charles Dickens
Dickens at the Blacking Warehouse. Charles Dickens is here shown as a boy of twelve years of age, working in a factory
Charles Dickens at the Blacking Warehouse as a boy of twelve years of age.

Dickens was shocked with what he saw.

It was his personal experience that imbued him with a sense of duty to help the poor.

Growing up, his father, John Dickens, was imprisoned in Marshalsea debtors prison, while Charles was forced to leave school and work in a blacking factory.

Before the Bankruptcy Act of 1869, debtors in England were routinely imprisoned at the pleasure of their creditors.

Memories of this period would haunt Dickens for the rest of his life.

Although he loved his father, he saw in him a cold-hearted miser, inspiring the dual characters of Ebenezer Scrooge.

The cold within him froze his old features, nipped his pointed nose, made his eyes red, his thin lips blue, and spoke out shrewdly in his grating voice…Charles Dickens
Marshalsea Debtors Prison
Marshalsea Debtors Prison

Victorian London was experiencing an economic boom, but one that left the poor behind.

Poverty and Wealth by William Powell Frith, 1888
Poverty and Wealth by William Powell Frith, 1888

Moving to London in search of opportunity from the harsh agrarian life in the country, many became disappointed, disillusioned, and destitute.

The industrial revolution brought huge wealth to a tiny percentage of the population, with the majority scraping a living in damp, noisy factories, and cramped, filthy slums.

A Poor-House by Gustave Doré, c. 1860
A Poor-House by Gustave Doré
Dwellings of the poor in Bethnal Green, water supply 1863. Credit Wellcome Images
Dwellings of the poor in Bethnal Green. Credit Wellcome Images

Dickens and the Baroness felt that education was the solution. At least it gave hope even to the poorest of families that their children might one day break the mould of poverty and join the rising middle class.

With the Saffron Hill Ragged School still playing on his mind, in October of 1843 Dickens visited a workingmen’s educational institute in the industrial city of Manchester, England.

It was here that Dickens had his “eureka moment”.

Instead of writing a journalistic piece on the plight of the poor, he would write a ghost story—A Christmas Carol.

A Christmas Carol by Charles Dickens. In Prose. Being a Ghost Story of Christmas. With Illustrations by John Leech. Chapman & Hall, London, 1843. First edition. Title page.
A Christmas Carol by Charles Dickens. In Prose. Being a Ghost Story of Christmas. With Illustrations by John Leech. Chapman & Hall, London, 1843. First edition. Title page.

Through story, Dickens asked for people to recognize the plight of those whom the Industrial Revolution had displaced and driven into poverty, and the obligation of society to provide for them humanely.

Critical praise poured in.

A tale to make the reader laugh and cry – to open his hands, and open his heart to charity even toward the uncharitable … a dainty dish to set before a King.the London literary magazine, Athenaeum
a national benefit and to every man or woman who reads it, a personal kindness.William Makepeace Thackeray in Fraser's Magazine
brings the old Christmas of bygone centuries and remote manor houses, into the living rooms of the poor of todayThe New York Times

Scottish writer Margaret Oliphant described it as “a new gospel”.

The impact was astounding.

In the spring of 1844, there was a sudden burst of charitable giving in Britain.

Scottish philosopher and writer, Thomas Carlyle, staged two Christmas dinners after reading the book.

After attending a reading on Christmas Eve in Boston, Massachusetts, in 1867, a Mr Fairbanks closed his factory on Christmas Day and sent every employee a turkey.

British stage actor Sir Squire Bancroft raised £20,000 for the poor by reading A Christmas Carol out loud in public.

With today’s information revolution displacing many livelihoods, the story is as relevant as it was for Charles Dickens.

In advocating the humanitarian focus of the Christmas holiday, Dickens influenced many aspects that are celebrated in Western culture today—family gatherings, seasonal food and drink, dancing, games and a festive generosity of spirit.

At this time of feasting, let us reflect on A Christmas Carol and the social movement it inspired.

Fatigued Minstrels by Augustus Edwin Mulready, 1883
Fatigued Minstrels by Augustus Edwin Mulready
There a group of handsome girls, all hooded and fur-booted, and all chattering at once
There a group of handsome girls, all hooded and fur-booted, and all chattering at once
Soup for the poor by Albert Anker
Soup for the poor by Albert Anker
Illustration from A Christmas Carol
Illustration from A Christmas Carol
The Forlorn (Poor Children) by Octave Tassaert - 1855
The Forlorn (Poor Children) by Octave Tassaert
The Christmas Hamper by Robert Braithwaite Martineau
The Christmas Hamper by Robert Braithwaite Martineau
Halfpenny dinners for poor children in East London. Credit Wellcome Images
Halfpenny dinners for poor children in East London. Credit Wellcome Images
Chester Square, Belgravia, London by John Edwin Oldfield
Chester Square, Belgravia, London by John Edwin Oldfield
London Slums
London Slums
Hush! by James Tissot
Hush! by James Tissot
Applicants to Admission to a Casual Ward by Sir Luke Fildes
Applicants to Admission to a Casual Ward by Sir Luke Fildes
The Way by James Tissot
The Way by James Tissot
Some Poor People by Henry la Thangue
Some Poor People by Henry la Thangue
Christmas by Felix Ehrlich, (German, 1866 - 1931)
Christmas by Felix Ehrlich, (German, 1866 – 1931)
Christmas Eve by George H.Yewell
Christmas Eve by George H.Yewell
Happy Christmas by Viggo Johansen
Happy Christmas by Viggo Johansen
The Poor Schoolboy by Antonio Mancini
The Poor Schoolboy by Antonio Mancini

In the Bleak Mid Winter

The story of shepherding begins some 5,000 years ago in Asia Minor.

As the name implies, a shepherd is a sheep herder — derived from the Old English sceaphierde, where sceap means sheep and hierde, herder.

Kept for their milk, meat and most importantly their wool, sheep flock together for fear of danger and instinctively follow any of their group that takes the lead.

It is this herding characteristic that made sheep farming comparatively easy and low cost for most of the year.

With just a crook and a dog, a lone shepherd could control a flock and lead them to market for shearing in the spring.

The sheepdog helped keep the flock together and protect it from predators such as wolves.

But when winter came, it was a different story.

Cold, lonely, and bleak.

Since the fertile lowlands and river valleys were used to grow grains and cereals, sheep farming was restricted to the rugged upland and mountainous areas.

One such area was the Highlands of Scotland.

Constantly on the move, the flock grazed as best it could, navigating woodlands, streams, open fields, stone walls, and wooden fences.

Blizzards. Deep snow. Snow on snow.

Until the thaw arrived once more in the spring.

19th-century artist Joseph Farquharson captured the shepherd’s winter struggle perfectly.

There is something ethereal in these windswept, yet romantic paintings from the Scottish Highlands.

Perhaps someone was watching over the shepherd, his flock, and his trusty dog.

The Stormy Blast by Joseph Farquharson, 1898
The Stormy Blast by Joseph Farquharson, 1898
Study for At Freezing Point by Joseph Farquharson
Study for At Freezing Point by Joseph Farquharson
Sheep in the Snow by Joseph Farquharson
Sheep in the Snow by Joseph Farquharson
Sheep in a Snowstorm by Joseph Farquharson, 1893
Sheep in a Snowstorm by Joseph Farquharson, 1893
O'er Snow Clad Pastures, When the Sky Grew Red by Joseph Farquharson
O’er Snow Clad Pastures, When the Sky Grew Red by Joseph Farquharson
Herding Sheep in a Winter Landscape at Sunset by Joseph Farquharson
Herding Sheep in a Winter Landscape at Sunset by Joseph Farquharson
In Deep Mid Winter by Joseph Farquharson
In Deep Mid Winter by Joseph Farquharson
The Joyless Winter Day by Joseph Farquharson, 1883
The Joyless Winter Day by Joseph Farquharson, 1883
The Edge of the Wood by Joseph Farquharson
The Edge of the Wood by Joseph Farquharson
The Day Was Sloping towards His Western Bower by Joseph Farquharson, 1912
The Day Was Sloping towards His Western Bower by Joseph Farquharson, 1912
Blow, Blow, Thou Wintery Wind by Joseph Farquharson
Blow, Blow, Thou Wintery Wind by Joseph Farquharson
Evening at Finzean by Joseph Farquharson
Evening at Finzean by Joseph Farquharson
The Sun Peeped o'er yon Southland Hills by Joseph Farquharson
The Sun Peeped o’er yon Southland Hills by Joseph Farquharson
The Shortening Winter's Day is near a Close
The Shortening Winter’s Day is near a Close
Through the Crisp Air by Joseph Farquharson, 1902
Through the Crisp Air by Joseph Farquharson, 1902
A Walk in the Snow by Joseph Farquharson
A Walk in the Snow by Joseph Farquharson
West with Evening Glows by Joseph Farquharson
West with Evening Glows by Joseph Farquharson
When snow the pasture sheets by Joseph Farquharson, 1915
When snow the pasture sheets by Joseph Farquharson, 1915
When Snow the Pasture Sheets by Joseph Farquharson
When Snow the Pasture Sheets by Joseph Farquharson
When the West with Evening Glows by Joseph Farquharson, 1910
When the West with Evening Glows by Joseph Farquharson, 1910
When the West with Evening Glows by Joseph Farquharson, 1901
When the West with Evening Glows by Joseph Farquharson, 1901
Where Winter Holds its Sway by Joseph Farquharson
Where Winter Holds its Sway by Joseph Farquharson
Winter by Joseph Farquharson
Winter by Joseph Farquharson
Winter by Joseph Farquharson
Winter by Joseph Farquharson
A Winter's Morning by Joseph Farquharson
A Winter’s Morning by Joseph Farquharson
Sun Pepped o'er the Hill by Joseph Farquharson
Sun Pepped o’er the Hill by Joseph Farquharson
The Sun Had Closed the Winter's Day by Joseph Farquharson, 1904
The Sun Had Closed the Winter’s Day by Joseph Farquharson, 1904
The Sun Fast Sinks in the West by Joseph Farquharson
The Sun Fast Sinks in the West by Joseph Farquharson

Life in a Scottish Fishing Village during the Victorian Era

Newhaven is a small harbor port within the city of Edinburgh and a designated conservation area.

Once a thriving fishing village, in the midst of the 1840s industrial boom, it became the subject of the world’s first photographic social documentary project.

When photography was still in its infancy, David Octavius Hill and Robert Adamson were among the first to use an artistic approach, producing hundreds of Rembrandt-like portraits during their partnership years.

The early paper-negative process didn’t allow them to take photographs of fishermen out at sea, so they concentrated on the working lives of those on shore, particularly the women of Newhaven.

Dressed in their traditional striped aprons and woolen petticoats, the women would bait lines, help unload and clean a fresh catch, then haul it up the hill to Edinburgh in specially made willow baskets to sell at the fish market.

At a time when the Industrial Revolution was in full swing and providing jobs at the expense of cottage industries, Newhaven was a shining example of how a traditional fishing community could coexist alongside the great factories.

Evident in the faces of the good honest workers is the grit and determination to keep their tradition alive—qualities that were enhanced by the gritty medium used by Hill and Adamson.

The images were assembled into albums and presented to the Royal Scottish Academy in 1852.

Newhaven Family
Newhaven Family
Newhaven Boy
Newhaven Boy
David Young and Unknown Man, Newhaven
David Young and Unknown Man, Newhaven
Newhaven
Newhaven
Newhaven Group
Newhaven Group
Newhaven Group
Newhaven Group
Newhaven Group
Newhaven Group
Newhaven Fishwives
Newhaven Fishwives
Newhaven Fishwives
Newhaven Fishwives
Newhaven Fishwives
Newhaven Fishwives
Newhaven Fishwives
Newhaven Fishwives
Newhaven Fishwives
Newhaven Fishwives
Newhaven Fishwives
Newhaven Fishwives (enhanced)
Newhaven Fishwives
Newhaven Fishwives
Newhaven Fishwife
Newhaven Fishwife
Newhaven Fishwife
Newhaven Fishwife
Newhaven Fishwife
Newhaven Fishwife (enhanced)
Newhaven Fishwife
Newhaven Fishwife
Newhaven Fishermen
Newhaven Fishermen
Newhaven Fisherman
Newhaven Fisherman
Newhaven Fisherman with Two Boys
Newhaven Fisherman with Two Boys
Newhaven Fisherman
Newhaven Fisherman
Newhaven Fisherman
Newhaven Fisherman
Newhaven Children
Newhaven Children
Newhaven Boys
Newhaven Boys

40 Beautiful Images of Ireland in 1895

They say that when the Celts became Christians, their old gods and goddesses changed themselves into fairies and went into hiding in the green hills that dot the Irish landscape.

Steeped in folklore, so green is Ireland—forty shades of green according to country singer Johnny Cash—that it is called the “Emerald Isle”, the first mention of which was in a poem by William Drennan (1754 – 1820).

When Erin first rose from the dark swelling flood,
God bless’d the green island and saw it was good;
The em’rald of Europe, it sparkled and shone,
In the ring of the world the most precious stone.
In her sun, in her soil, in her station thrice blest,
With her back towards Britain, her face to the West,
Erin stands proudly insular, on her steep shore,
And strikes her high harp ‘mid the ocean’s deep roar.
William Drennan

Shaped by the rain, the wind, and the lashing of the ocean, the spectacular landscape of Ireland is celebrated the world over in song and story.

One day in the 1720s, Irish writer and clergyman Jonathan Swift was out boating on Lough Ennell, when he turned to look back at the shore where Lilliput House stood. He noticed how small people appeared at that great distance and was inspired to write his most famous work—Gulliver’s Travels.

With sweeping vistas, rugged mountains, striking coastline, tranquil lakes and rivers, and quaint country villages, these images of the Emerald Isle and its people will transport you to a magical time and place.

Eccles Hotel, Glengariff. County Cork, Ireland
Eccles Hotel, Glengariff. County Cork, Ireland
Cliffs at Moher. County Clare, Ireland
Cliffs at Moher. County Clare, Ireland
Blarney Castle. County Cork, Ireland
Blarney Castle. County Cork, Ireland
Killary Bay, Connemara. County Galway, Ireland
Killary Bay, Connemara. County Galway, Ireland
Giant's Causeway, County Antrim, Ireland
Giant’s Causeway, County Antrim, Ireland
Lover's Leap, Dargle. County Wicklow, Ireland
Lover’s Leap, Dargle. County Wicklow, Ireland
Serpent Lake, Gap of Dunloe, Killarney. County Kerry, Ireland
Serpent Lake, Gap of Dunloe, Killarney. County Kerry, Ireland
Rope Bridge, Carrick-a-Rede. County Antrim, Ireland
Rope Bridge, Carrick-a-Rede. County Antrim, Ireland
Quays Waterford, Ireland
Quays Waterford, Ireland
Tunnel near Glengariff. County Cork, Ireland
Tunnel near Glengariff. County Cork, Ireland
Achill Head. County Mayo, Ireland
Achill Head. County Mayo, Ireland
Glenoe Village. County Antrim, Ireland
Glenoe Village. County Antrim, Ireland
Innisfallen, Killarney. County Kerry, Ireland
Innisfallen, Killarney. County Kerry, Ireland
Glenariff, County Antrim, Ireland
Glenariff, County Antrim, Ireland
Rustic Bridge in Glenariff. County Antrim, Ireland
Rustic Bridge in Glenariff. County Antrim, Ireland
Garron Tower Hotel. County Antrim, Ireland
Garron Tower Hotel. County Antrim, Ireland
Bray, County Wicklow, Ireland
Bray, County Wicklow, Ireland
Sugar Loaf Mountain, from Powerscourt. County Wicklow, Ireland
Sugar Loaf Mountain, from Powerscourt. County Wicklow, Ireland
Dunmore, III. County Waterford, Ireland
Dunmore, III. County Waterford, Ireland
Waterford. County Waterford, Ireland
Waterford. County Waterford, Ireland
Old Weir Bridge. Killarney. County Kerry, Ireland
Old Weir Bridge. Killarney. County Kerry, Ireland
Garinish Island, Parknasilla. County Kerry, Ireland
Garinish Island, Parknasilla. County Kerry, Ireland
The Macgillicuddy Reeks, Killarney. County Kerry, Ireland
The Macgillicuddy Reeks, Killarney. County Kerry, Ireland
Ross Castle, II, Killarney. County Kerry, Ireland
Ross Castle, II, Killarney. County Kerry, Ireland
Irish spinner and spinning wheel. County Galway, Ireland
Irish spinner and spinning wheel. County Galway, Ireland
The Harbor, Kingstown. County Dublin, Ireland
The Harbor, Kingstown. County Dublin, Ireland
The Harbor, Kingstown. County Dublin, Ireland
The Harbor, Kingstown. County Dublin, Ireland
Phoenix Park, Dublin. County Dublin, Ireland
Phoenix Park, Dublin. County Dublin, Ireland
St. Stephen's Green Park, Dublin. County Dublin, Ireland
St. Stephen’s Green Park, Dublin. County Dublin, Ireland
Sackville Street and O'Connell Bridge, Dublin. County Dublin, Ireland
Sackville Street and O’Connell Bridge, Dublin. County Dublin, Ireland
Bundoran. County Donegal, Ireland
Bundoran. County Donegal, Ireland
Killybegs. County Donegal, Ireland
Killybegs. County Donegal, Ireland
Donegal Castle. County Donegal, Ireland
Donegal Castle. County Donegal, Ireland
St. Finbar's Cathedral. County Cork, Ireland
St. Finbar’s Cathedral. County Cork, Ireland
From Roches Royal Hotel, Glengariff Harbor. County Cork, Ireland
From Roches Royal Hotel, Glengariff Harbor. County Cork, Ireland
Glengariff Harbor. County Cork, Ireland
Glengariff Harbor. County Cork, Ireland
Blackrock Castle. County Cork, Ireland
Blackrock Castle. County Cork, Ireland
St. Patrick Street, Cork. County Cork, Ireland
St. Patrick Street, Cork. County Cork, Ireland
Bantry Bay. County Cork, Ireland
Bantry Bay. County Cork, Ireland
At Glengariff. County Cork, Ireland
At Glengariff. County Cork, Ireland

Gardens of the Gilded Age in 40 Glorious Images

Frances “Fannie” Benjamin Johnston, a pioneering female photographer from Grafton, West Virginia, was given her first camera by George Eastman, founder of Eastman Kodak Company.

After a period of training with Thomas Smillie, director of photography at the Smithsonian, she toured Europe, learning from other prominent photographers to further her craft.

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In 1894, she opened her own studio in Washington D.C. and was commissioned by magazines to take celebrity portraits, including Mark Twain, Susan B. Anthony, Booker T. Washington and even Alice Roosevelt’s wedding.

Well connected among the elites of society, from the late 1800s through 1935, she photographed the gardens of the rich and famous.

To the wealthy and class-conscious, gardens signified status and refinement in an ever growing industrialized America.

Deemed “the finest existing on the subject”, many of her meticulously composed images were hand tinted and were meant to educate the masses on how to beautify their yards.

What must be the sensations of a visiting Martian, when after thrilling to the matchless beauty of the New York skyline… the squalor and sordidness of many of our city districts…? (1922).Francis Benjamin Johnston

Francis Benjamin Johnston played a significant role in defining American landscape design.

Here are 40 glorious gardens from the Gilded Age.

Kenarden Lodge, John Stewart Kennedy house, Shore Path, Bar Harbor, Maine. Italian Garden, view from pergola
Kenarden Lodge, John Stewart Kennedy house, Shore Path, Bar Harbor, Maine. Italian Garden, view from pergola
William Albert Smoot, Jr., house, 220 North Washington Street, Alexandria, Virginia. Rose garden
William Albert Smoot, Jr., house, 220 North Washington Street, Alexandria, Virginia. Rose garden
Arnold Schlaet house, Campo Point, Saugatuck, Connecticut. Terrace
Arnold Schlaet house, Campo Point, Saugatuck, Connecticut. Terrace
Mrs. Francis Lemoine Loring house, 700 South San Rafael Avenue, San Rafael Heights, Pasadena, California. Terrace balustrade
Mrs. Francis Lemoine Loring house, 700 South San Rafael Avenue, San Rafael Heights, Pasadena, California. Terrace balustrade
'Las Tejas,' Oakleigh Thorne house, 170 Picacho Road, Montecito, California. View from swimming pool pavilion to house
‘Las Tejas,’ Oakleigh Thorne house, 170 Picacho Road, Montecito, California. View from swimming pool pavilion to house
Continue with more beautiful images of Gardens of the Gilded Age
'Senuelo,' Edward Ditmars Wetmore house, 1050 Channel Drive, Montecito, California. Path to rose garden
‘Senuelo,’ Edward Ditmars Wetmore house, 1050 Channel Drive, Montecito, California. Path to rose garden
'Villa Rose,' Joseph Donahoe Grant house, 2260 Redington Road, Hillsborough, California. Garden wall
‘Villa Rose,’ Joseph Donahoe Grant house, 2260 Redington Road, Hillsborough, California. Garden wall
'Uplands,' Charles Templeton Crocker house, 400 Uplands Drive, Hillsborough, California. View to porte cochère terrace with herbaceous border
‘Uplands,’ Charles Templeton Crocker house, 400 Uplands Drive, Hillsborough, California. View to porte cochère terrace with herbaceous border
'Inellan,' Walter Douglas house, Channel Drive, Montecito, California. Pergola at the Pacific Ocean
‘Inellan,’ Walter Douglas house, Channel Drive, Montecito, California. Pergola at the Pacific Ocean
Michael Cochrane Armour house, 962 Linda Vista Avenue, Pasadena, California. Native plant garden pathway
Michael Cochrane Armour house, 962 Linda Vista Avenue, Pasadena, California. Native plant garden pathway
'Laurelton Hall', Louis Tiffany Foundation, Laurel Hollow, Cold Spring Harbor, New York. Octagonal garden
‘Laurelton Hall’, Louis Tiffany Foundation, Laurel Hollow, Cold Spring Harbor, New York. Octagonal garden
'The Causeway,' James Parmelee house, 3100 Macomb Street, Washington, D.C. Fountain
‘The Causeway,’ James Parmelee house, 3100 Macomb Street, Washington, D.C. Fountain
'Gray Gardens,' Robert Carmer Hill house, Lily Pond Lane, East Hampton, New York. Sun-room overlooking walled garden
‘Gray Gardens,’ Robert Carmer Hill house, Lily Pond Lane, East Hampton, New York. Sun-room overlooking walled garden
'Il Paradiso,' Mrs. Dudley Peter Allen house, 1188 Hillcrest Avenue, Oak Knoll, Pasadena, California. Lower garden stairs
‘Il Paradiso,’ Mrs. Dudley Peter Allen house, 1188 Hillcrest Avenue, Oak Knoll, Pasadena, California. Lower garden stairs
'Waveny,' Lewis Henry Lapham house, 677 South Avenue, New Caanan, Connecticut. View from house terrace
‘Waveny,’ Lewis Henry Lapham house, 677 South Avenue, New Caanan, Connecticut. View from house terrace
'Beechgate,' Robert Carmer Hill house, Woodland Avenue, Englewood, New Jersey. View from flower garden to house
‘Beechgate,’ Robert Carmer Hill house, Woodland Avenue, Englewood, New Jersey. View from flower garden to house
'Thornedale,' Oakleigh Thorne house, Millbrook, New York. Lawn to pond
‘Thornedale,’ Oakleigh Thorne house, Millbrook, New York. Lawn to pond
'Drumthwacket,' Moses Taylor Pyne house, 354 Stockton Road, Princeton, New Jersey. Balustrade
‘Drumthwacket,’ Moses Taylor Pyne house, 354 Stockton Road, Princeton, New Jersey. Balustrade
'Rookwood,' Evelyn Russell Sturgis house, Gloucester Road, Manchester, Massachusetts. View to Atlantic Ocean
‘Rookwood,’ Evelyn Russell Sturgis house, Gloucester Road, Manchester, Massachusetts. View to Atlantic Ocean
'The Breakers,' Cornelius Vanderbilt II house, 44 Ochre Point Avenue, Newport, Rhode Island. Loggia parterre
‘The Breakers,’ Cornelius Vanderbilt II house, 44 Ochre Point Avenue, Newport, Rhode Island. Loggia parterre
'The Breakers,' Cornelius Vanderbilt II house, 44 Ochre Point Avenue, Newport, Rhode Island. View of terrace and loggia
‘The Breakers,’ Cornelius Vanderbilt II house, 44 Ochre Point Avenue, Newport, Rhode Island. View of terrace and loggia
'Weld,' Larz Anderson house, 151 Newton Street, Brookline, Massachusetts. Temple in water garden
‘Weld,’ Larz Anderson house, 151 Newton Street, Brookline, Massachusetts. Temple in water garden
'Thornedale,' Oakleigh Thorne house, Millbrook, New York. Pond at house entrance
‘Thornedale,’ Oakleigh Thorne house, Millbrook, New York. Pond at house entrance
Arnold Schlaet house, Campo Point, Saugatuck, Connecticut. View from house to sunken garden
Arnold Schlaet house, Campo Point, Saugatuck, Connecticut. View from house to sunken garden
'Beechwood,' Frank Arthur Vanderlip house, Scarborough, New York. Pergola
‘Beechwood,’ Frank Arthur Vanderlip house, Scarborough, New York. Pergola
'Boxley,' Frederick Winslow Taylor house, Northwest corner of Seminole Avenue and St. Martin's Lane, Chestnut Hill, Penn. Boxwood path
‘Boxley,’ Frederick Winslow Taylor house, Northwest corner of Seminole Avenue and St. Martin’s Lane, Chestnut Hill, Penn. Boxwood path
'Willowmere,' Rear Admiral Aaron Ward house, 435 Bryant Avenue, Roslyn Harbor, New York Iris beds
‘Willowmere,’ Rear Admiral Aaron Ward house, 435 Bryant Avenue, Roslyn Harbor, New York Iris beds
'Gardenside,' Frederick Augustus Snow house, Ox Pasture Road, Southampton, New York. View north to flower garden
‘Gardenside,’ Frederick Augustus Snow house, Ox Pasture Road, Southampton, New York. View north to flower garden
'Darena,' George Barton French house, Southampton, New York. Flower garden
‘Darena,’ George Barton French house, Southampton, New York. Flower garden
'Près Choisis,' Albert Herter house, Georgica Pond, East Hampton, New York. Blue and white garden terrace
‘Près Choisis,’ Albert Herter house, Georgica Pond, East Hampton, New York. Blue and white garden terrace
'Killenworth,' George Dupont Pratt house, Glen Cove, New York. Terrace steps
‘Killenworth,’ George Dupont Pratt house, Glen Cove, New York. Terrace steps
C'laraben Court,' Benjamin Stern house, Roslyn Harbor, New York. View from drive
C’laraben Court,’ Benjamin Stern house, Roslyn Harbor, New York. View from drive
Dr. Frederick Kellogg Hollister house, Lily Pond Lane, East Hampton, New York. Delphiniums
Dr. Frederick Kellogg Hollister house, Lily Pond Lane, East Hampton, New York. Delphiniums
'Westlawn,' Edward Tiffany Dyer house, Great Plains Road, Southampton, New York. Rose arbor and statue
‘Westlawn,’ Edward Tiffany Dyer house, Great Plains Road, Southampton, New York. Rose arbor and statue
Lathrop Colgate house, Bedford Village, New York. Trellis
Lathrop Colgate house, Bedford Village, New York. Trellis
'The Fens,' Lorenzo Easton Woodhouse house, Huntting Lane, East Hampton, New York. Bench
‘The Fens,’ Lorenzo Easton Woodhouse house, Huntting Lane, East Hampton, New York. Bench
'Thornedale,' Oakleigh Thorne house, Millbrook, New York. Lawn terrace and pond
‘Thornedale,’ Oakleigh Thorne house, Millbrook, New York. Lawn terrace and pond
'Armsea Hall,' Charles Frederick Hoffman Jr. house, Narragansett Bay, Newport, Rhode Island. Sundial
‘Armsea Hall,’ Charles Frederick Hoffman Jr. house, Narragansett Bay, Newport, Rhode Island. Sundial
Mrs. Francis Lemoine Loring house, 700 South San Rafael Avenue, San Rafael Heights, Pasadena, California. Flower garden
Mrs. Francis Lemoine Loring house, 700 South San Rafael Avenue, San Rafael Heights, Pasadena, California. Flower garden
'Mariemont', Thomas Josephus Emery house, 386 Greenwood Ave., Middletown, Rhode Island. View from summer house
‘Mariemont’, Thomas Josephus Emery house, 386 Greenwood Ave., Middletown, Rhode Island. View from summer house

40 Views Inside the Winter Palace of Imperial Russia

During the 18th century, a marked change occurred in European royal architecture. The need for austere fortified residences subsided and a period of building great classical palaces began.

From the Winter Palace, the Tsar ruled 1/6th of the earth’s landmass and over 125 million people.

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The present palace is the fourth iteration, the first being the brainchild of Peter the Great. Like many European sovereigns, he was inspired by Louis XIV’s Versailles, and wanted to build a modern city with palaces that followed western fashions.

Peter the Great’s aspirations for the Winter Palace were not to rival Versailles in size or splendor—that honor would fall to the Peterhof Palace—but to build a modest palace that reflected enlightened thinking.

The same, however, could not be said for his successors, who went about enlarging the palace and, when Anna Ivanovna came to power in 1730, she moved into the neighboring Apraksin Palace, which forms the core of the present Winter Palace.

From 1762, Catherine the Great put her mark on the palace by building the three large adjoining palaces, known collectively as the Hermitage. As an avid collector of art, Catherine needed the extra space, and amassed such an extensive art collection that to this day, it is the largest in the world.

But it was Tsar Nicholas I who, following a great fire that raged for three days in 1837, was largely responsible for the present day appearance and layout of the Winter Palace—just one part of the huge Hermitage Museum complex.

Aerial view of Winter Palace with Palace Square and surrounding buildings for comparison
Aerial view of Winter Palace with Palace Square and surrounding buildings for comparison

Comprising 1500 rooms, 117 staircases, 1,945 windows and 1,786 doors, the principal façade of this green-and-white baroque palace is twice as long as Buckingham Palace’s public façade (shown superimposed).

Buckingham Palace superimposed onto the Winter Palace
Buckingham Palace superimposed onto the Winter Palace

Join us as we take a tour of the Winter Palace of the 19th century, complete with it exquisite baroque Rococo-inspired rooms.

Jordan staircase, 1865
Jordan staircase, 1865
The Malachite Room, 1864
The Malachite Room, 1864
The Guardroom, 1863
The Guardroom, 1863
The Grand Church, 1860
The Grand Church, 1860
The Field Marshal's Hall, 1851
The Field Marshal’s Hall, 1851
The Drawing-Room, 1871
The Drawing-Room, 1871
Click to continue with more stunning images of inside the Winter Palace
The Cathedral inside the palace, 1865
The Cathedral inside the palace, 1865
The Boudoir of Grand Princess Maria Alexandrovna, 1850
The Boudoir of Grand Princess Maria Alexandrovna, 1850
The Boudoir of Empress Maria Alexandrovna, 1861
The Boudoir of Empress Maria Alexandrovna, 1861
The Boudoir of Empress Alexandra Fyodorovna, 1870
The Boudoir of Empress Alexandra Fyodorovna, 1870
The Billiard Room of Emperor Alexander II, 1850
The Billiard Room of Emperor Alexander II, 1850
The Bedchamber of Empress Alexandra Fyodorovna, 1858
The Bedchamber of Empress Alexandra Fyodorovna, 1858
The Bedchamber of Empress Alexandra Fyodorovna, 1869
The Bedchamber of Empress Alexandra Fyodorovna, 1869
The Bathroom of Grand Princess Maria Alexandrovna, 1850
The Bathroom of Grand Princess Maria Alexandrovna, 1850
The Bathroom of Empress Alexandra Fyodorovna, 1869
The Bathroom of Empress Alexandra Fyodorovna, 1869
The Armorial Hall, 1862
The Armorial Hall, 1862
The Apollo Hall, 1861
The Apollo Hall, 1861
The Antechamber of Tsesarevich Alexander Nikolayevich, 1860
The Antechamber of Tsesarevich Alexander Nikolayevich, 1860
The Alexander Hall, 1860
The Alexander Hall, 1860
Study, 1837
Study, 1837
RThe Crimson Cabinet, the study of Maria Alexandrovna, 1860
RThe Crimson Cabinet, the study of Maria Alexandrovna, 1860
Pompei Dinner Hall, 1873
Pompei Dinner Hall, 1873
Peter the Great (Small Throne) Room, 1862
Peter the Great (Small Throne) Room, 1862
Mil-gallery by Hau, 1861
Mil-gallery by Hau, 1861
Interiors of the Winter Palace. Nichlas Hall, 1866
Interiors of the Winter Palace. Nichlas Hall, 1866
His Majesty Own staircase (October Staircase), 1860
His Majesty Own staircase (October Staircase), 1860
Hermitage Library by Alexey Tyranov, 1827
Hermitage Library by Alexey Tyranov, 1827
Golden Drawing Room, 1860
Golden Drawing Room, 1860
Galereja, 1812
Galereja, 1812
Concerthall, 1860
Concerthall, 1860
Classroom, 1836
Classroom, 1836
Avantsalle, 1860
Avantsalle, 1860
Armorial Hall of the Winter Palace by A.Ladurner, 1834
Armorial Hall of the Winter Palace by A.Ladurner, 1834
The Fieldmarshals' Hall in the Winter Palace
The Fieldmarshals’ Hall in the Winter Palace
The Winter Garden, 1870
The Winter Garden, 1870
The White Hall, 1864
The White Hall, 1864
The white drawing room in the North-Western Risolite (Alexandra Fedorovna suite), 1860
The white drawing room in the North-Western Risolite (Alexandra Fedorovna suite), 1860
The Throne Room of Empress Maria Fiodorovna, 1831
The Throne Room of Empress Maria Fiodorovna, 1831
The Small Church inside the palace, 1861
The Small Church inside the palace, 1861
The Rotunda, 1833
The Rotunda, 1833

16 Stunning Sofas from the 18th and 19th Centuries

Today, furniture fills our living and working spaces. It makes a statement about our taste for practicality and aesthetics.

But it wasn’t always so.

At the beginning of the 18th century, only the aristocracy or merchant class could afford furniture as luxurious expressions of individuality.

Then from around 1760, something remarkable happened. The standard of living for the general population began to increase for the first time in history.

This was the dawn of the industrial revolution and the beginnings of what would become a consumer society.

18th-century luminary Sir Joshua Reynolds observed a general progression from buying basic needs to purchasing more luxurious goods.

The regular progress of cultivated life is from Necessaries to Accommodations, from Accommodations to Ornaments.

In this statement was implied the increasing importance of design, which simultaneously created and followed taste, and in so doing, helped stimulate consumer demand and foster economic stability.

Perhaps no other industry demonstrated this better than furniture making. And what piece of furniture was more prominent than a sofa?

The Georgian Era

Some think of the Georgian era as the golden age of furniture.

The drama and exuberance of Baroque, the intricate asymmetrical patterns of Rococo, the graceful lines, sensuous curves, and elegant proportions of Neo-Classical—all helped define Georgian era furniture.

The very names of the period are synonymous with timeless quality—Queen Anne, Chippendale, Sheraton, Hepplewhite.

1760 Sofa. French. Carved and gilded beechwood, upholstered in modern red velours de Gênes. metmuseum
1760 Sofa. French. Carved and gilded beechwood, upholstered in modern red velours de Gênes. metmuseum
1765 Sofa. French. Carved and gilded beech, modern silk lampas. metmuseum
1765 Sofa. French. Carved and gilded beech, modern silk lampas. metmuseum
1770 Sofa. French. Carved and gilded mahogany, modern silk damask. metmuseum
1770 Sofa. French. Carved and gilded mahogany, modern silk damask. metmuseum

Sofas with a wide central section and a single outward-facing seat at each end were called a canapé à confidents and were meant to be where people could share confidences.

Examples were made primarily in the Louis XV and Louis XVI periods, highly decorative, and the shape and carving were designed to harmonize with the wall paneling.

The artisan’s skill shows particularly in the carving of roses and olive branches tied by a ribbon at the top of each end.

This piece was described by comte de Salverte as the finest of its kind in the Louis XVI style.

1780 Sofa. French. Carved and gilded beechwood upholstered in modern blue dotted silk. metmuseum
1780 Sofa. French. Carved and gilded beechwood upholstered in modern blue dotted silk. metmuseum

The Regency and Federal Era

Roughly coinciding in date and style, the British Regency and American Federal styles were defined by a lighter, more delicate interpretation of the classical Greek and Roman influences.

The shape of this sofa derives from plate 35 in Thomas Sheraton’s “Cabinet-Maker and Upholsterer’s Drawing-Book” (1793).

1800 Sofa. American. Mahogany, white pine, birch. metmuseum
1800 Sofa. American. Mahogany, white pine, birch. metmuseum

The modern black horsehair and gilded tacks of this scroll-back sofa help define it as the classic New York form as it would have looked when it first came out of the workshop.

1810 Sofa. American. Mahogany, white pine, tulip poplar. metmuseum
1810 Sofa. American. Mahogany, white pine, tulip poplar. metmuseum
1815 Sofa. American. Mahogany, gilt brass, tulip poplar. metmuseum
1815 Sofa. American. Mahogany, gilt brass, tulip poplar. metmuseum

A highly sophisticated blend of line, detailed carving, and subtle color merge with antique legs in the shape of dolphins, hinting at the maritime influences of the time. In Greek mythology, dolphins swam to the aid of shipwrecked sailors.

1820. Sofa. American. Mahogany, ash, maple, pine. metmuseum
1820. Sofa. American. Mahogany, ash, maple, pine. metmuseum

Owned by Thomas Cornell Pearsall, a wealthy New York merchant and shipowner, the skillful execution of the details derives from Greco-Roman seating forms illustrated and described in the 1808 supplement to the London “Chairmakers’ and Carvers’ Book of Prices.”

1820 Sofa. American. Mahogany, tulip poplar, cane, gilded brass. metmuseum
1820 Sofa. American. Mahogany, tulip poplar, cane, gilded brass. metmuseum

Noteworthy in this design is the unusual trimming of rich stamped brass, rather than the woven galloon or series of brass-headed nails that were customary in this period.

1820 Sofa. American. Mahogany. metmuseum
1820 Sofa. American. Mahogany. metmuseum

Italian architect Filippo Pelagio Palagi designed this set of furniture for the principal drawing room next to the royal bedroom of Carlo Alberto, king of Sardinia.

The sculptural detail of the crest rails and the quality and refinement of the veneering help distinguish this sofa, made by Gabrielle Cappello, whose workshop produced many of Pelagi’s designs.

1835 Sofa. Italian. Mahogany veneered with maplewood and mahogany, covered with modern silk brocade. metmuseum
1835 Sofa. Italian. Mahogany veneered with maplewood and mahogany, covered with modern silk brocade. metmuseum

The Victorian Era

With the Victorians, out went the simpler classical lines of Georgian and Regency and in came a more imposing style, with elaborate decoration, heavily carved pieces, plenty of organic curves inspired by nature and glossy finishes.

1843 Sofa. French. Applewood or pearwood, ebonized walnut, beech, gilt-bronze mounts. metmuseum
1843 Sofa. French. Applewood or pearwood, ebonized walnut, beech, gilt-bronze mounts. metmuseum
1853 Sofa. American. Rosewood. metmuseum
1853 Sofa. American. Rosewood. metmuseum

This sofa is part of a suite of Louis XVI–style furniture that railroad executive John Taylor Johnston (1820–1893) purchased in about 1856 and used in the music room of his residence at 8 Fifth Avenue.

1860 Sofa. American. Maple, gilt bronze. metmuseum
1860 Sofa. American. Maple, gilt bronze. metmuseum

Exemplifying the Rococo Revival style, which was popular in America during the 1840s and 1850s, the sofa below combines curvilinear forms reminiscent of 18th-century France with the exuberant, naturalistic ornamentation of the mid-Victorian period.

Distinguished by a voluptuous serpentine crest with luxuriant, griffin-flanked bouquets, the central floral garland is supported by a Renaissance-style urn and paired dolphins.

1855 Sofa. American. Rosewood. metmuseum
1855 Sofa. American. Rosewood. metmuseum
1870 Sofa. American. Rosewood, ash, pine, mother-of-pearl. metmuseum
1870 Sofa. American. Rosewood, ash, pine, mother-of-pearl. metmuseum

Cléo de Mérode: the Dancer and Celebrity Glamour Model of the Belle Époque

At the age of eight, Cléo de Mérode (1875 – 1966) was already showing the talent that would make her a world renowned dancer of the Belle Époque.

Born in Paris to a Viennese baroness, she entered the Paris Opera ballet school at seven and made her professional debut at age eleven.

But it would be her beauty that stirred the public’s imagination, for Cléo de Mérode was, perhaps, the first real celebrity icon.

Before long, her dancing skills took second stage to her glamour, as postcards and playing cards around the world started featuring her image.

Cléo de Mérode, by Paul Nadar, 1894
Cléo de Mérode, by Paul Nadar, 1894

She was the talk of the town. Her new hairstyle was eagerly awaited and quickly imitated. Famous artists of the Belle Époque, like Henri de Toulouse-Lautrec, Giovanni Boldini, and Félix Nadar queued to sculpt, paint, and photograph her.

Cléo de Merode, by Charles Ogerau, 1895
Cléo de Merode, by Charles Ogerau, 1895
Cléo de Mérode, 1897
Cléo de Mérode, 1897
Cleo De Merode at the Salon by Carlos Vazquez Ubeda (1869 - 1944)
Cleo De Merode at the Salon by Carlos Vazquez Ubeda (1869 – 1944)

Even royalty courted her. In 1896, King Léopold II, having watched her dance at the ballet, became infatuated with her, and rumor soon spread that she was his mistress. The king had fathered two children with a prostitute and her reputation suffered as a consequence.

Cléo de Mérode
Cléo de Mérode

But this was the Belle Époque, a time of unprecedented colonial expansion, the very dawn of modern celebrity culture. Such indiscretions were soon forgotten and Cléo de Mérode became an international star, giving performances across Europe and the United States.

Cléo de Mérode by Giovanni Boldini, 1901
Cléo de Mérode by Giovanni Boldini, 1901
Cleo de Merode, 1903
Cleo de Merode, 1903

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Her decision to dance at the risqué Folies Bergère cabaret only served to heighten her following. And when she met artist Gustav Klimt, whose specialty was female sexuality, a romance blossomed that inspired the 2006 movie Klimt.

Cléo de Merode by Reutlinger
Cléo de Merode by Reutlinger
Cléo de Merode, by Charles Ogerau, 1902
Cléo de Merode, by Charles Ogerau, 1902
Cleo de Merode, 1905
Cleo de Merode, 1905
Cléo de Mérode, 1910
Cléo de Mérode, 1910

Continuing to dance into her early fifties, Mérode eventually retired to the seaside resort of Biarritz in the French Pyrénées. In 1955, she published her autobiography, Le Ballet de ma vie (The Dance of My Life).

Biarritz, 1930s
Biarritz, 1930s

At the ripe old age of 91, the greatest celebrity of the Belle Époque was no more. Cléo de Mérode was interred in the Père Lachaise Cemetery in Paris. Her spirit still watches over her mother, interred in the same tomb.

Tomb of Cléo de Mérode, the Père Lachaise cemetery in Paris. Credit Lebiblio
Tomb of Cléo de Mérode, the Père Lachaise cemetery in Paris. Credit Lebiblio

Gone forever, but not forgotten.

Cléo de Mérode by Mariano Benlliure, 1910
Cléo de Mérode by Mariano Benlliure, 1910

The Beautiful French Porcelain of Sèvres

Despite a turbulent century of changing taste and technology, Sèvres Manufatory in the suburbs of Paris remained at the forefront of European ceramic production throughout the 1800s.

Founded in Vincennes in 1740 and relocated to Sèvres in 1756, King Louis XV, who had been an early investor, took possession in 1759.

With the French Revolution in 1789 came changing fortunes, with the factory losing many aristocratic patrons. It’s future looked in doubt.

Then, in 1800, along came engineer and scientist, Alexandre Brongniart (1770–1847), to run the troubled enterprise. The turnaround couldn’t have been more dramatic.

During the first decade of Brongniart’s tenure, the Empire taste was in vogue, with abundant use of gilding, rich borders, and ornate figural scenes.

1813 Breakfast Service tray. Sèvres Manufactory. metmuseum
1813 Breakfast Service tray. Sèvres Manufactory. metmuseum

Newly developed enamels enabled luxurious marble and hardstone textures as simulated backgrounds.

According to factory archives, the process of decoration began with the blue ground of the border followed by the marbled center ground, requiring two layers. Gilding for the border was then applied with the figure in the center painted last.

1807 Plate. Hard-paste porcelain. metmuseum
1807 Plate. Hard-paste porcelain. metmuseum

To celebrate the coronation of King Charles X in 1825, a dinner set was produced, painted with famous views from each of France’s départements (administrative offices).

1827 Plate from the 'Service Des Départements'. metmuseum
1827 Plate from the ‘Service Des Départements’. metmuseum

Decorated with scenes of cacao cultivation to make drinking chocolate, this coffee service from 1836 shows how Brongniart used themes related to the objects’ purpose.

1836 Coffee service. Hard-paste porcelain. metmuseum
1836 Coffee service. Hard-paste porcelain. metmuseum
1836 Tray for Coffee service. Hard-paste porcelain. metmuseum
1836 Tray for Coffee service. Hard-paste porcelain. metmuseum

Enormous variety in object type and decoration were hallmarks of Sèvres Manufactory. In the first half of the 19th century alone, it produced 92 different vase designs, 89 cups, every form of dinner, dessert, tea, and coffee service, as well as jugs, basins, and toiletry items.

Characteristic of nineteenth-century decorative arts was the reinterpretation of historical styles. While the form of this cup derives from Renaissance Italy, the use of vibrant reds, greens, blues, and yellows contrasts with the muted whites and browns of earlier wares.

1837 Standing Cup. Hard-paste porcelain. metmuseum
1837 Standing Cup. Hard-paste porcelain. metmuseum

Evoking the medieval Gothic style was another obsession of the 19th century. These vases illustrate the playfulness of mixing Gothic inspiration with Renaissance enamel techniques to achieve new aesthetic effects.

1832 Gothic vases. Hard-paste porcelain. metmuseum
1832 Gothic vases. Hard-paste porcelain. metmuseum

Eclecticism of design influences was matched by exuberance. This Chinoiserie tea and coffee service evokes the forms and motifs of China and the Near East.

Blending Asian forms with European decoration expressed a fascination with exoticism. The scrolling feet, double-walled forms, and simulated bamboo handles were found on Chinese porcelains sold in Paris in the 1820s.

1855 Chinoiserie Coffee and Tea Service. Hard-paste porcelain. metmusem
1855 Chinoiserie Coffee and Tea Service. Hard-paste porcelain. metmusem

Intended as the focal point of an elaborate table centerpiece during the dessert course, this ambitious fruit or flower basket imparts a sense of the grandeur of nineteenth century dining.

1823 Fruit or flower basket. Hard-paste porcelain. metmuseum
1823 Fruit or flower basket. Hard-paste porcelain. metmuseum

Presented to the winner of first prize at the Exposition Universelle of 1878, this cup, made in a Renaissance-revival style drew much criticism at a time when tastes were changing toward modernism.

One critic wrote “the colors are insipid and often vulgar; the decoration rarely quits the beaten track of the usual Sèvres flower and figure subjects. Sèvres is lingering in the traditions of the past. It remains deaf to the fame of living and modern art.”

1879 Standing cup with cover. Hard-paste porcelain. metmuseum
1879 Standing cup with cover. Hard-paste porcelain. metmuseum

But it was the Art Nouveau movement that was the nail in the coffin for the traditional historicism that had been the trademark of Sèvres throughout the 19th century.

Decorative arts moved closer to nature, often capturing the asymmetry of natural forms, as evident in this coffee service from c. 1900.

Employing the form of a fennel plant, the application of enamel to the unglazed porcelain created a matte surface similar to the plant’s actual texture, and heightened the sense of realism.

Sèvres was exploring techniques that would define the ceramics industry in the 20th century.

1900 Art Nouveau-inspired Coffee Service. Hard-paste porcelain. metmuseum
1900 Art Nouveau-inspired Coffee Service. Hard-paste porcelain. metmuseum

Mucha Do About Art Nouveau

The rags to riches story of Czech Art Nouveau artist Alphonse Mucha.

Living alone in Paris in 1894, Alphonse Mucha barely made enough money to feed himself.

Alphonse Mucha Self Portrait, 1899
Alphonse Mucha Self Portrait, 1899

There had been better times. Back home in Moravia, he had worked in a castle restoring portraits and decorating rooms with murals. Those were the days. His employer, the Count, had encouraged Mucha to take formal studies and had provided financial support.

Now, at 34, with his savings gone, Mucha was scraping a living from his artwork, taking small commissions from magazine pictures, designs for costumes in operas and ballets, and book illustrations.

But his fortunes were about to change.

Just before Christmas 1894, he happened to drop into a print shop and heard that Sarah Bernhardt—the most famous actress in Paris—was starring in a new play, Gismonda.

Sarah Bernhardt by Félix Nadar
Sarah Bernhardt by Félix Nadar

The promoters needed a poster to advertise the production, and so Alphonse Mucha offered to deliver a lithograph in two weeks.

It was an overnight sensation. Bernhardt was so pleased with the success of this first poster that she offered him a six-year contract.

Alphonse Mucha had brought Art Nouveau to the people of Paris.

Poster for Victorien Sardou's Gismonda starring Sarah Bernhardt at the Théâtre de la Renaissance in Paris., 1894
Poster for the première production of Victorien Sardou’s Gismonda starring Sarah Bernhardt at the Théâtre de la Renaissance in Paris, 1894
Poster for an evening of theater honoring Sarah Bernhardt (1896)

For the next 10 years, Alphonse Mucha kept busy with commissions for posters, book illustrations, programs, and calendars.

Abounding with ornamental pictorial elements with crisp curvilinear contours, the stylized graceful women of “Style Mucha” became synonymous with the whole Art Nouveau movement.

Spring, Summer, Autumn, and Winter by Alphonse much, 1896
Spring, Summer, Autumn, and Winter by Alphonse much, 1896

Mucha’s work captured the worldliness and decadence of the fin de siècle (turn of the century) and the belle époque (“The Beautiful Era”)—a time when Paris was the resplendent cultural capital of the world.

Dance by Alfons Mucha, 1898
Dance by Alfons Mucha, 1898
Zodiac by Alphonse Mucha
Zodiac by Alphonse Mucha
Poetry by Alphonse Mucha
Poetry by Alphonse Mucha
Byzantine Heads - Brunette by Alphonse Mucha
Byzantine Heads – Brunette by Alphonse Mucha
Biscuits Lefèvre-Utile by Alphonse Mucha, 1896
Biscuits Lefèvre-Utile by Alphonse Mucha, 1896
Monaco Monte Carlo by Alfons Mucha
Monaco Monte Carlo by Alfons Mucha
Bières de la Meuse by Alphonse Mucha
Bières de la Meuse by Alphonse Mucha
Advertising poster for Chocolat Idéal by Alfons Mucha
Advertising poster for Chocolat Idéal by Alfons Mucha
Flower by Alphonse Mucha, 1897
Flower by Alphonse Mucha, 1897

Mucha grew up in a small village in Moravia in what is now the Czech Republic. When he was a boy, it was part of the Habsburg Empire. Poverty and suffering were a part of everyday life—five of Mucha’s brothers and sisters died from tuberculosis.

Coming from a deeply religious family, the Church was a big influence on Mucha’s early life. From church decorations to the mysticism of religion, he remained fascinated by spiritualism throughout his life and even dabbled in the occult.

The Municipal House Ceiling by Alphonse Mucha, Prague
The Municipal House Ceiling by Alphonse Mucha, Prague
Mucha's stained glass window in St. Vitus Cathedral inside Prague Castle
Mucha’s stained glass window in St. Vitus Cathedral inside Prague Castle
An illustrated page from Le Pater by Mucha
An illustrated page from Le Pater by Mucha

After Paris, Mucha spent four years in the United States before returning to his home country, settling in Prague.

He started work on a fine art masterpiece—a history of the Slavic peoples. Called The Slav Epic, it comprises 20 huge canvases up to 26 ft wide and 20 ft high.

Mucha's The Slav Epic, 1911
Mucha’s The Slav Epic, 1911
The Slave Epic - The coronation of the Serbian Tsar Stefan Dušan as East Roman Emperor (1926)
The Slave Epic – The coronation of the Serbian Tsar Stefan Dušan as East Roman Emperor (1926)
Apotheosis of the Slavs history by Alfons Mucha (1926)
Apotheosis of the Slavs history by Alfons Mucha (1926)

When the Nazis occupied Czechoslovakia in 1939, Mucha was among the first to be arrested. Weakened by interrogation and suffering from pneumonia, he died shortly after being released.

But his art lived on in the hearts of admirers the world over.

Los Cigarillos Paris, Portrait of Sarah Bernhardt, THe Spirit of Spring, Portrait of Mme. Mucha
Los Cigarillos Paris, Portrait of Sarah Bernhardt, The Spirit of Spring, Portrait of Mme. Mucha

10 Fascinating Facts About Chinoiserie

1. Chinoiserie was once the most coveted fashion of the aristocracy

During the 17th and 18th centuries, Europeans became fascinated with Asian cultures and traditions. They loved to imitate or evoke Asian motifs in Western art, architecture, landscaping, furniture, and fashion.

China seemed a mysterious, far-away place and the lack of first-hand experiences only added to the mystique.

Chinoiserie derives from the French word chinois, meaning “Chinese”, or “after the Chinese taste”. It is a Western aesthetic inspired by Eastern design.

The fact remains that four thousand years ago, when we did not know how to read, they knew everything essentially useful of which we boast todayVoltaire

To immerse yourself in the Chinoiserie experience, optionally play the traditional East Asian music.

A folding screen was one of the most popular expressions of Chinoiserie, often decorated with beautiful art.

Themes included mythology, scenes of palace life, nature, and romance in Chinese literature—a young lady in love could take a curious peek hidden from behind a folding screen.

Chinese Folding Screen. 18th century. Wood, glass paper, Imperial Furniture Collection, Vienna. Credit Sandstein
Chinese Folding Screen. 18th century. Wood, glass paper, Imperial Furniture Collection, Vienna. Credit Sandstein
The Toilette by François Boucher, 1742
The Toilette by François Boucher, 1742

2. Chinoiserie’s popularity grew with rising trade in the East

Rising trade with China and East Asia during the 17th and 18th centuries brought an influx of Chinese and Indian goods into Europe aboard ships from the English, Dutch, French, and Swedish East India Companies.

The European Factories in Canton by Thomas Allom, 1838
The European Factories in Canton by Thomas Allom, 1838

By the middle of the 19th century, the British East India Company had become the dominant player in East Asian trading, its rule extending across most of India, Burma, Malaya, Singapore, and British Hong Kong.

A fifth of the world’s population was under the trading influence of the British East India Company.

East India House by Thomas Malton the Younger (1748-1804)
(British) East India House by Thomas Malton the Younger (1748-1804)

3. Chinoiserie began with tea drinking

Drinking tea was the height of fashion for ladies of good taste and required an appropriate chinoiserie mise en scène.

Tea drinking was a fundamental part of polite society; much of the interest in both Chinese export wares and chinoiserie rose from the desire to create appropriate settings for the ritual of tea drinkingBeevers
Tea Leaves by William McGregor Paxton, Boston, MA. metmuseum
Tea Leaves by William McGregor Paxton, Boston, MA. metmuseum
1743. Tea Service. Italian. Porcelain. metmuseum
1743. Tea Service. Italian. Porcelain. metmuseum
1762 Tea Caddy. British. Silver. metmuseum
1762 Tea Caddy. British. Silver. metmuseum
1730. Sugar Box. Austrian. Hard-paste porcelain. metmuseum
1730. Sugar Box. Austrian. Hard-paste porcelain. metmuseum
1770 Tea Casket, British, Staffordshire. White enamel on copper painted in polychrome enamels. metmuseum
1770 Tea Casket, British, Staffordshire. White enamel on copper painted in polychrome enamels. metmuseum

Tea and sugar were expensive commodities during the eighteenth century and this chest could be locked to secure its valuable contents.

Containing two canisters for tea (green and black) and a larger one for sugar, the pastoral scenes, and Italianate landscapes, combined with Rococo gilding against a pink ground, create an opulent effect.

1770 Tea Casket, British, Staffordshire. White enamel on copper painted in polychrome enamels. metmuseum
1770 Tea Casket, British, Staffordshire. White enamel on copper painted in polychrome enamels. metmuseum
1726 Pair of Tea Caddies. British. Silver. metmuseum
1726 Pair of Tea Caddies. British. Silver. metmuseum

4. Aristocratic women were famous collectors of chinoiserie porcelain

Among them were Queen Mary, Queen Anne, Henrietta Howard, and the Duchess of Queensbury—all socially important women, whose homes served as examples of good taste and sociability.

Wealthy women helped define the prevailing vogue through their purchasing power. One story tells of a keen competition between Margaret, 2nd Duchess of Portland, and Elizabeth, Countess of Ilchester, for a Japanese blue and white plate.

Chinoiserie porcelain from Frankfurt c. 1700
Chinoiserie porcelain from Frankfurt c. 1700
Faience with Chinese scenes. Nevers Manufactory. c. 1680
Faience with Chinese scenes. Nevers Manufactory. c. 1680

Reflecting the English factory’s focus on Asian porcelains as a primary source of inspiration, this plate with its skillfully composed chinoiserie decoration, is an ambitious work from the 1750s, the decade during which Bow first achieved commercially viable production.

1755. Plate. British. Bow Porcelain Factory. Soft-paste porcelain
1755. Plate. British. Bow Porcelain Factory. Soft-paste porcelain
1755 Chines Musicians. Chelsea Porcelain Manufactory. Soft-past porcelain. metmuseum
1755 Chines Musicians. Chelsea Porcelain Manufactory. Soft-past porcelain. metmuseum

Distinguished by the chinoiserie scenes painted by Charles-Nicolas Dodin, these elephant vases from c. 1760 are thought to have been commissioned by Mme. de Pompadour, chief mistress of Louis XV of France. They are among the rarest forms produced by the famous Sèvres manufactory in the suburbs of Paris.

Pair of Vases. Charles Nicolas Dodin, Sèvres, France, 1760. Walters Art Museum
Pair of Vases. Charles Nicolas Dodin, Sèvres, France, 1760. Walters Art Museum

5. Chinoiserie is related to the Rococo style

Both styles are characterized by exuberant decoration, a focus on materials, stylized nature, and subject matter depicting leisure and pleasure.

Chateau de Chantilly. The Apartments of the Princes of Condé
Chateau de Chantilly. The Apartments of the Princes of Condé
The Cabinet of chinoiserie. Nymphenburg Palace, Munich, Germany. Credit Yelkrokoyade
The Cabinet of chinoiserie. Nymphenburg Palace, Munich, Germany. Credit Yelkrokoyade
1745 Nécessaire with watch. German. Gold and mother-of-pearl, lined with dark-red velvet. metmuseum
1745 Nécessaire with watch. German. Gold and mother-of-pearl, lined with dark-red velvet. metmuseum
1745 Nécessaire with watch. German. Gold and mother-of-pearl, lined with dark-red velvet. metmuseum
1745 Nécessaire with watch. German. Gold and mother-of-pearl, lined with dark-red velvet. metmuseum
1745 Nécessaire with watch. German. Gold and mother-of-pearl, lined with dark-red velvet. metmuseum
1745 Nécessaire with watch. German. Gold and mother-of-pearl, lined with dark-red velvet. metmuseum
1735 Wall clock. French. Étienne LeNoir. Soft-paste porcelain and partly gilded brass. metmuseum
1735 Wall clock. French. Étienne LeNoir. Soft-paste porcelain and partly gilded brass. metmuseum

Exotic chinoiserie accents in the pagoda-shaped outline of the tureen’s lid exemplify an interpretation popular in southern Germany.

1771 Tureen and stand. Silver, silver gilt. German, Augsburg. metmuseum
1771 Tureen and stand. Silver, silver gilt. German, Augsburg. metmuseum

6. European monarchs gave special favor to Chinoiserie

King Louis XV of France and Britain’s King George IV thought Chinoiserie blended well with the rococo style.

Entire rooms, such as those at Château de Chantilly, were painted with chinoiserie compositions, and artists such as Antoine Watteau and others brought expert craftsmanship to the style.

Highly ornamental, yet elegant, Western interpretations of Eastern themes were fanciful expressions, often with exotic woods and marbles used to further the effect.

A room furnished in the Louis XV style
A room furnished in the Louis XV style
Chinese Gallery at Her Majesty's Palace at Brighton by John Nash, 1820
Chinese Gallery at Her Majesty’s Palace at Brighton by John Nash, 1820

Built in 1670 at Versailles as a pleasure house for King Louis XIV’s mistress, the Trianon de Porcelaine was considered to be the first major example of chinoiserie. It was replaced by the Grand Trianon 17 years later.

Trainon de Porcelaine
Trainon de Porcelaine. Credit Hervé GREGOIRE (top right image)

Frederick the Great, King of Prussia had a Chinese House built in the gardens of his summer palace Sanssouci in Potsdam, Germany.

Garden architect Johann Gottfried Büring designed the pavilion in the style of Chinoiserie by blending Chinese architectural elements with ornamental rococo.

The Chinese House at Sanssouci, Johann Friedrich Nagel, 1790
The Chinese House at Sanssouci, Johann Friedrich Nagel, 1790
The Chinese House, designed by Johann Gottfried Büring between 1755 and 1764; a pavilion in the Chinoiserie style: a mixture of rococo elements coupled with Oriental architecture.
The Chinese House, designed by Johann Gottfried Büring between 1755 and 1764; a pavilion in the Chinoiserie style: a mixture of rococo elements coupled with Oriental architecture.
Group of tea drinking Chinese (Johann Gottlieb Heymüller) Chinese Tea House Chinese House Sanssouci. Credit Steffenheilfort
Group of tea drinking Chinese (Johann Gottlieb Heymüller) Chinese Tea House Chinese House Sanssouci. Credit Steffenheilfort

7. Europeans manufactured imitations of Chinese lacquer furniture

Frequently decorated with ebony and ivory or Chinese motifs of pagodas and dragons, Europeans such as Thomas Chippendale helped popularize Chinoiserie furniture.

Chippendale’s design book The Gentleman and Cabinet-maker’s Director: Being a large Collection of the Most Elegant and Useful Designs of Household Furniture, In the Most Fashionable Taste provided a guide for intricate chinoiserie furniture and its decoration.

1776 Rolltop Desk. German. Oak, cherry, pine, mahogany, veneered with maple, burl woods, holly, hornbeam (all partially stained), tulipwood, mahogany, and other woods; mother-of-pearl; partially gilded and tooled leather; gilt bronze, iron, steel, brass, partially gold-lacquered brass. metmuseum
1776 Rolltop Desk. German. Oak, cherry, pine, mahogany, veneered with maple, burl woods, holly, hornbeam (all partially stained), tulipwood, mahogany, and other woods; mother-of-pearl; partially gilded and tooled leather; gilt bronze, iron, steel, brass, partially gold-lacquered brass. metmuseum
1754 Harpsichord converted to a piano. French. Wood, paint, gilding, polychrome, gilded pewter, ebony, bone, felt. metmuseum
1754 Harpsichord converted to a piano. French. Wood, paint, gilding, polychrome, gilded pewter, ebony, bone, felt. metmuseum
Chinoiserie cabinet. Museo Nacional de Artes Decorativas, Madrid, Spain. Credit Daderot.
Chinoiserie cabinet. Museo Nacional de Artes Decorativas, Madrid, Spain. Credit Daderot.

8. Marco Polo was the first European to describe a Chinese garden

Marco Polo visited the summer palace of Kublai Khan at Xanadu in around 1275.

There is at this place a very fine marble Palace, the rooms of which are all gilt and painted with figures of men and beasts and birds, and with a variety of trees and flowers, all executed with such exquisite art that you regard them with delight and astonishment.Marco Polo
Chinese Garden by François Boucher, 1742
Chinese Garden by François Boucher, 1742

Evolving over three thousand years, the Chinese garden landscaping style became popular in the West during the 18th century.

Built in 1738, the Chinese House within the gardens of the English Palladian mansion at Stowe in Buckinghamshire, was the first of its kind in an English garden.

Chinese House, Stowe Landscaped Gardens, Buckinghamshire, England
Chinese House, Stowe Landscaped Gardens, Buckinghamshire, England

Hundreds of Chinese and Japanese Gardens were built around the world to celebrate the naturalistic, organic beauty of their asymmetric design.

One admires the art with which this irregularity is carried out. Everything is in good taste, and so well arranged, that there is not a single view from which all the beauty can be seen; you have to see it piece by pieceJesuit priest Jean Denis Attiret, 1739
The Pagoda in Kew Gardens, London. Credit Marco Felhofer
The Pagoda in Kew Gardens, London. Credit Marco Felhofer
The Chinese Garden of Friendship, Sydney, Australia. Credit Wyncliffe
The Chinese Garden of Friendship, Sydney, Australia. Credit Wyncliffe
Dr. Sun Yat-Sen Garden, Vancouver, BC, Canada. Credit Damahevi
Dr. Sun Yat-Sen Garden, Vancouver, BC, Canada. Credit Damahevi

9. Wealthy gentlemen preferred Banyans to formal clothing

Made from expensive silk brocades, damasks, and printed cottons, banyans were types of dressing gown with a kimono-like form and Eastern origin. Worn with a matching waistcoat and cap or turban, they were so popular among wealthy men of the late 18th century that they posed for portraits wearing the banyan instead of formal clothing.

Joseph Sherburne (a wealthy Boston merchant wearing an elegant banyan) by John Singleton Copley, 1770
Joseph Sherburne (a wealthy Boston merchant wearing an elegant banyan) by John Singleton Copley, 1770
Banyan. Second half of 18th century. Silk, wool, linen. metmusem
Banyan. Second half of 18th century. Silk, wool, linen. metmusem

10. Chinoiserie enjoyed a renaissance in the 1920s and 1930s

Intimating the most elaborate past of the Chinese court, the Chinoiserie roundels of this Lanvin robe de style alternately resemble embroidered Manchu court badge motifs or the glinting scales of Mongol armor interpreted in Western embroidery.

1924 Robe de Style. French. Lanvin. Silk, metallic thread, glass. metmuseum
1924 Robe de Style. French. Lanvin. Silk, metallic thread, glass. metmuseum

Stressing tubular simplicity, Callot Soeurs used the reductive rubric of Art Deco to combine Chinoiserie with other styles, resulting in an intoxicating fusion of exoticisms.

1924 Evening Dress. French. Callot Soeurs. Silk. metmuseum
1924 Evening Dress. French. Callot Soeurs. Silk. metmuseum

Known for their Chinoiserie, Callot Soeurs also featured the long fluid vestigial sleeves of Ottoman coats.

1926. Evening Ensemble. French. Callot Soeurs. Silk. metmuseum
1926. Evening Ensemble. French. Callot Soeurs. Silk. metmuseum

References
Wikipedia
V&A Museum
The Met
The British Museum

30 Glorious Paintings of 19th-Century Europe

Have you ever considered taking up painting as a hobby? What would inspire you?

How about hiking through the Austrian Alps and northern Italy?

That’s exactly what awoke a desire to put brush to paper for 19th-century Austrian watercolor artist Rudolf von Alt.

The Dachstein from Vorderer Gosausee by Rudolf von Alt, 1838
The Dachstein from Vorderer Gosausee by Rudolf von Alt, 1838
A view of Vienna from the Prater with figures in the foreground by Rudolf von Alt, 1834
A view of Vienna from the Prater with figures in the foreground by Rudolf von Alt, 1834

A trip to Italy might also work wonders for your creativity.

Von Alt completed a number of paintings featuring the glorious architecture of European cities.

Figures on the Riva degli Schiavone by Rudolf von Alt, 1840
Figures on the Riva degli Schiavone by Rudolf von Alt, 1840
The Pantheon and Piazza della Rotonda in Rome by Rudolf von Al, 1835
The Pantheon and Piazza della Rotonda in Rome by Rudolf von Al, 1835
St. Peter's from the Vatican Garden by Rudolf von Alt, 1838
St. Peter’s from the Vatican Garden by Rudolf von Alt, 1838
View of Naples by Rudolf von Alt, c1870
View of Naples by Rudolf von Alt, c1870
The Stephansdom from Stock im Eisen Platz by Rudolf Ritter von Alt, 1832
The Stephansdom from Stock im Eisen Platz by Rudolf Ritter von Alt, 1832
The Cathedral Square in Cattaro by Rudolf von Alt, 1841
The Cathedral Square in Cattaro by Rudolf von Alt, 1841
Josefsplatz in Vienna by Rudolf von Alt, 1831
Josefsplatz in Vienna by Rudolf von Alt, 1831
View of Budapest with Chain Bridge and the Royal Palace by Rudolf von Alt, 1880
View of Budapest with Chain Bridge and the Royal Palace by Rudolf von Alt, 1880
Overlooking the Charles Church and the Polytechnic Institute by Rudolf von Alt, 1843
Overlooking the Charles Church and the Polytechnic Institute by Rudolf von Alt, 1843
The Neue Markt (Mehlmarkt) by Rudolf von Alt, 1836
The Neue Markt (Mehlmarkt) by Rudolf von Alt, 1836
The main square in Linz by Rudolf von Alt, 1839
The main square in Linz by Rudolf von Alt, 1839
View of the Basilica San Antonio in Padua by Rudolf von Alt, 1836
View of the Basilica San Antonio in Padua by Rudolf von Alt, 1836
The Esplanade of Ischl by Rudolf von Alt
The Esplanade of Ischl by Rudolf von Alt
Vienna, St. Michael the Hofburg and old Burgtheater by Rudolf von Alt, 1888
Vienna, St. Michael the Hofburg and old Burgtheater by Rudolf von Alt, 1888
Varenna at Lake Como by Rudolf von Alt, 1843
Varenna at Lake Como by Rudolf von Alt, 1843
The Lower Austrian Landhaus in Vienna from Minoritenplatz by Rudolf von Alt, 1845
The Lower Austrian Landhaus in Vienna from Minoritenplatz by Rudolf von Alt, 1845
The Jägerzeile in Vienna by Rudolf von Alt, 1844
The Jägerzeile in Vienna by Rudolf von Alt, 1844
The parish church in Ofen by Rudolf von Alt, 1845
The parish church in Ofen by Rudolf von Alt, 1845
View of the Alservorstadt by Rudolf von Alt, 1872
View of the Alservorstadt by Rudolf von Alt, 1872
The Main Square in Bratislava by Rudolf von Alt, 1843
The Main Square in Bratislava by Rudolf von Alt, 1843
Vienna, Freyung mit Austriabrunnen by Rudolf von Alt, 1847
Vienna, Freyung mit Austriabrunnen by Rudolf von Alt, 1847
Street in Palermo by Rudolf von Alt, 1867
Street in Palermo by Rudolf von Alt, 1867
The Tyn Church in Prague by Rudolf von Alt, 1843
The Tyn Church in Prague by Rudolf von Alt, 1843
View of the Doge's Palace in Venice by Rudolf von Alt, 1874
View of the Doge’s Palace in Venice by Rudolf von Alt, 1874
Bridge Tower Lesser Town in Prague by Rudolf von Alt, 1843
Bridge Tower Lesser Town in Prague by Rudolf von Alt, 1843

Painting interior views was also a much-admired skill of von Alt’s, bringing him a lot of attention in Vienna.

BSalon of Princess Henriette Odescalchi Castle in Hirtenberg by Rudolf von Alt, 1853
BSalon of Princess Henriette Odescalchi Castle in Hirtenberg by Rudolf von Alt, 1853
Staircase of the Upper Belvedere in Vienna by Rudolf von Alt, 1882
Staircase of the Upper Belvedere in Vienna by Rudolf von Alt, 1882
The Japanese Salon, Villa Hügel, Hietzing, Vienna by Rudolf von Alt, 1855
The Japanese Salon, Villa Hügel, Hietzing, Vienna by Rudolf von Alt, 1855

The History of Handbags — a 5-Minute Guide

Today’s designer handbags have a long and storied history.

Early Europeans used handbags just as we do today—to store personal belongings needed for the day. Clothing had no pockets until the 17th century, so men also carried handbags for things like coins, alms, and relics.

Worn attached to a belt, this 16th-century buckle bag had 18 secret compartments. For the aristocratic gentleman, it was a status symbol.

1500s. French. Goat's leather belt puch with iron frame and 18 pockets, some behind secret closures. French. Silk. Tassenmuseum Netherlands
1500s. French. Goat’s leather belt puch with iron frame and 18 pockets—some behind secret closures. French. Silk. Tassenmuseum Netherlands

The First Man-Purse?

The sporran played a similar role in the highlands of Scotland—part utilitarian, part symbol of wealth and status.

A belted plaid with sporran as worn by a reenactor of Scottish history.
A belted plaid with sporran as worn by a reenactor of Scottish history.

A 16th-Century Messenger Bag?

As pockets became an integral part of clothing during the 17th century, men no longer needed to carry handbags for anything other than the bulkiest of items—books, documents, and letters.

Late 1500s. Leather book bag. Tassenmuseum Netherlands
Late 1500s. Leather book bag. Tassenmuseum Netherlands

Chatelaine Bags

From the 16th century, women often wore a decorative clasp at the waist with a series of chains attached, called a chatelaine. Suspended from it were useful household accessories such as scissors, keys, and sewing tools. Crafted from precious metals, chatelaines were considered as jewelry and status symbols.

Wedgwood Chatelaine, Indianapolis Museum of Art. Chatelaine, Tassenmuseum Netherlands. Chatelaine bag, LACMA.
Wedgwood Chatelaine, Indianapolis Museum of Art. Chatelaine, Tassenmuseum Netherlands. Chatelaine bag, LACMA.

Reticules or Indispensables

17th- and 18th-century ladies preferred to carry their particulars in small bags with drawstrings that were known as reticules in France and “indispensables” in England.

Lady from 1830 carry a French reticule handbag. LACMA
Lady from 1830 carry a French reticule handbag. LACMA
Left: A Colonial Coquette by Charles Henry Turner. Right: Frederik VI of Denmark and family out for a stroll by Johannes Senn, 1813
Left: A Colonial Coquette by Charles Henry Turner. Right: Frederik VI of Denmark and family out for a stroll by Johannes Senn, 1813. Both ladies are clutching a reticule.

Using embroidery skills learned from a young age, ladies created designs of great artistry and beauty.

c1680. French. Silk, metal. metmuseum
c1680. French. Silk, metal. metmuseum
1799. Reticule. French. Silk satin with weft-float and supplementary weft-float patterning, silk floss and chenille passementerie with silk fly fringe, and silk cord. LACMA
1799. Reticule. French. Silk satin with weft-float and supplementary weft-float patterning, silk floss and chenille passementerie with silk fly fringe, and silk cord. LACMA

The Dawn of the Designer Handbag

The Industrial Revolution brought steam railways and travel became increasingly popular.

In 1841, Yorkshire entrepreneur Samuel Parkinson, whose Butterscotch confectionary was appointed to the British royal household, wanted to treat his wife to a custom-made set of hand luggage.

He had noticed that her purse was too small and not made of a sturdy enough material for traveling. So he had leather handbags made for her in varying size for different occasions.

Waiting at the Station, Willesden Junction by James Tissot, 1874
Waiting at the Station, Willesden Junction by James Tissot, 1874

Besides durability, Parkinson wanted to distinguish his luggage from that of lower class passengers.

London-based luxury leather goods company H. J. Cave & Sons was more than happy to oblige. Its Osilite trunk became so famous that it won several prizes in the 19th century, including first prize in Paris in 1867.

But most importantly for Mrs. Parkinson, she got to own the world’s first designer handbag.

H. J. Cave’s designs are known to have inspired Louis Vuitton (1857) and a young Guccio Gucci (1910).

Gallery of handbags and purses through history

1700s

c 1720. European. Silk, metal. metmuseum
c 1720. European. Silk, metal. metmuseum
1740. American. Linen, silk. metmuseum
1740. American. Linen, silk. metmuseum

1800s

1800. American. Silk, paper. metmuseum
1800. American. Silk, paper. metmuseum
1800. Mexican. Glass, cottom, linen. metmuseum
1800. Mexican. Glass, cottom, linen. metmuseum
1820. French. Metal. metmuseum
1820. French. Metal. metmuseum
1820. French. Silver. metmuseum
1820. French. Silver. metmuseum
1825. French. Silver. metmuseum
1825. French. Silver. metmuseum
1830. French. metal. metmuseum
1830. French. metal. metmuseum
1850. European. Metal, cotton. metmuseum
1850. European. Metal, cotton. metmuseum
1860. Italian. Silk. metmuseum
1860. Italian. Silk. metmuseum
c 1880. Mexican. Glass, linen, silk. metmuseum
c 1880. Mexican. Glass, linen, silk. metmuseum
1885. American. Cotton, silk, metal. metmuseum
1885. American. Cotton, silk, metal. metmuseum
1890. American. Silk, metallic. metmuseum
1890. American. Silk, metallic. metmuseum
1890. French. Leather. metmuseum
1890. French. Leather. metmuseum
c 1890. French. metla. metmuseum
c 1890. French. metla. metmuseum

1900s

1900. American. Silk, metal, glass. metmuseum
1900. American. Silk, metal, glass. metmuseum
1910. Scottish. Wool, metal. metmuseum
1910. Scottish. Wool, metal. metmuseum
1913. American. Tiffany. Gold. metmuseum
1913. American. Tiffany. Gold. metmuseum
1914. European. Silk, metal. metmuseum
1914. European. Silk, metal. metmuseum
1915. French. Silk, metal, metallic. metmuseum
1915. French. Silk, metal, metallic. metmuseum
1920. Italian. Metal, glass. metmuseum
1920. Italian. Metal, glass. metmuseum
1920. Philippines. Piña, silk. metmuseum
1920. Philippines. Piña, silk. metmuseum
1925. American. Glass, silk. metmuseum
1925. American. Glass, silk. metmuseum
1925. French. Leather, metal, stone. metmuseum
1925. French. Leather, metal, stone. metmuseum
1930. American. Leather, metal. metmuseum
1930. American. Leather, metal. metmuseum
1930. American. Leather, plastic. metmuseum
1930. American. Leather, plastic. metmuseum
1933. American. Leather. metmuseum
1933. American. Leather. metmuseum
1950. French. Cartier. Leather, wool, wood. metmuseum
1950. French. Cartier. Leather, wool, wood. metmuseum
1950s. American. Phelps. Cotton, leather. metmuseum
1950s. American. Phelps. Cotton, leather. metmuseum
1958. Italian. Gucci. Leather, metal. metmuseum
1958. Italian. Gucci. Leather, metal. metmuseum
1965. Italian. Gucci. Leather, wood, metal. metmuseum
1965. Italian. Gucci. Leather, wood, metal. metmuseum
1965. Spanish. Loewe. Leather, metal. metmuseum
1965. Spanish. Loewe. Leather, metal. metmuseum

References
Museum of Bags
Metropolitan Museum of Art
Wikipedia
LACMA

How Venice Looked to Victorian Travelers c1890

“Queen of the Adriatic”, “City of Bridges”, “City of Canals”—whatever you call this beautiful city, you can be sure to find romance, for the name Venice is derived from the Indo-European root wen- meaning “love”.

Fleeing waves of Germanic and Hun invasions in the 5th century, refugees from the surrounding countryside sought sanctuary on a series of islands in a marshy lagoon between the Piave and Po Rivers.

The Venetian settlers dedicated the first church, San Giacomo, on the islet of Rialto, meaning “high shore”.

A Day in Venice by Fivos Valachis (The link contains an Amazon affiliate link, which means we may earn a small commission from qualifying purchases. Thanks for supporting our work).

The Grand Canal with the Rialto Bridge, Venice, Italy
The Grand Canal with the Rialto Bridge
The Grand Canal with the Rialto Bridge, Venice, Italy
The Grand Canal with the Rialto Bridge

Venice developed into a city state, that by the late 13th century, was the most prosperous in Europe.

With a strategic position at the head of the Adriatic Sea, Venice dominated Mediterranean trade with a fleet of 3,300 ships.

The wealthiest families vied with each other to build the grandest palaces and sponsor the greatest artists.

Da Mulla Palace, Venice, Italy
Da Mulla Palace
Vendramin Palace, Venice, Italy
Vendramin Palace
Pesaro Palace, Venice, Italy
Pesaro Palace
The Golden House, Venice, Italy
The Golden House
Vendramin Calergi Palace, Venice, Italy
Vendramin Calergi Palace

But by the 15th century, a great darkness fell upon the city.

Devastated by plague and war with the Ottoman Empire, Venice went into a long period of decline.

San Georgio from Doges' Palace by moonlight, Venice, Italy
San Georgio from Doges’ Palace by moonlight

As new trade routes across the great oceans were discovered, Venice lost its position as the center for international commerce.

Grand Canal and Doges' Palace by moonlight, Venice, Italy
Grand Canal and Doges’ Palace by moonlight

Ill-suited to ocean-going travel, Venice’s fleet of oared galleys couldn’t compete with the sailing ships of Portugal, France, England and the Netherlands.

Piazzetta and San Georgio by moonlight, Venice, Italy
Piazzetta and San Georgio by moonlight

By the 18th century, Venice was seen in a new light. It was considered the most elegant city in Europe—influencing art, architecture and literature.

And by the Victorian Era, a new form of transportation—the steam ship—brought travelers from far and wide to gaze upon its beauty.

Related post: Steam Travel – How Steamships and Railways Opened Up the World to Victorians.

Doges' Palace, Venice, Italy
Doges’ Palace
Harbor, Venice, Italy
The Harbor, Venice, Italy
Pigeons in St. Mark's Place, Venice, Italy
Pigeons in St. Mark’s Place
Piazaetta and columns of San Marco
Piazaetta and columns of San Marco
Concert in St. Mark's Place, Venice, Italy
Concert in St. Mark’s Place
Columns of St. Mark's Church, Venice, Italy
Columns of St. Mark’s Church, Venice, Italy
Old Venetian courtyard, Venice, Italy
Old Venetian courtyard
Before St. Mark's and public hospital, Venice, Italy
Before St. Mark’s and public hospital
The Grand Canal, Venice, Italy
The Grand Canal

Closely spaced wooden piles made from water-resistant alder tree trunks support the buildings of Venice.

Driven through soft layers of sand and mud, the piles reach a much harder layer of compressed clay.

Submerged by water, wood does not decay as rapidly as on land, and most piles are still intact centuries later.

On the Grand Canal, Venice, Italy
On the Grand Canal
Concert in St. Mark's Place, Venice, Italy
Concert in St. Mark’s Place
San Marina Canal, Venice, Italy
San Marina Canal, Venice, Italy
A court yard (Calle dell Angelo a San Martino), Venice, Italy
A court yard (Calle dell Angelo a San Martino)
Interior Scalzi, Venice, Italy
Interior Scalzi
Interior of the Doges' Palace, with the Giant's Staircase, Venice, Italy
Interior of the Doges’ Palace, with the Giant’s Staircase
Rio di San Trovaso, Venice, Italy
Rio di San Trovaso, Venice, Italy
Rio della Botisella, Venice, Italy
Rio della Botisella
St. Mark's Church and the clock, Venice, Italy
St. Mark’s Church and the clock
Interior of St. Mark's, Venice, Italy
Interior of St. Mark’s, Venice, Italy
From the Campanile, Venice, Italy
View from the Campanile

Victorian Artist Charles Burton Barber Captures the Special Bond Between Children and Pets

Growing up in the popular Victorian family seaside resort of Great Yarmouth, England, it might have been happy childhood memories that helped Charles Burton Barber become such a successful Victorian artist of children and pets.

Such was the high regard for his skill, that in 1883 Barber was elected a member of the Royal Institute of Oil Painters—the only art society dedicated to the Victorian artist specializing in oils.

Great Yarmouth, England, c. 1895
Victorian-era Great Yarmouth, England

His particular talent was for sentimental portraits of dogs, which helped win royal commissions from animal-lover Queen Victoria.

Barber succeeded Sir Edwin Landseer as the Queen’s court painter. One of his most renowned works is of Marco—a beautiful Pomeranian she bought on a trip to Florence, Italy, in 1888.

Marco on the Queen's Breakfast Table by Charles Burton Barber, 1893
Marco on the Queen’s Breakfast Table by Charles Burton Barber, 1893

Related post: Queen Victoria’s Beloved Pomeranians

Queen Victoria and Her Servant John Brown by Charles Burton Barber
Queen Victoria and Her Servant John Brown by Charles Burton Barber

Related post: Queen Victoria, Last of the Hanoverians

The next two paintings, “In Disgrace” and “A Special Pleader”, are two of Victorian artist Barber’s most famous works.

You may notice something similar—it’s the same little girl wiping her tears, having been sent to stand in the corner for naughty behavior.

In each painting, Barber captures the special relationship between dogs and humans. The little puppy is sharing her punishment, while the border collie appears to be pleading with her parents to forgive her.

In Disgrace by Charles Burton Barber
In Disgrace by Charles Burton Barber

Demand for Barber’s work is reflected in auction prices. In Disgrace fetched $639,964 at Christie’s in 2007, with A Special Pleader having been sold for $442,500 ten years earlier.

A Special Pleader by Charles Burton Barber, 1893
A Special Pleader by Charles Burton Barber, 1893
A Little Girl And Her Sheltie by Charles Burton Barber
A Little Girl And Her Sheltie by Charles Burton Barber

Painting animals with human-like expressions was a popular style for the Victorian artist.

Barber knew how to not only convey expressions like excitement, longing, sadness, and protection, but also to render them in a more natural, animal-like way.

The New Whip by Charles Burton Barber
The New Whip by Charles Burton Barber
A Monster by Charles Burton Barber, 1866
A Monster by Charles Burton Barber, 1866
The Rivals by Charles Burton Barber
The Rivals by Charles Burton Barber
Not Much Wrong by Charles Burton Barber
Not Much Wrong by Charles Burton Barber
The Little Baker With Her Two Assistants by Charles Burton Barber
The Little Baker With Her Two Assistants by Charles Burton Barber
A Mischievous Puppy by Charles Burton Barber, 1886
A Mischievous Puppy by Charles Burton Barber, 1886
The Hiding Place by Charles Burton Barber, 1891
The Hiding Place by Charles Burton Barber, 1891
Off to School by Charles Burton Barber, 1883
Off to School by Charles Burton Barber, 1883

The painting “Suspense” shown below was owned by rival soap manufacturers Pears and Lever Brothers. It depicts a beautiful young girl saying grace over breakfast with her pet cat and Jack Russell gazing longingly at the feast before her.

Suspense by Charles Burton Barber
Suspense by Charles Burton Barber
Blond and Brunette by Charles Burton Barber, 1879
Blond and Brunette by Charles Burton Barber, 1879
Coaxing Is Better by Charles Burton Barber
Coaxing Is Better by Charles Burton Barber
Trust by Charles Burton Barber, 1888
Trust by Charles Burton Barber, 1888
No ride today by Charles Burton Barber
No ride today by Charles Burton Barber
Girl with Dogs by Charles Burton Barber, 1893
Girl with Dogs by Charles Burton Barber, 1893
The Two Invalids by Charles Burton Barber
The Two Invalids by Charles Burton Barber
The Broken String by Charles Burton Barber
The Broken String by Charles Burton Barber
I am higher! by Charles Burton Barber
I am higher! by Charles Burton Barber
The New Keeper by Charles Burton Barber, 1888
The New Keeper by Charles Burton Barber, 1888
A Scratch Pack by Charles Burton Barber
A Scratch Pack by Charles Burton Barber
Time to Wake Up by Charles Burton Barber, 1883
Time to Wake Up by Charles Burton Barber, 1883
Lost Chance by Charles Burton Barber
Lost Chance by Charles Burton Barber
Sweethearts by Charles Burton Barber, 1890
Sweethearts by Charles Burton Barber, 1890

Parasols—the Essential Accessory for a Lady

On a windy summer’s day in 1875, Claude Monet painted his wife Camille with their son Jean out for a stroll in Argenteuil, a suburb of Paris.

Splashes of color and Monet’s use of light help capture a moment of spontaneity.

Woman with a Parasol - Madame Monet and Her Son by Claude Monet, 1875
Woman with a Parasol – Madame Monet and Her Son by Claude Monet, 1875

Holding her parasol tightly against the wind, Camille is set against an azure sky with wispy white clouds, looking down at Monet from a rise in the meadow.

Camille was modeling for a theme that Victorians loved—”Lady With a Parasol”.

Victorian poet Emily Dickinson likened a lady opening a parasol to a butterfly spreading its wings in the warmth of the sun.

Painted Lady butterfly. Credit SD Dirk, flickr
Painted Lady butterfly. Credit SD Dirk, flickr
From Cocoon forth a Butterfly
As Lady from her Door
Emerged—a Summer Afternoon—
… Her pretty Parasol be seen
Contracting in a Field
—Emily Dickinson.
Young Woman with a Parasol by Winslow Homer, 1880
Young Woman with a Parasol by Winslow Homer, 1880

We most often associate the beautiful image of a lady with a parasol with the Victorian and Edwardian Eras. But as far back as the 5th century BC, the Ancient Greeks thought parasols were an indispensable accessory for a lady of fashion.

Morning Walk by John Singer Sargent, 1888
Morning Walk by John Singer Sargent, 1888
Woman and Parasol by Albert Edelfelt, 1886
Woman and Parasol by Albert Edelfelt, 1886
A Walk by the River by Andre Brouillet (1857 - 1914)
A Walk by the River by Andre Brouillet (1857 – 1914)
The White Parasol by Robert Lewis Reid, 1907
The White Parasol by Robert Lewis Reid, 1907
Summer by Colin Campbell Cooper, 1918
Summer by Colin Campbell Cooper, 1918

The Ancient Chinese attached collapsible parasols to their ceremonial carriages and the Ancient Egyptians used a fan of palm-leaves on a long handle, similar to those now carried ceremoniously in papal processions.

Terracotta Army. Exhibition. Credit Tomasz Sienicki
Terracotta Army. Exhibition. Credit Tomasz Sienicki

Roman maid-servants saw it as a post of honour to carry a parasol over their mistresses.

According to Ancient Indian legend, in around the 4th century BC, a skilled bowman named Jamadagni practiced shooting arrows and his wife Renuka helped recover them so that he could continue practicing and become the best bowman in all India. Jamadagni fired one arrow so far that it took Renuka a whole day to find it, the heat of the sun exhausting her. In anger, Jamadagni fired an arrow at the sun. Begging for mercy, the sun gave Renuka the gift of a beautiful parasol.

Nature has been providing us with parasols since the dawn of mankind. Tree canopies absorb the sun’s ultraviolet rays, providing natural shade.

Woman Sitting with a Parasol by Aristide Maillol, 1895
Woman Sitting with a Parasol by Aristide Maillol, 1895

Parasol Pines are native to Southern Europe and the Middle East, their shape resembling a parasol.

View of Cannes with Parasol Pines by William Stanley Haseltine, 1869
View of Cannes with Parasol Pines by William Stanley Haseltine, 1869

Parasols came in many shapes, sizes, designs, and colors—most were personal hand-held devices, others were larger for sharing.

Woman with Parasol by Frederick Carl Frieseke, c. 1912
Woman with Parasol by Frederick Carl Frieseke, c. 1912
The Green Parasol by Guy Orlando Rose, c. 1909
The Green Parasol by Guy Orlando Rose, c. 1909
Lady with a Parasol by Hamilton Hamilton
Lady with a Parasol by Hamilton Hamilton
The Garden Parasol by Frederick Carl Frieseke, c. 1910
The Garden Parasol by Frederick Carl Frieseke, c. 1910

Whatever shape or size, they are beautiful objects that are still admired today. Let’s take a closer look at some from the Victorian era.

1850s. American. Silk, metal, wood, ivory
1850s. American. Silk, metal, wood, ivory

The above parasol is typical of the 1850s, with its tiered canopy echoing the shape of the skirt. The fabric was woven à la disposition—specifically for the shape of the parasol.

1860s. American. Silk, ivory, metal
1860s. American. Silk, ivory, metal

The “marquise parasol” above was originally designed for Madame de Pompadour—the chief mistress of King Louis XV at Versailles. With its tilting top that could be angled for flirtatious effect and its embossed floral motif lining the edge, it was the perfect accessory for the art of coquetry.

1868. French. Silk, icory, metal
1868. French. Silk, icory, metal

Made for the wife of a prominent Civil War general from New York, the parasol above features an exquisitely carved ivory handle depicting the idealized Greek female form and the shell-like curves typical of Rococo.

1905. American. Cotton, wood. metal
1905. American. Cotton, wood. metal

Parasols were often matched to the attire of the wearer. This Edwardian-era example was made of eyelet fabric—popular for a number of summer garments.

Often seen at the races, this type of parasol not only showcased the latest fashion but also displayed the wealth and social status of the owner.

At the Races by Louis Anquetin, c. 1895
At the Races by Louis Anquetin, c. 1895

Parasol covers could be patterned with complex forms—usually floral with curvilinear scrolling. The chain link motif shown below was unusual for covers, being found more often on handle designs in the last quarter of the 19th century.

1880s. French. Silk
1880s. French. Silk

The Belgian appliqué net lace shown below would have been used on a very expensive parasol. Attaching the separately-made covers was the last stage of the manufacturing process.

c. 1885. Belgian Net Lace Parasol
c. 1885. Belgian Net Lace Parasol

The marbleized handle tip of the beautiful French-made parasol below has intricate metal and enamel accents. Luxury parasols had fine quality finishes on the inside. Each rib and stretcher has been individually covered with fabric. The shank is as beautifully made as the handle, with a high-quality polished wood finish.

1895. French. Silk, sood, metal, marble, enamel
1895. French. Silk, sood, metal, marble, enamel

To Victorians and Edwardians, parasols were very special accessories that not only performed an important function but were also an expression of personal taste, wealth, and social class.

Loving Flower Care by Victor Gabriel Gilbert, 1933
Loving Flower Care by Victor Gabriel Gilbert, 1933
A Solitary Ramble by Julian Ashton, 1888
A Solitary Ramble by Julian Ashton, 1888
The green parasol by Emanuel Phillips Fox, 1912
The green parasol by Emanuel Phillips Fox, 1912
Group with Parasols by John Singer Sargent, 1905
Group with Parasols by John Singer Sargent, 1905
Woman with Parasol by Ivan Nikolaevich Kramskoi, 1883
Woman with Parasol by Ivan Nikolaevich Kramskoi, 1883
Lady with a Parasol by Tom Roberts, c. 1893
Lady with a Parasol by Tom Roberts, c. 1893
An Elegant Lady with a Parasol by Jules-Alexandre Grun, 1905
An Elegant Lady with a Parasol by Jules-Alexandre Grun, 1905
Woman with a parasol by Édouard Manet, 1881
Woman with a parasol by Édouard Manet, 1881

The Art of Café Society

Café society was the name given to the “Beautiful People” and “Bright Young Things” who gathered in fashionable cafes in New York, Paris, and London beginning in the 1890s.

But the history of cafes goes back much farther.

During the middle ages, coffeehouses spread across the Ottoman Empire, starting in what is now Saudi Arabia, then opening in Syria, Egypt, and Istanbul.

Describing the Persian coffeehouse scene in the 17th-century, French traveler Jean Chardin wrote:

People engage in conversation, for it is there that news is communicated and where those interested in politics criticize the government in all freedom and without being fearful since the government does not heed what the people say.

Chardin noted that games like chess and checkers were played, along with poets and preachers telling stories in verse or as moral lessons.

Trade with the Ottoman Empire brought coffeehouses to Europe via the Republic of Venice in around 1629, with the first coffeehouse in England opening in Oxford in 1652.

Grand Café, Oxford. Credit Kake, flickr
Grand Café, Oxford. Credit Kake, flickr

Here, at what is now the Grand Café in Oxford, 17th-century luminaries gathered to discuss a whole range of ideas based on reason—what we now refer to as the Enlightenment.

Whether you visit alone to think and contemplate, or to join friends and chat about life, work, and the ways of the world, the next time you settle in at Starbucks or Costa Coffee or a host of other modern cafés, take a moment to pause and reflect on what these places actually represent.

They are where our modern ideas of liberty, progress, tolerance, and fraternity were born.

El Cafe by Jose Jimenez y Aranda
El Cafe by Jose Jimenez y Aranda
Garden Cafe on the River Elbe by Max Liebermann - circa 1922
Garden Cafe on the River Elbe by Max Liebermann – circa 1922
In Café Bauer by Lesser Ury, 1895
In Café Bauer by Lesser Ury, 1895
Terrace Scene-Musée Lorrain by Léon Voirin (1833-1887)
Terrace Scene-Musée Lorrain by Léon Voirin (1833-1887)
In Front of the Cafe by Lesser Ury - circa 1920-1929
In Front of the Cafe by Lesser Ury – circa 1920-1929
Cafe de la Paix, Paris by Constantin Alexeevich Korovin
Cafe de la Paix, Paris by Constantin Alexeevich Korovin
In the Cafe by Pyotr Nilus - 1901
In the Cafe by Pyotr Nilus – 1901
Cafe de Paris by Joaquin Sorolla y Bastida - 1885
Cafe de Paris by Joaquin Sorolla y Bastida – 1885
Cafe along a River by Luigi Loir
Cafe along a River by Luigi Loir
La Guinguette, an outdoor cafe in Montmartre by Vincent van Gogh, 1886
La Guinguette, an outdoor cafe in Montmartre by Vincent van Gogh, 1886
Outdoor Cafe on Staufenplatz by Heinrich Hermanns
Outdoor Cafe on Staufenplatz by Heinrich Hermanns
Paris. Cafe de la Paix by Constantin Alexeevich Korovin - 1906
Paris. Cafe de la Paix by Constantin Alexeevich Korovin – 1906
The terrace of the café of the glacier, place Stanislas in Nancy by Léon Joseph Voirin (1833-1887)
The terrace of the café of the glacier, place Stanislas in Nancy by Léon Joseph Voirin (1833-1887)
The Cafe on the terrace at St Ile de Yeu by Henri Lebasque - circa 1919
The Cafe on the terrace at St Ile de Yeu by Henri Lebasque – circa 1919
Woman in a Cafe by Edgar Degas - circa 1877
Woman in a Cafe by Edgar Degas – circa 1877
Women on a Cafe Terrace in the Evening by Edgar Degas - 1877
Women on a Cafe Terrace in the Evening by Edgar Degas – 1877
At the Cafe by Felix Vallotton - 1909
At the Cafe by Felix Vallotton – 1909
Cafe Maxim, Paris by Jean-Louis Forain
Cafe Maxim, Paris by Jean-Louis Forain
Night Cafe by Axel Torneman - circa 1905-1906
Night Cafe by Axel Torneman – circa 1905-1906
El Cafe de Montmartre by Santiago Rusiñol Prats - 1890
El Cafe de Montmartre by Santiago Rusiñol Prats – 1890
Conversation at the Cafe by Giovanni Boldini - 1877-1878
Conversation at the Cafe by Giovanni Boldini – 1877-1878
At the Cafe by Frederick Childe Hassam - 1887-1889
At the Cafe by Frederick Childe Hassam – 1887-1889
Hailing a Cab outside the Cafe Americain by Jean-Georges Béraud - circa 1890
Hailing a Cab outside the Cafe Americain by Jean-Georges Béraud – circa 1890
The Boulevards, Evening in Front of the Cafe Napolitain by Jean-Georges Béraud
The Boulevards, Evening in Front of the Cafe Napolitain by Jean-Georges Béraud
Street Corner on Karl Johan, Grand Cafe by Edvard Munch - 1883
Street Corner on Karl Johan, Grand Cafe by Edvard Munch – 1883
Young Woman in a Cafe by Jean-François Raffaëlli
Young Woman in a Cafe by Jean-François Raffaëlli
A Parisian Cafe by Ilia Efimovich Repin - 1875
A Parisian Cafe by Ilia Efimovich Repin – 1875
At the Cafe by Pierre Auguste Renoir - 1877
At the Cafe by Pierre Auguste Renoir – 1877
Cafe en la terraza by Julio Vila Prades
Cafe en la terraza by Julio Vila Prades
The Terrace Cafe, Mar del Plata, Argentina by Eugenio Alvarez Dumont - 1912
The Terrace Cafe, Mar del Plata, Argentina by Eugenio Alvarez Dumont – 1912
Parisian Cafe by Constantin Alexeevich Korovin
Parisian Cafe by Constantin Alexeevich Korovin
Paris Cafe by Alfred Henry Maurer - circa 1904
Paris Cafe by Alfred Henry Maurer – circa 1904
Cafe-Concert by Édouard Manet - 1878
Cafe-Concert by Édouard Manet – 1878
Moulin de la Galette by Isaac Israëls, 1906
Moulin de la Galette by Isaac Israëls, 1906
The Cafe by Pierre Auguste Renoir - circa 1874-1877
The Cafe by Pierre Auguste Renoir – circa 1874-1877
At the Cafe by Jean-Louis Forain - circa 1879
At the Cafe by Jean-Louis Forain – circa 1879
Cafe sur la Port by Henri Lebasque
Cafe sur la Port by Henri Lebasque
In a Cafe by Gustave Caillebotte - 1880
In a Cafe by Gustave Caillebotte – 1880
Cafe de la Paix by Richard Edward Miller - circa 1905
Cafe de la Paix by Richard Edward Miller – circa 1905
A Parisian Cafe by Edouaro Leon Garrido - 1886
A Parisian Cafe by Edouaro Leon Garrido – 1886
In the cafe by Gotthardt Kuehl, 1915
In the cafe by Gotthardt Kuehl, 1915
An Elegant Lady in Black in a Cafe by Pompeo Mariani
An Elegant Lady in Black in a Cafe by Pompeo Mariani
Cafe in Venice by Manuel Domínguez Sánchez
Cafe in Venice by Manuel Domínguez Sánchez
Cafe De Paris by Richard Edward Miller
Cafe De Paris by Richard Edward Miller
The Cafe Terrace on the Place de Forum, Arles, At Night by Vincent van Gogh - 1888
The Cafe Terrace on the Place de Forum, Arles, At Night by Vincent van Gogh – 1888
In the Cafe by Isaac Israels - circa 1905
In the Cafe by Isaac Israels – circa 1905
Terrasse De Cafe by Delphin Enjolras
Terrasse De Cafe by Delphin Enjolras
Night Cafe by Sergei Arsenevich Vinogradov - 1901
Night Cafe by Sergei Arsenevich Vinogradov – 1901
Cafe by Kuzma Petrov-Vodkin - 1907
Cafe by Kuzma Petrov-Vodkin – 1907
The Cafe Royal, London by Sir William Orpen, R.A., R.H.A. - 1912
The Cafe Royal, London by Sir William Orpen, R.A., R.H.A. – 1912
Cafe de Paris by Jean-Georges Béraud - circa 1900
Cafe de Paris by Jean-Georges Béraud – circa 1900
At the Cafe by Robert Koehler - circa 1887
At the Cafe by Robert Koehler – circa 1887
The Night Cafe by Luigi Loir
The Night Cafe by Luigi Loir
In A Paris Cafe by Boris Grigoriev, 1914
In A Paris Cafe by Boris Grigoriev, 1914
Café Bauer by Leo Lesser Ury, 1889
Café Bauer by Leo Lesser Ury, 1889
Cafe by Kuzma Petrov-Vodkin, 1907
Cafe by Kuzma Petrov-Vodkin, 1907

10 Amazing Facts About Cholera and The Great Stink of London

Sometimes, kicking up a great stink about an important issue is the only way to get something done about it.

In 1858, it was “Old Father Thames”, London’s very own River God, who was raising a stink. His river was literally choking on raw sewage. A toxic cocktail of human excreta, slaughterhouse waste, and industrial chemicals poured freely into the River Thames, turning it into an open sewer.

Old Father Thames from the book London: A Pilgrimage. With illustrations by Gustave Dore, 1872
Old Father Thames from the book London: A Pilgrimage. With illustrations by Gustave Dore, 1872
A Drop of Thames Water, by Punch, 1850
“A Drop of Thames Water” by Punch, 1850

For decades, Londoners had been dying of waterborne disease because the sewage contaminated the water supply.

By the summer of 1858, the smell from the river was so bad, they called it “The Great Stink”.

Just one drop of Thames river water, laden with all manner of pathogens, was all it took to suffer an agonizing death, sometimes in a matter of hours.

Here are 10 amazing facts about Cholera and the Great Stink of London.

1. By the summer of 1858, The Great Stink had become intolerable

Queen Victoria with a clothes peg on her nose
Queen Victoria with a clothes peg on her nose

London was experiencing a heatwave. Temperatures in the sun were 118°F. It was as hot as the Arizona desert. As the water level dropped, layer upon layer of fecal matter—six feet deep in places—had washed up on the muddy shores and was fermenting in the heat.

The situation was so dire that Queen Victoria and Prince Albert had to cancel a pleasure cruise on the Thames because of the smell.

And the stink bothered the politicians in the newly rebuilt Parliament buildings. They couldn’t bare to breathe without a handkerchief over their noses. They even had the curtains soaked in chloride of lime (industrial-strength bleach) to try to alleviate the smell.

The press labeled it The Great Stink and led with articles complaining about the abominable stench.

Gentility of speech is at an end—it stinks, and whoso once inhales the stink can never forget it and can count himself lucky if he lives to remember it. —City Press
A pestiferous and typhus breeding abomination … the amount of poisonous gasses which is thrown off is proportionate to the increase of the sewage which is passed into the stream —The Standard
We can colonise the remotest ends of the earth; we can conquer India; we can pay the interest of the most enormous debt ever contracted; we can spread our name, and our fame, and our fructifying wealth to every part of the world; but we cannot clean the River Thames —Illustrated London News

Funny how something gets done when the problem is on our own doorstep. With the Houses of Parliament virtually on top of the Thames cesspool, it’s no wonder that new laws were enacted in just 18 days to provide the funding for a massive new sewer scheme.

2. 40,000 people died of Cholera in London alone

Father Thames Introducing His Offspring to the Fair City of London by John Leech, 1858
Father Thames Introducing His Offspring to the Fair City of London by John Leech, 1858

During the first half of the 19th century, the death rate in Britain’s cities was higher than at any time since the Black Death.

Between 1831 and 1866, approximately 40,000 people died from cholera in London alone.

London’s first major cholera outbreak struck in 1831 when the disease claimed 6,536 lives. A second epidemic killed 14,136 between 1848–49. The third outbreak from 1853–54 took 10,738 lives. The final epidemic killed 5,596 in 1866 and was restricted to the East End of London—an area not yet connected to the new sewer system.

During the 1830s, infant mortality rate was around 50%, with parents expecting to lose half their children before they were 5 years old.

3. Victorians had no known cure for Cholera and didn’t understand how it spread

A cholera patient experimenting with remedies. Credit Wellcome Images
A cholera patient experimenting with remedies. Credit Wellcome Images

Of all the theories of how cholera was transmitted—including bad weather, foul smells, electromagnetism and divine vengeance—it was the misguided idea that disease spreads through the air via bad smells that held the most sway.

Called the “miasma theory”, it had been accepted since ancient times in Europe, India, and China, and was firmly believed by 19th-century luminaries such as Florence Nightingale.

Even after it was proven in 1891 that cholera was a product of contaminated water, Florence Nightingale remained a firm believer in miasma theory until her death.

Doctors were basically clueless about cholera but tried various remedies known to have worked for other diseases.  Ranging from the merciful prescribing of opiates to extremes such as bleeding or burning the skin, such remedies were largely worthless.

Claims for cholera remedies existed in folklore. In the 1854–1855 outbreak in Naples homeopathic Camphor was used. Tomato syrup was a popular home remedy in North America, as mentioned in T. J. Ritter’s “Mother’s Remedies” book, and Elecampane—from the sunflower family of plants—was recommended in the United Kingdom.

4. The flushing toilet was a major contributor to the Great Stink

In 1846, Parliament passed The Nuisances Removal and Diseases Prevention Act, also known as The Cholera Bill. Its purpose was to encourage property owners to clean their dwellings and connect them to sewers.

Increasingly popular among the middle classes was the flush toilet, which helped keep homes clean and fresh.

All sounds good, doesn’t it? But the Cholera Bill was fatally flawed. It relied on the “miasma theory” which held that diseases such as cholera were caused by noxious fumes emanating from rotting organic matter. So the belief was that getting rid of the smell was helping to rid the city of Cholera, except that it wasn’t—it was making matters worse.

Victorian Flush Toilets
Victorian Flush Toilets

As we now know, cholera is waterborne, so flushing toilets among London’s middle classes only added to the volumes of sewage reaching the River Thames.

And because of the fear that the miasma from the sewers would cause the spread of disease, they were regularly flushed through, a policy that resulted in even more sewage being discharged into the Thames.

Rather than creating a sweeter smelling city, it caused the Great Stink.

5. Despite warnings by experts, nothing was done until the Great Stink

Michael Faraday delivering a lecture at the Royal Institution
Michael Faraday delivering a lecture at the Royal Institution

Two eminent figures from the scientific community had gone to great lengths to explain the dangers of such high levels of pollution in the River Thames but were largely ignored.

Michael Faraday, best known for his groundbreaking work on electromagnetism, was one of the most influential scientists in history. Shocked at the state of the River Thames, he wrote a letter to The Times newspaper in July 1855 describing a simple experiment that everyone could understand. He dropped pieces of white paper into the river to “test the degree of opacity”.

Near the bridges the feculence rolled up in clouds so dense that they were visible at the surface … the whole river was for the time a real sewer —Michael Faraday

But it was Sir John Snow, a London-based physician who is credited with correctly identifying the waterborne nature of cholera transmission.

Nine years before the Great Stink, he published a paper, On the Mode of Communication of Cholera, but little attention was paid to it.

Following the third cholera outbreak in 1854, Snow published an update with observations based on studies of a water pump in Soho. He documented the effects of removing the pump’s handle as resulting in a fall in the death rate because people were denied access to contaminated water.

Sadly, John Snow would not live to see a cleaner Thames River and his waterborne theory wasn’t fully accepted until 1866—8 years after his death.

6. Joseph Bazalgette “probably saved more lives, than any single Victorian official”

Joseph Bazalgette, civil engineer
Joseph Bazalgette, civil engineer

A knight in shining armor, or more specifically, a white lab coat, civil engineer Sir Joseph William Bazalgette came charging at full speed to put his experience in the massive railway industry to use on a new sewer network for London.

Bazalgette was knighted for his efforts in 1875—and not without good reason.

Praise for Sir Joseph Bazalgette:

Bazalgette probably did more good, and saved more lives, than any single Victorian official —John Doxat, historian and author 
Bazalgette’s two great titles to fame are that he beautified London and drained it —The Illustrated London News
Bazalgette’s work will ever remain as monuments to his skill and professional ability —Sir John Coode, president of the Institute of Civil Engineers
When the New Zealander comes to London a thousand years hence … the magnificent solidity and the faultless symmetry of the great granite blocks which form the wall of the Thames-embankment will still remain …  and the great sewer that runs beneath Londoners … has added some 20 years to their chance of life—The Times of London
With John Nash and Christopher Wren, Bazalgette enters the pantheon of London heroes —Peter Ackroyd CBE, historian

7. Bazalgette constructs 82 miles (132km) of main sewers, 1100 miles of street sewers, four pumping stations, two treatment works, and three embankments

Bazalgette as the 'Sewer Snake', Punch, 1883
Bazalgette as the ‘Sewer Snake’, Punch, 1883

It’s difficult to do justice to the sheer scale of Bazalgette’s undertaking.

Over the next 16 years, Bazalgette constructs 82 miles (132km) of main intercepting sewers, 1100 miles of street sewers, four pumping stations, two treatment works, and three embankments—the Victoria, Chelsea, and Albert Embankments.

Four hundred draftsmen worked on the detailed plans and sectional views for the first phase of the building process.

When planning the sewer network, Bazalgette showed almost soothsayer-like foresight. He calculated the diameter required for the pipes, then doubled it to account for the “unforeseen”. If he’d stuck with his original calculations, the London sewer would have overflowed in the 1960s, but it still does the job today.

Well, we’re only going to do this once and there’s always the unforeseen —Joseph Bazalgette

The new sewers succeeded in virtually eliminating the disease by removing the contamination. Bazalgette’s sewers also decreased the incidence of typhus and typhoid epidemics.

The system was opened by Edward, Prince of Wales in 1865, although the whole project was not actually completed for another ten years.

8. It took 318 million bricks and 880,000 cubic yards of concrete

Portland cement in its modern form is used throughout the world as the standard ingredient of concrete, mortar, and stucco.

Its specification can be largely attributed to the quality control system introduced by Joseph Bazalgette when working with cement manufacturers to produce the right mix for his new sewer system.

The main drainage of the Metropolis - sectional view of sewerage tunnels from Wick Lane, near Old Ford, Bow, looking westward. Credit Wellcome Images
The main drainage of the Metropolis – sectional view of sewerage tunnels from Wick Lane, near Old Ford, Bow, looking westward. Credit Wellcome Images

Running alongside the banks of the Thames and building up walls on the foreshore, Bazalgette ran the sewer pipes inside and filled around them with concrete.

the most expensive and wonderful work of modern times —The Observer, 1861
Section of the Thames Embankment, 1867
Section of the Thames Embankment, 1867

9. Pumping stations became protected buildings of historical significance

Built in a Romanesque style, the Crossness Pumping Station is a superb example of the intricate and decorative cast ironwork of the Victorian period.

Lauded by the English Heritage trust organization as historically important, this and Bazalgette’s other pumping stations were used to lift sewage from low-lying areas to higher ground so that it could then fall under the pull of gravity over long distances out to sea, or to remote processing plants, as is the common practice today.

The power came from four massive beam engines, named Victoria, Prince Consort, Albert Edward and Alexandra, which were manufactured by James Watt and Co.

Opened in 1865 by the Prince of Wales (the future King Edward VII), the ceremony at Crossness was attended by other members of royalty, MPs, the Lord Mayor of London and the Archbishops of Canterbury and York, and was followed by a dinner for 500 within the station.

Crossness Pumping Station
Crossness Pumping Station

10. Bazalgette’s embankments had as much impact on beautifying London as Sir Christopher Wren’s rebuilding after the Great Fire of 1666

The embankments claimed over 52 acres of land from the Thames, with the Victoria Embankment relieving congestion on roads between Westminster and the City of London.

Today, London is one of the greenest capitals in the world, partly because of “The Great Stink”. Under the miasma theory that disease was carried in the air, rather than the water, it was believed that parks would act as “lungs” for towns and cities.

The Embankment project was seen as being nationally important and, with the Queen unable to attend because of illness, the Victoria Embankment was opened by the Prince of Wales in July 1870. The Albert Embankment had been completed in November 1869, while the Chelsea Embankment was opened in July 1874.

The Embankment by John O'Connor, 1874
The Embankment by John O’Connor, 1874
The Thames by James Tissot, 1876
The Thames by James Tissot, 1876
The Thames Embankment, c. 1895
The Thames Embankment, c. 1895
Click to see the Thames Embankment as it looks in the present

References
Wikipedia.com
Concepts and Methods in Infectious Disease Surveillance edited by Nkuchia M. M’ikanatha, John Iskander
The Lesser Writings of Samuel Hahnemann
Pamela K. Gilbert, “On Cholera in Nineteenth-Century England”

30 Beautiful Paintings of Village Life Around Norwegian Fjords by Hans Dahl

Hans Dahl (1849 – 1937) was famous for painting breathtaking Norwegian landscapes with sheer-sided fjords and sweeping valleys.

Within those settings, he painted pretty young women going about their everyday work in the surrounding fields—gathering leaves and grasses to feed cattle and sheep, fishing, making hay, or picking wildflowers to sell at market.

Born in the village of Granvin on Hardangerfjord, the second longest fjord in Norway, Dahl showed early promise as an artist.

After military service, he apprenticed with landscape painter Johan Fredrik Eckersberg and studied under romanticist painter Hans Gude.

But it was Dahl’s training at the Düsseldorf school of painting that would characterize his work—finely detailed, yet dreamlike, idealized landscapes.

What better music to accompany Hans Dahl’s work than that of a fellow Norwegian—the composer Edvard Grieg.

Summerday by Balestrand by Hans Dahl
Summerday by Balestrand by Hans Dahl
Summer Day on the Fjord by Hans Dahl
Summer Day on the Fjord by Hans Dahl
A young girl in a fjord landscape by Hans Dahl
A young girl in a fjord landscape by Hans Dahl
A Young Woman in the Meadow by Hans Dahl, 1894
A Young Woman in the Meadow by Hans Dahl, 1894
The Young Harvester by Hans Dahl
The Young Harvester by Hans Dahl
Awaiting his return by Hans Dahl
Awaiting his return by Hans Dahl
A summer day in the mountains by Hans Dahl
A summer day in the mountains by Hans Dahl
Milkmaid with goats by Hans Dahl
Milkmaid with goats by Hans Dahl
Last Rays of the Sun by Hans Dahl
Last Rays of the Sun by Hans Dahl
Happy Thoughts by Hans Dahl
Happy Thoughts by Hans Dahl
Girl with Sickle by Hans Dahl
Girl with Sickle by Hans Dahl
Harvesters by the Banks of a Fjord by Hans Dahl
Harvesters by the Banks of a Fjord by Hans Dahl
Girl in a Fjord Landscape by Hans Dahl
Girl in a Fjord Landscape by Hans Dahl
Girl Carrying Leaves by Hans Dahl
Girl Carrying Leaves by Hans Dahl
Admiring the View by Hans Dahl
Admiring the View by Hans Dahl
Girl before a Fjord by Hans Dahl
Girl before a Fjord by Hans Dahl
Fresh Breeze, Norway by Hans Dahl, 1900
Fresh Breeze, Norway by Hans Dahl, 1900
Flirtation by Hans Dahl
Flirtation by Hans Dahl
The Fjord by Hans Dahl
The Fjord by Hans Dahl
Girl Beside a Fjord by Hans Dahl, 1910
Figures in a Rowing Boat on a Fjord by Hans Dahl, 1917
Figures in a Rowing Boat on a Fjord by Hans Dahl, 1917
Crossing the Ford by Hans Dahl
Crossing the Ford by Hans Dahl
By the Water's Edge by Hans Dahl, 1880
By the Water’s Edge by Hans Dahl, 1880
By the Fjord by Hans Dahl
By the Fjord by Hans Dahl
By the Fjord by Hans Dahl
By the Fjord by Hans Dahl
Girl by a mountain lake by Hans Dahl
Girl by a mountain lake by Hans Dahl
An Alpine Landscapewith a Shepherdess and Goats by Hans Dahl
An Alpine Landscapewith a Shepherdess and Goats by Hans Dahl
Summer Day by Hans Dahl
Summer Day by Hans Dahl
Rest of Haymakers by Hans Dahl
Rest of Haymakers by Hans Dahl
Sognefjord by Hans Dahl
Sognefjord by Hans Dahl

16 Albert Lynch Paintings from the Belle Époque

Born in Trujillo, Peru, in 1851, Albert Lynch moved to Paris to study at one of the most prestigious and influential art schools of the 19th century—l’École des Beaux-Arts.

Working under the guidance of Jules Achille Noël, Gabriel Ferrier and Henri Lehmann, Lynch reached a standard that was good enough to show at the Paris Salon in 1890 and 1892, and also the Exposition Universelle of 1900, where he was awarded a gold medal.

Preferring pastel, gouache and watercolor, Lynch painted society women “in the spirit of the Belle Époque”. He also illustrated some high profile novels of the period including Camille by Alexandre Dumas, fils (the son of Alexandre Dumas of The Count of Monte Cristo fame), Le Père Goriot by Honoré de Balzac and La Parisienne by Henry Becque.

Gathering Flowers by Albert Lynch
Gathering Flowers by Albert Lynch
Head of a Girl by Albert Lynch
Head of a Girl by Albert Lynch
Tea Time by Albert Lynch
Tea Time by Albert Lynch
Portrait Of An Elegant Lady by Albert Lynch
Portrait Of An Elegant Lady by Albert Lynch
Embarking on a Voyage by Albert Lynch
Embarking on a Voyage by Albert Lynch
In the Garden by Albert Lynch
In the Garden by Albert Lynch
Suivez moi by Albert Lynch
Suivez moi by Albert Lynch
Portrait of a Young Woman by Albert Lynch
Portrait of a Young Woman by Albert Lynch
Portrait Of A Lady In Blue by Albert Lynch
Portrait Of A Lady In Blue by Albert Lynch
The Print Connoisseurs by Albert Lynch
The Print Connoisseurs by Albert Lynch
A Young Beauty with Flowers in her Hair by Albert Lynch
A Young Beauty with Flowers in her Hair by Albert Lynch
Young woman with hat by Albert Lynch
Young woman with hat by Albert Lynch
A Lady With a Fan by Albert Lynch
A Lady With a Fan by Albert Lynch
The New Partition by Albert Lynch
The New Partition by Albert Lynch
Fresh From the Garden by Albert Lynch
Fresh From the Garden by Albert Lynch
The Letter by Albert Lynch
The Letter by Albert Lynch
Other paintings of society women from Albert Lynch
Other paintings of society women from Albert Lynch

20 Handmade Dolls Tell the History of Fashion

This is the story of how a series of exquisite handmade dolls, representing the history of French haute couture made their way to the United States as an expression of gratitude.

The year was 1948 and France was still suffering from the effects of World War II. Housed in boxcars and dubbed the “Friendship Train”, American aide organizations had sent large-scale relief the year before.

Read more …

Now it was France who wished to show its gratitude for America’s generosity by creating the “Gratitude Train”—a set of 49 box cars filled with French-made gifts, like handmade toys and priceless works of art.

The French fashion houses banded together to create something very special.

They tasked their most talented designers with creating a set of fashion dolls that would show the evolution of French fashion.

Measuring 24 inches tall with bodies made from open wire, the designers used human hair to fashion the hairstyles.

Using period paintings, literature, and fashion plates as references, each designer chose a year between 1715 and 1906.

Representing their creative interpretations, the designers used the same level of care and attention to detail as they did for full size work.

It was a unique moment in the history of French couture.

“1715 Doll”. Marcel Rochas (French, 1902–1955)

"1715 Doll". Marcel Rochas (French, 1902–1955)
“1715 Doll”. Marcel Rochas (French, 1902–1955)

“1733 Doll”. Jean Bader (French)

"1733 Doll". Jean Bader (French)
“1733 Doll”. Jean Bader (French)

“1755 Doll”. A. Reichert (French)

"1755 Doll". A. Reichert (French)
“1755 Doll”. A. Reichert (French)

“1774 Doll”. Jean Dessès (French (born Egypt), Alexandria 1904–1970 Athens)

"1774 Doll". Jean Dessès (French (born Egypt), Alexandria 1904–1970 Athens)
“1774 Doll”. Jean Dessès (French (born Egypt), Alexandria 1904–1970 Athens)

“1779 Doll”. Lucille Manguin

"1779 Doll". Lucille Manguin
“1779 Doll”. Lucille Manguin

“1785 Doll”. Maggy Rouff (French, 1896–1971)

"1785 Doll". Maggy Rouff (French, 1896–1971)
“1785 Doll”. Maggy Rouff (French, 1896–1971)

“1787 Doll”. Mendel

"1787 Doll". Mendel
“1787 Doll”. Mendel

“1791 Doll”. Martial & Armand

"1791 Doll". Martial & Armand
“1791 Doll”. Martial & Armand

“1808 Doll”. Madame Grès (Alix Barton) (French, Paris 1903–1993 Var region)

"1808 Doll". Madame Grès (Alix Barton) (French, Paris 1903–1993 Var region)
“1808 Doll”. Madame Grès (Alix Barton) (French, Paris 1903–1993 Var region)

“1820 Doll”. House of Patou (French, founded 1919)

"1820 Doll". House of Patou (French, founded 1919)
“1820 Doll”. House of Patou (French, founded 1919)

“1828 Doll”. Henriette Beaujeu (French)

"1828 Doll". Henriette Beaujeu (French)
“1828 Doll”. Henriette Beaujeu (French)

“1832 Doll”. Marcelle Dormoy (French)

"1832 Doll". Marcelle Dormoy (French)
“1832 Doll”. Marcelle Dormoy (French)

“1866 Doll”. Marcelle Chaumont (French)

"1866 Doll". Marcelle Chaumont (French)
“1866 Doll”. Marcelle Chaumont (French)

“1867 Doll”. Jacques Fath (French, 1912–1954)

"1867 Doll". Jacques Fath (French, 1912–1954)
“1867 Doll”. Jacques Fath (French, 1912–1954)

“1873 Doll”. Madeleine Vramant (French)

"1873 Doll". Madeleine Vramant (French)
“1873 Doll”. Madeleine Vramant (French)

“1884 Doll”. Nina Ricci (French, 1883–1970)

"1884 Doll". Nina Ricci (French, 1883–1970)
“1884 Doll”. Nina Ricci (French, 1883–1970)

“1892 Doll”. Germaine Lecomte

"1892 Doll". Germaine Lecomte
“1892 Doll”. Germaine Lecomte

“1896 Doll”. Bruyère (French, founded 1928)

"1896 Doll". Bruyère (French, founded 1928)
“1896 Doll”. Bruyère (French, founded 1928)

“1902 Doll”. Robert Piguet (French, born Switzerland, 1901–1953)

"1902 Doll". Robert Piguet (French, born Switzerland, 1901–1953)
“1902 Doll”. Robert Piguet (French, born Switzerland, 1901–1953)

“1906 Doll”. Elsa Schiaparelli (Italian, 1890–1973)

"1906 Doll". Elsa Schiaparelli (Italian, 1890–1973)
“1906 Doll”. Elsa Schiaparelli (Italian, 1890–1973)

References
Metropolitan Museum of Art

The Statue of Liberty — Enlightening the World

The story of the Statue of Liberty is one of the most compelling celebrations of freedom and democracy the world has ever known.

It was 1865. The American Civil War had just ended, and along with it, slavery abolished.

After-dinner conversation

Across the Atlantic in France, two men sat engaged in an after-dinner conversation. One was French legal scholar and anti-slavery activist Édouard René de Laboulaye, and the other, French sculptor Frédéric Auguste Bartholdi.

Édouard René de Laboulaye (left) and Frédéric Auguste Bartholdi
Édouard René de Laboulaye (left) and Frédéric Auguste Bartholdi

Laboulaye had been thinking about ways to strengthen the relationship between France and the United States. But more than that, he hoped that by helping the US celebrate freedom and democracy, the French people would be inspired to rise up against what he saw as the repressive monarchy of Napoleon III.

A gift of friendship from the people of France to the people of the United States and a universal symbol of freedom and democracy
A gift of friendship from the people of France to the people of the United States and a universal symbol of freedom and democracy

“How fitting it would be if France and the United States could build a monument together to celebrate our solidarity for freedom,” Laboulaye said to Bartholdi.

“What a magnificent idea,” Bartholdi agreed. “Imagine a colossal statue of the Roman goddess Libertas—the very embodiment of Liberty.”

“Madame Liberté!” exclaimed Laboulaye.  “She could carry a torch and tablet inscribed with one of the most important dates in history—July 4, 1776.”

Detail of the tablet with inscription July IV. MDCCLXXVI
Detail of the tablet with inscription July IV. MDCCLXXVI

War and Republic

But France was fast approaching its own war—the Franco Prussian War of 1870. Madame Liberté would have to wait.

Lasting less than a year, the war came to an end in May 1871. Laboulaye got his wish, with France becoming a Republic. Bartholdi started work on the great statue.

Workmen constructing the Statue of Liberty in Bartholdi's Parisian warehouse, 1882
Workmen constructing the Statue of Liberty in Bartholdi’s Parisian warehouse, 1882

The Franco-American Union

Laboulaye envisioned France paying for the statue itself  and the US providing the pedestal.

First to be completed and exhibited was the torch-bearing arm, put on show in 1876 at the Centennial Exposition in Philadelphia and again in Madison Square Park, Manhattan from 1876 – 1882.

Statue of Liberty Arm, 1876, Phildadelphia Centennial Exposition
Statue of Liberty Arm, 1876, Phildadelphia Centennial Exposition

Can you imagine Lady Liberty’s arm on display for a whole six years in Manhattan? Such was the reality, as Americans hunted for funding to complete the pedestal.

Crowdfunding

It took a drive for donations by Joseph Pulitzer, publisher of the New York World newspaper before enough funds were gathered. 120,000 people contributed, with most paying less than a dollar.

The American Committee charged with building the pedestal for the Statue of Liberty didn't complete it until May 1886—10 years after the centennial of the Declaration of Independence.
The American Committee charged with building the pedestal for the Statue of Liberty didn’t complete it until May 1886—10 years after the centennial of the Declaration of Independence.

Give me your tired, your poor, your huddled masses

Also contributing to the fund raising effort was a young American-Jewish poet by the name of Emma Lazarus. She wrote a heartwarming poem called “The New Colossus” which challenged the original philosophy of the great statue as being for shared republican ideals between the United States and France.

The Great Bartholdi Statue

Through her poem, Emma Lazarus offered a new vision for Madame Liberté, not as a monument to military might, but as a symbol of freedom, enlightenment, and compassion. A beacon of light where there was darkness. A land of hope where there was tyranny.

The New Colossus by Emma Lazarus… (Click to view)

Not like the brazen giant of Greek fame
With conquering limbs astride from land to land;
Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame,
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore,
Send these, the homeless, tempest-tossed to me,
I lift my lamp beside the golden door!”
—Emma Lazarus

Constructed in France, then shipped in crates to Liberty Island—then known as Bedloe’s Island—assembly of the great statue on the completed pedestal began in May, 1886.

Sections of Liberty
Sections of Liberty

Presided over by President Grover Cleveland, the great statue of Bartholdi was opened in 1886. New York held it’s first ticker-tape parade to celebrate.

Statue of Liberty unveiled by Edward Moran, 1886
Statue of Liberty unveiled by Edward Moran, 1886

Liberty Enlightening the World

Millions and millions have since come through New York Harbor from every corner of the globe, gazing upon the outstretched arm of the Statue of Liberty and dreaming of a new life.

Welcome to the land of freedom - an ocean steamer passing the Statue of Liberty, 1887
Welcome to the land of freedom – an ocean steamer passing the Statue of Liberty, 1887
Not war and conquest, but freedom enlightenment and compassion.
—Alicia Ostriker

Art for the Day – Daniel Ridgway Knight

More than 100 years ago, high above the banks of the Seine River in Rolleboise, France, Daniel Ridgway Knight set up his easel to paint working women in the fields, vineyards, and gardens surrounding the beautiful valley.

Today, if you were to sit and have lunch at the restaurant of Hotel Domain de la Corniche, you would be overlooking the same stretch of river depicted in several of Ridgway Knight’s paintings.

Hotel Domain de la Corniche
Hotel Domain de la Corniche

Born in Chambersburg, Pennsylvania in 1839, Knight trained in Paris under Gleyre at the École des Beaux-Arts. Gleyre taught a number of prominent artists, including Monet, Renoir, Sisley and Whistler.

After some years working under Meissonier, a painter of immensely detailed Napoleonic military scenes, Knight bought a house and studio in Poissy on the Seine.

Winning several awards at the Paris Salon, the Exposition Universelle, 1889, and the Pennsylvania Academy of Fine Arts, Daniel Ridway Knight is best remembered for his soulful depictions of women going about their daily work in and around the Seine River valley—sometimes stopping to talk, to rest, and to dream.

A Garden above the Seine, Rolleboise by Daniel Ridgway Knight
A Garden above the Seine, Rolleboise by Daniel Ridgway Knight
A Field of Flowers by Daniel Ridgway Knight
A Field of Flowers by Daniel Ridgway Knight
Women Washing Clothes by a Stream by Daniel Ridgway Knight, 1898
Women Washing Clothes by a Stream by Daniel Ridgway Knight, 1898
Watering the Garden by Daniel Ridgway Knight, 1912
Watering the Garden by Daniel Ridgway Knight, 1912
Two Women Fishing by Daniel Ridgway Knight
Two Women Fishing by Daniel Ridgway Knight
Three Women in a Landscape by Daniel Ridgway Knight, 1881
Three Women in a Landscape by Daniel Ridgway Knight, 1881
The Siesta by Daniel Ridgway Knight - 1882
The Siesta by Daniel Ridgway Knight – 1882
The Sewing Circle by Daniel Ridgway Knight
The Sewing Circle by Daniel Ridgway Knight
The Seine at Vernon by Daniel Ridgway Knight
The Seine at Vernon by Daniel Ridgway Knight
The Rose Garden by Daniel Ridgway Knight
The Rose Garden by Daniel Ridgway Knight
The Meeting by Daniel Ridgway Knight, c. 1888
The Meeting by Daniel Ridgway Knight, c. 1888
The Honeymoon Breakfast by Daniel Ridgway Knight
The Honeymoon Breakfast by Daniel Ridgway Knight
The Flower Boat by Daniel Ridgway Knight
The Flower Boat by Daniel Ridgway Knight
The Grape Harvest by Daniel Ridgway Knight. Image courtesy of Rehs Galleries, Inc., NYC
The Grape Harvest by Daniel Ridgway Knight. Image courtesy of Rehs Galleries, Inc., NYC
The Dancing Lesson by Daniel Ridgway Knight
The Dancing Lesson by Daniel Ridgway Knight
Madeleine in a wheat field by Daniel Ridgway Knight. Image courtesy of Rehs Galleries, Inc., NYC
Madeleine in a wheat field by Daniel Ridgway Knight. Image courtesy of Rehs Galleries, Inc., NYC
The Conversation by Daniel Ridgway Knight
The Conversation by Daniel Ridgway Knight
Spring Blossoms by Daniel Ridgway Knight. Image courtesy of Rehs Galleries, Inc., NYC
Spring Blossoms by Daniel Ridgway Knight. Image courtesy of Rehs Galleries, Inc., NYC
Reverie by Daniel Ridgway Knight, 1866
Reverie by Daniel Ridgway Knight, 1866
Picking Flowers by Daniel Ridgway Knight
Picking Flowers by Daniel Ridgway Knight
On the Terrace by Daniel Ridgway Knight
On the Terrace by Daniel Ridgway Knight
Mending by Daniel Ridgway Knight
Mending by Daniel Ridgway Knight
Julia on the Terrace by Daniel Ridgway Knight, 1909
Julia on the Terrace by Daniel Ridgway Knight, 1909
In the garden by Daniel Ridgway Knight, 1898
In the garden by Daniel Ridgway Knight, 1898
In Her Garden by Daniel Ridgway Knight
In Her Garden by Daniel Ridgway Knight
Hailing the Ferry by Daniel Ridgway Knight, 1888
Hailing the Ferry by Daniel Ridgway Knight, 1888
Girl by a Stream, Flanders by Daniel Ridgway Knight, 1890
Girl by a Stream, Flanders by Daniel Ridgway Knight, 1890
Flower Girls by Daniel Ridgway Knight
Flower Girls by Daniel Ridgway Knight
Fishing by Daniel Ridgway Knight
Fishing by Daniel Ridgway Knight
Fishing by Daniel Ridgway Knight
Fishing by Daniel Ridgway Knight
Far Away Thoughts by Daniel Ridgway Knight
Far Away Thoughts by Daniel Ridgway Knight
Daydreaming by Daniel Ridgway Knight
Daydreaming by Daniel Ridgway Knight
Daydreaming by Daniel Ridgway Knight
Daydreaming by Daniel Ridgway Knight
Contemplation by Daniel Ridgway Knight
Contemplation by Daniel Ridgway Knight
Confidence by Daniel Ridgway Knight - circa 1899
Confidence by Daniel Ridgway Knight – circa 1899
Coffee in the Garden by Daniel Ridgway Knight
Coffee in the Garden by Daniel Ridgway Knight
Chrysanthemums by Daniel Ridgway Knight, 1898. Image courtesy of Rehs Galleries, Inc., NYC
Chrysanthemums by Daniel Ridgway Knight, 1898. Image courtesy of Rehs Galleries, Inc., NYC
Brittany Girl Overlooking Stream by Daniel Ridgway Knight
Brittany Girl Overlooking Stream by Daniel Ridgway Knight
Baiting the Hook by Daniel Ridgway Knight
Breakfast in the Fields by Daniel Ridgway Knight, 1884. Image courtesy of Rehs Galleries, Inc., NYC
Breakfast in the Fields by Daniel Ridgway Knight, 1884. Image courtesy of Rehs Galleries, Inc., NYC
Autumn Evening by Daniel Ridgway Knight
Autumn Evening by Daniel Ridgway Knight
A Pensive Moment by Daniel Ridgway Knight
A Pensive Moment by Daniel Ridgway Knight

40 Fine Art Paintings by Émile Vernon

Émile Vernon (1872-1919) was a French fine arts painter.

Studying at the School of Fine Arts Tours in the Loire Valley, France, he won his first design award in 1888.

Encouraged by this success, he moved to Paris to train under William Bouguereau and Auguste Trouphème in the School of Fine Arts.

Specializing in watercolors, Vernon loved to paint women and children using bright colors in cheerful rural and bucolic settings.

Spring by Emile Vernon, 1913
Spring by Emile Vernon, 1913
Beauty with Flowers Emile Vernon, c. 1910
Beauty with Flowers Emile Vernon, c. 1910
Breton Children Reading Emile Vernon c, 1913
Breton Children Reading Emile Vernon c, 1913
Best of Friends Emile Vernon - 1917
Best of Friends Emile Vernon – 1917
Waiting for the Vet by Emile Vernon - 1919
Waiting for the Vet by Emile Vernon – 1919
Click to continue with more beautiful paintings from Émile Vernon…
Under the Cherry Tree by Emile Vernon - 1899
Under the Cherry Tree by Emile Vernon – 1899
Three Sisters by Emile Vernon - 1912
Three Sisters by Emile Vernon – 1912
Three Graces by Emile Vernonm, Date unknown
Three Graces by Emile Vernonm, Date unknown
The Three Graces by Emile Vernon - Date unknown
The Three Graces by Emile Vernon – Date unknown
A Sweet Glance by Emile Vernon - Date unknown
A Sweet Glance by Emile Vernon – Date unknown
A Summer Rose by Emile Vernon - 1913
A Summer Rose by Emile Vernon – 1913
Summer by Emile Vernon - Date unknown
Summer by Emile Vernon – Date unknown
Roses by Emile Vernon - 1908
Roses by Emile Vernon – 1908
The Rose Girl by Emile Vernon - Date unknown
The Rose Girl by Emile Vernon – Date unknown
Pretty In Pink by Emile Vernon - 1909
Pretty In Pink by Emile Vernon – 1909
Portrait of a Woman by Emile Vernon - Date unknown
Portrait of a Woman by Emile Vernon – Date unknown
Portrait of a Lady by Emile Vernon - Date unknown
Portrait of a Lady by Emile Vernon – Date unknown
Portrait of a Girl by Emile Vernon - Date unknown
Portrait of a Girl by Emile Vernon – Date unknown
New Friends by Emile Vernon, 1917
New Friends by Emile Vernon, 1917
The Little Kittens by Emile Vernon, 1919
The Little Kittens by Emile Vernon, 1919
Her most precious by Emile Vernon - 1919
Her most precious by Emile Vernon – 1919
Girl with Cherry by Emile Vernon, Date unknown
Girl with Cherry by Emile Vernon, Date unknown
Girls by Emile Vernon, Date unknown
Girls by Emile Vernon, Date unknown
Girl Holding a Nest by Emile Vernon, Date unknown
Girl Holding a Nest by Emile Vernon, Date unknown
Girl by the Lemon Tree by Emile Vernon, 1913
Girl by the Lemon Tree by Emile Vernon, 1913
The Flower Garden by Emile Vernon, 1915
The Flower Garden by Emile Vernon, 1915
The Fancy Bonnet by Emile Vernon, Date unknown
The Fancy Bonnet by Emile Vernon, Date unknown
An Elegant Lady With A Yellow Rose by Emile Vernon, Date unknown
An Elegant Lady With A Yellow Rose by Emile Vernon, Date unknown
Elegant Lady with a Bouquet of Roses by Emile Vernon, Date unknown
Elegant Lady with a Bouquet of Roses by Emile Vernon, Date unknown
Young Girl with Anemones by Emile Vernon, Date unknown
Young Girl with Anemones by Emile Vernon, Date unknown
Young Girl with a Rose by Emile Vernon, Date unknown
Young Girl with a Rose by Emile Vernon, Date unknown
A young lady with a mirror by Emile Vernon, Date unknown
A young lady with a mirror by Emile Vernon, Date unknown
Elegant Lady with a Bouquet of Roses by Emile Vernon, Date unknown
Elegant Lady with a Bouquet of Roses by Emile Vernon, Date unknown
Elegant Lady by Emile Vernon, Date unknown
Elegant Lady by Emile Vernon, Date unknown
Country Summer by Emile Vernon - Date unknown
Country Summer by Emile Vernon – Date unknown
The Cherry Bonnet by Emile Vernon, Date unknown
The Cherry Bonnet by Emile Vernon, Date unknown
Cherry Blossom by Emile Vernon, 1916
Cherry Blossom by Emile Vernon, 1916
The Mischievous Puppy by Emile Vernon, 1915
The Mischievous Puppy by Emile Vernon, 1915
Young Woman with a Dragonfly by Emile Vernon - Date unknown
Young Woman with a Dragonfly by Emile Vernon – Date unknown
The Pink Rose by Emile Vernon - Date unknown
The Pink Rose by Emile Vernon – Date unknown

Victorian Artist John Brett

John Brett

John Brett (1831 – 1902). British.

Known for his highly detailed landscapes and influenced by the Pre-Raphaelite movement, John Brett studied under James Duffield Harding and Richard Redgrave before joining the Royal Academy in 1853.

Inspired by Pre-Raphaelite ideals on scientific landscape painting he visited Switzerland in 1858 where he painted The Val d’Aosta (below).

The “Stonebreaker” became his most celebrated work, depicting a young boy smashing stones in a brightly-lit and highly detailed landscape. Embodying a moral message about child labor, the Stonebreaker was lauded by famed art critic John Ruskin.

Travelling the Mediterranean during the 1860s, Brett painted many landscapes with scientific precision.

In the 1870s and 1880s, he painted scenes of Cornwall, the Channel Islands, the Isle of Wight, and most notably the coastline of Wales.

John Brett Val d'Aosta 1858
Val d’Aosta 1858
John Brett - The Stonebreaker, 1858
John Brett – The Stonebreaker, 1858
John Brett - Near Sorrento, 1863
Near Sorrento, 1863
Brett, John - Massa, Bay of Naples, 1864
Massa, Bay of Naples, 1864
John Brett - February in the Isle of Wight, 1866
John Brett – February in the Isle of Wight, 1866
Net Day at St. Ives by John Edward Brett, A.R.A. - 1872
Net Day at St. Ives by John Edward Brett, A.R.A. – 1872
View on the Beach at St. Agnes by John Edward Brett, A.R.A. (1873)
View on the Beach at St. Agnes by John Edward Brett, A.R.A. (1873)
St. Ives by John Edward Brett, A.R.A. - 1872
St. Ives by John Edward Brett, A.R.A. – 1872
John Brett - Southern Coast of Guernsey, 1875
John Brett – Southern Coast of Guernsey, 1875
John Brett - Caernarvon, 1875
John Brett – Caernarvon, 1875
St Ives Bay by John Edward Brett, A.R.A. (1878)
St Ives Bay by John Edward Brett, A.R.A. (1878)
Porth Gwarra by John Edward Brett, A.R.A. - 1880
Porth Gwarra by John Edward Brett, A.R.A. – 1880
Summer Mists off Tol Pedn by John Edward Brett, A.R.A. - 1880
Summer Mists off Tol Pedn by John Edward Brett, A.R.A. – 1880
John Brett - Man of War Rocks, Coast of Dorset, 1884
John Brett – Man of War Rocks, Coast of Dorset, 1884
John Brett - Seascape, 1887
John Brett – Seascape, 1887
John Brett - A North-West Gale off the Longships Lighthouse, 1902
John Brett – A North-West Gale off the Longships Lighthouse, 1902

Dante Gabriel Rossetti—art meets poetry

Dante Gabriel Rossetti—even his name is a work of art.

It is said that to understand him, we must first understand that although he is best remembered for his paintings, he was first and foremost a poet.

O lay your lips against your hand
And let me feel your breath through it,
While through the sense your song shall fit
The soul to understand.



Early life

Born in London to an English mother and Italian father in 1828, Rossetti’s childhood was suffused in the atmosphere of medieval Italy. As a literary scholar, his father obsessed over the works of Dante and spoke mostly Italian.

Home schooled, Rossetti often read the Bible, along with the works of Shakespeare, Dickens, Sir Walter Scott, Lord Byron, and William Blake. He became fascinated with the Gothic horror stories of Edgar Allan Poe.

These influences would become a major source of artistic inspiration for Dante Gabriel Rossetti.

Dante Gabriel Rossetti in his early twenties
Dante Gabriel Rossetti in his early twenties

The Pre-Raphaelite Brotherhood

Attending preparatory art school followed by the Royal Academy, Rossetti soon grew tired of the mechanistic approach to teaching and preferred to stay at home painting what he desired.

He saw early Victorian art as trivial, sentimental and unimaginative and yearned for a return to pre-Renaissance purity of style and aim.

Feminine Beauty

Poetry and image are closely intertwined in Rossetti’s work. Appreciating female beauty through art was sacred to him. In both poetry and painting, he explored his own fantasies and conceptions about earthly and spiritual love through the theme of female beauty.

In 1850, Rossetti met Elizabeth Siddal, who would become an important model for the Pre-Raphaelite painters. First spotted by a friend in a London hat shop, she became Rossetti’s muse, passion, and eventually his wife.

Proserpine by Dante Gabriel Rossetti, 1882
Proserpine by Dante Gabriel Rossetti, 1882

When vain desire at last and vain regret
Go hand in hand to death, and all is vain,
What shall assuage the unforgotten pain
And teach the unforgetful to forget?

Join us in the Gallery as we listen to DeBussey’s La damoiselle élue—influenced by the life and work of Dante Gabriel Rossetti.

Bocca Baciata by Dante Gabriel Rossetti - 1859
Bocca Baciata by Dante Gabriel Rossetti – 1859
Helen of Troy by Dante Gabriel Rossetti - 1863
Helen of Troy by Dante Gabriel Rossetti – 1863
Beata Beatrix by Dante Gabriel Rossetti, 1864
Beata Beatrix by Dante Gabriel Rossetti, 1864
The Blue Bower by Dante Gabriel Rossetti - 1865
The Blue Bower by Dante Gabriel Rossetti – 1865
Sybilla Palmifera by Dante Gabriel Rossetti - 1866-1870
Sybilla Palmifera by Dante Gabriel Rossetti – 1866-1870
Monna Vanna by Dante Gabriel Rossetti - 1866
Monna Vanna by Dante Gabriel Rossetti – 1866
Regina Cordium by Dante Gabriel Rossetti, 1866
Regina Cordium by Dante Gabriel Rossetti, 1866
Monna Rosa by Dante Gabriel Rossetti - 1867
Monna Rosa by Dante Gabriel Rossetti – 1867
The Loving Cup by Dante Gabriel Rossetti, 1867
The Loving Cup by Dante Gabriel Rossetti, 1867
A Christmas Carol by Dante Gabriel Rossetti - 1867
A Christmas Carol by Dante Gabriel Rossetti – 1867
Reverie by Dante Gabriel Rossetti - 1868
Reverie by Dante Gabriel Rossetti – 1868
Blue Silk Dress (Jane Morris)
Blue Silk Dress (Jane Morris)
Veronica Veronese by Dante Gabriel Rossetti - 1872
Veronica Veronese by Dante Gabriel Rossetti – 1872
Mariana by Dante Gabriel Rossetti - 1870
Mariana by Dante Gabriel Rossetti – 1870
The Bower Meadow by Dante Gabriel Rossetti - 1872
The Bower Meadow by Dante Gabriel Rossetti – 1872
Pandora by Dante Gabriel Rossetti - 1871
Pandora by Dante Gabriel Rossetti – 1871
Aurelia (Fazio's Mistress)
Aurelia (Fazio’s Mistress)
Snowdrops by Dante Gabriel Rossetti - 1873
Snowdrops by Dante Gabriel Rossetti – 1873
A Triple Portrait of May Morris by Dante Gabriel Rossetti - 1874
A Triple Portrait of May Morris by Dante Gabriel Rossetti – 1874
Damsel of the Sanct Grael by Dante Gabriel Rossetti - 1874
Damsel of the Sanct Grael by Dante Gabriel Rossetti – 1874
A Sea-Spell by Dante Gabriel Rossetti, 1877
A Sea-Spell by Dante Gabriel Rossetti, 1877
A Vision of Fiammetta by Dante Gabriel Rossetti, 1878
A Vision of Fiammetta by Dante Gabriel Rossetti, 1878
La Donna Della Finestra by Dante Gabriel Rossetti - 1879
La Donna Della Finestra by Dante Gabriel Rossetti – 1879
The Day Dream by Dante Gabriel Rossetti - 1880
The Day Dream by Dante Gabriel Rossetti – 1880
Mnemosyne by Dante Gabriel Rossetti - 1881
Mnemosyne by Dante Gabriel Rossetti – 1881
Joan of Arc by Dante Gabriel Rossetti, 1882
Joan of Arc by Dante Gabriel Rossetti, 1882

References
Wikipedia.org
VictorianWeb.org
The Metropolitan Museum of Art

Kylemore Abbey – the incredible story of an Irish castle on a lake

The year was 1871. Wealthy financier and Member of Parliament Mitchell Henry (1826 – 1910) was standing with his wife on the shores of a lake in County Galway, Ireland, admiring their new fairytale castle.

It had taken one hundred men four years to complete. But gazing across the lake at the castle’s reflection in the still waters, the couple knew it was worth the wait.

The fairytale dream

Their dream had been forged 16 years earlier when they honeymooned at this exact spot. Renting Kylemore Lodge, the Henrys had fallen in love with the bewitching beauty of the landscape.

Connemara. Credit Michal Osmenda
Connemara. Credit Michal Osmenda
Kylemore Abbey in County Galway on the beautiful west coast of Ireland
Kylemore Abbey in County Galway on the beautiful west coast of Ireland

Inheriting a sizeable fortune from his father, a wealthy cotton merchant from Manchester, England, no expense had been spared. Covering 40,000 square feet, with seventy rooms and made from granite shipped in by sea from Dalkey and limestone from Ballinasloe, it had cost £18,000 to build (about $3 million today).

Kylemore Abbet. Credit Hans-Peter Eckhardt
Kylemore Abbet. Credit Hans-Peter Eckhardt
Kylemore Abbey, Letterfrack, Co. Galway. Credit Jim
Kylemore Abbey, Letterfrack, Co. Galway. Credit Jim

But Mitchell Henry’s dream was bigger than Kylemore Castle. He gave up his career as a medical doctor to take over the family business and entered politics as Member of Parliament for Galway County.

With much of Ireland still recovering from the Great Irish Famine of 1845-52, Henry wanted to help the local community by providing work, shelter and a school. He drained thousands of acres of waste marshland, turning it into the productive Kylemore Estate and providing material and social benefits to the entire region.

Mitchell Henry, MP for County Galway 1871 - 1885
Mitchell Henry, MP for County Galway 1871 – 1885

Victorian Walled Gardens

Included as part of the Kylemore Estate were large, walled Victorian Gardens, with 21 heated glass houses and a 60-foot banana house, growing exotic fruit and vegetables of all kinds.

Ornamental garden surrounded by brick wall and six iron framed glass-houses
Ornamental garden surrounded by brick wall and six iron framed glass-houses

Tragedy strikes

Just four short years later, Henry’s wife Margaret suddenly died from a fever contracted in Egypt.

Overwhelmed by grief, he built a beautiful memorial church on the shore of the lake about a mile from the castle, where Margaret was laid to rest and where he would eventually join her.

Kylemore Abbey neo-Gothic church. Credit High Contrast
Kylemore Abbey neo-Gothic church. Credit High Contrast

Built from Caen sandstone with internal columns of green Connemara marble, the church is a scaled-down replica of the neo-Gothic Bristol Cathedral.

Neo-gothic church at Kylemore
Neo-gothic church at Kylemore
Kylemore in 1895
Kylemore in 1895

The Duke and Duchess of Manchester

What does an English Duke do when he finally runs out of money and cannot repay his gambling debts? Why, he elopes with an American heiress and escapes to a castle on a lake in Ireland.

Such was the next chapter in the story of Kylemore.

In 1903, Mitchell Henry sold Kylemore to William Angus Drogo Montague, 9th Duke of Manchester. A notorious spendthrift, Manchester succeeded his father in the Dukedom at the age of fifteen.

His excessive spending and gambling drained the family fortune, but as luck would have it, he met Helena Zimmerman, daughter of Eugene Zimmerman, a railroad magnate and major stockholder in Standard Oil.

Kylemore Abbey interior. Credit Textman
Kylemore Abbey interior. Credit Textman

Much to the chagrin of the locals, the Duke and Duchess were far more concerned with lavishly entertaining guests than they were in managing the estate.

While the Duke was away in Europe and America, often as a paid guest of wealthy Americans like media mogul Randolph Hearst, the Duchess was seen speeding along country lanes in her Daimler motor car—quite the site in 1900s Connemara!

Some say the Duke lost Kylemore in a late night of gambling at the castle, but one thing for certain is that after Eugene Zimmerman died, the money to fund a life of partying dried up, and the Duke and Duchess were forced to sell.

A sanctuary from war-torn Europe

Kylemore Castle’s next owners were a group of Benedictine nuns from Belgium who had fled the horrors of World War One.

Before the war, the nun’s home town of Ypres, with its 20,000 inhabitants, engaged in nothing more than the peaceful pursuit of making Valenciennes lace.

Valenciennes Lace. Credit Carolus
Valenciennes Lace. Credit Carolus

Then the war arrived on their doorstep.

Chateau Wood Ypres, 1917
Chateau Wood Ypres, 1917
Aerial photo of Ypres Belgium, 1917
Aerial photo of Ypres Belgium, 1917

The ravages of the First World War turned one of Belgium’s most beautiful and historic cities into nothing more than a ghostly shell of its former glory.

The ruins of Ypres, Belgium
The ruins of Ypres, Belgium

Escaping the devastation of their beloved Ypres—their home base for three hundred and forty years—the nuns settled into Kylemore Castle in 1920 and converted it into the working Kylemore Abbey.

Restoring the Kylemore Abbey’s Victorian gardens and neo-gothic church have been major projects aided by donations and the work of local artisans.

Walled Victorian Gardens. Credit Dolly442
Walled Victorian Gardens. Credit Dolly442
KylemoreAbbey garden. Credit High Contrast
Kylemore Abbey garden. Credit High Contrast
Kylemore Abbey. Credit High Contrast
Kylemore Abbey. Credit High Contrast

Kylemore Abbey continues to be a self-sustaining working monastery and the Victorian gardens are open to the public.

Mitchell and Margaret Henry can rest at peace knowing their dream castle is in safe hands.

Credit Michal Osmenda
Credit Michal Osmenda

References
Wikipedia.org
KylemoreAbbey.com
Mitchell-Henry.co.uk

Edwardian Dreams by Charles Courtney Curran

Charles Courtney Curran, 1909
Charles Courtney Curran

Charles Courtney Curran was an American artist best known for paintings of Victorian and Edwardian women in graceful flowing dresses set against expansive romantic landscapes.

Many American artists spent time in Paris in the 19th century, and Curran was no exception. Paris was the center of the art world. To experience Paris was considered essential to American artists with a dream—a dream to excel at what they loved to do.

It’s not difficult to see the influence of French Impressionists like Monet

The Promenade, Woman with a Parasol by Claude Monet , 1875
The Promenade, Woman with a Parasol by Claude Monet , 1875

His paintings are compared with fellow American Impressionists who also spent time in Paris—Mary Cassatt, Edmund Charles Tarbell, and Frank Weston Benson. And it’s not difficult to see the influence of French Impressionists like Monet—especially works like The Promenade, Woman with a Parasol (1875).

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Key Facts about Charles Courtney Curran

  • 1500 works in his career, mostly oil paintings, some watercolors and illustrations for magazines.
  • Born in Hartford, Kentucky in 1861 but grew up on the shores of Lake Erie, Ohio.
  • Trained at the Fine Arts Academy of Cincinnati, the National Academy in New York City, and Académie Julian in Paris.
  • Traveled extensively—living in Paris, frequently visiting Europe and even China.
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Imagine you are there gazing at the magnificent views from the heights of the Shawangunk Mountains in New York state.

The Gallery

Summer by Charles Courtney Curran - 1906
Summer – 1906
The West Wind by Charles Courtney Curran - 1918
The West Wind – 1918
Sunshine and Haze by Charles Courtney Curran - Date unknown
Sunshine and Haze – Date unknown
Sunny Morning by Charles Courtney Curran - 1916
Sunny Morning – 1916
September Afternoon by Charles Courtney Curran - 1913
September Afternoon – 1913
Lotus Lilies by Charles Courtney Curran - 1888
Lotus Lilies – 1888
Ladies on a Hill by Charles Courtney Curran - 1914
Ladies on a Hill – 1914
Among the Laurel Blossoms by Charles Courtney Curran - 1914
Among the Laurel Blossoms – 1914
The Edge of the Woods by Charles Courtney Curran - 1912
The Edge of the Woods – 1912
Ragged Clouds by Charles Courtney Curran - 1922
Ragged Clouds – 1922
Path of Flowers by Charles Courtney Curran - 1919
Path of Flowers – 1919
The Cabbage Field by Charles Courtney Curran - 1914
The Cabbage Field – 1914
Woman on the Top of a Mountain by Charles Courtney Curran - 1912
Woman on the Top of a Mountain – 1912
The Boulder by Charles Courtney Curran - 1919
The Boulder – 1919
The Hilltop Walk by Charles Courtney Curran - 1927
The Hilltop Walk – 1927
On the Cliff by Charles Courtney Curran - 1910
On the Cliff – 1910
On the Heights by Charles Courtney Curran - 1909
On the Heights – 1909
A Spray of Goldenrod by Charles Courtney Curran - 1916
A Spray of Goldenrod – 1916
Blue Delphiniums by Charles Courtney Curran - Date unknown
Blue Delphiniums – Date unknown
Peach Blossoms by Charles Courtney Curran - 1891
Peach Blossoms – 1891
May Breeze by Charles Courtney Curran - Date unknown
May Breeze – Date unknown
Summer Clouds by Charles Courtney Curran - 1917
Summer Clouds – 1917
Three Women by Charles Courtney Curran - 1894
Three Women – 1894
A Breezy Day by Charles Courtney Curran - 1887
A Breezy Day – 1887
In the Luxembourg Garden by Charles Courtney Curran - 1889
In the Luxembourg Garden – 1889
Lady with a Bouquet by Charles Courtney Curran - 1890
Lady with a Bouquet – 1890

Crinolinemania – 10 Fascinating Facts About the Crinoline

Just as we chuckle today at the absurd dimensions reached by Victorian crinolines, so too did Victorians themselves.

Shown here is an early inflatable (air tube) version of the crinoline by George Cruikshank, from The Comic Almanack, 1850. Crinolines wouldn’t actually come into wide use until a few years later.

In this humorous example, the exaggerated size of the crinoline meant that the gentlemen had to use long-handled trays (“baker’s peels”) to offer food and drink to their ladies.

A Splendid Spread, satire on an early inflatable (air tube) version of the crinoline by George Cruikshank
A Splendid Spread, satire on an early inflatable (air tube) version of the crinoline by George Cruikshank

If there was one thing such broad crinoline skirts guaranteed the wearer, it was plenty of personal space.

Don’t try to whisper in my ear, or your crinoline will tip up, my dear.
1862 Vienna fashions
1862 Vienna fashions

The fashion became so popular that Punch nicknamed the crinoline craze “Crinolinemania”.

And it’s not difficult to see why—even today, the bell-shaped profile of a crinoline-supported dress lends a fairytale quality to a wedding.

No doubt the impression left by a beautiful Princess and Empress had a bearing on the success of the crinoline.

Princess Dagmar of Denmark and Empress Elisabeth "Sisi" of Austria
Princess Dagmar of Denmark and Empress Elisabeth “Sisi” of Austria

Here are 10 facts about the crinoline—some of which you may find surprising.

1. The 16th-century Spanish farthingale was the grandmother of the crinoline

Wide and full skirts were popular as far back as the 15th century.

Queen Consort Joan of Portugal made the hoop skirt popular when she wore one to court.

Originally called the Spanish verdugado and later corrupted to “farthingale” in English, it was alleged that Joan wore it to help hide an illegitimate pregnancy.

There’s nothing like a bit of court gossip to help a fashion’s popularity.

Probably the earliest depiction of the Spanish verdugada (farthingale), Catalonia, 1470-80
Probably the earliest depiction of the Spanish verdugada (farthingale), Catalonia, 1470-80

Introduced to England by Catherine of Aragon when she married the ill-fated 15-year-old Arthur, Prince of Wales, the Spanish farthingale was a petticoat of linen with bands of cane, or whalebone inserted horizontally at intervals.

Gradually widening from the waist to the hem, the cone-shape of the Spanish farthingale became popular with European sovereigns for the remainder of the 16th century.

Spanish farthingale. Clockwise from top left: Catherin de Medici, c. 1555; Queen Elizabeth I of England, c. 1563; Elizabeth of Valois, Queen of Spain, 1565; Isabella of the Spanish Netherlands, 1599
Spanish farthingale. Clockwise from top left: Catherin de Medici, c. 1555; Queen Elizabeth I of England, c. 1563; Elizabeth of Valois, Queen of Spain, 1565; Isabella of the Spanish Netherlands, 1599

2. The crinoline gets its name from horsehair

Described as a combination of the French words crin, meaning horsehair, and lin meaning linen, the name essentially describes the materials used to make the original crinoline, i.e. horsehair and linen.

Used from the early 1840s, the horsehair crinoline supported the weight of other petticoats under the increasingly full, bell-shaped skirts that had become popular.

1842, British, silk. metmuseum
1842, British, silk. metmuseum

Horsehair crinolines reduced the number of required petticoats to achieve the desired profile and offered more freedom of movement for the wearer’s legs.

But they were heavy, uncomfortable, hot and unhygienic—especially during the summer.

What was needed was something lighter, but with more structure. Enter the cage crinoline.

3. Cage crinolines were lightweight and highly flexible

Cage Crinolines
c. 1860 Cage Crinolines. Credit Hugo Maertens (left), metmuseum (right)

The steel-hooped cage crinoline, first patented in April 1856 by R.C. Milliet in Paris, and by their agent in Britain a few months later, became extremely popular.

Although cage crinolines looked very rigid, the spring steel they were made from was very flexible and could be compressed. Aside from the inevitable accidents, women learned how to walk in crinolines and how to sit down in them without revealing underclothes.

Because the spring steel was very lightweight, far from restricting women, they were liberating, freeing women from multiple layers of petticoats worn in prior decades.

The Lady’s Newspaper of 1863 enthusiastically praised the cage crinoline:

So perfect are the wave-like bands that a lady may ascend a steep stair, lean against a table, throw herself into an armchair, pass to her stall at the opera, and occupy a further seat in a carriage, without inconveniencing herself or others, and provoking the rude remarks of observers thus modifying in an important degree, all those peculiarities tending to destroy the modesty of Englishwomen; and lastly, it allows the dress to fall in graceful folds.

4. Cage crinolines were mass-produced in huge quantity

One of the biggest producers was Douglas & Sherwood’s Hoop Skirt Factory in New York. It employed 800 women and produced in excess of 8,000 hoop skirts each day.

Douglas & Sherwood's Hoop Skirt Factory
Douglas & Sherwood’s Hoop Skirt Factory

To make the hoops required a ton of steel per day, and each month the factory would get through 150,000 yards of muslin, 100,000 feet of whalebone, 24,000 spools of cotton, 2,800,000 eyelets, 500,000 yards of tape, 225,000 yards of cord, and 10,000 yards of haircloth.

Douglas & Sherwood's Hoop Skirt Factory
Douglas & Sherwood’s Hoop Skirt Factory

5. There were accidents with crinolines, some tragic and fatal

Overzealous advertising tried to reassure potential customers that their freedom of movement would be unhindered by wearing a cage crinoline.

This gave a false sense of security about the level of care and attention that was needed to avoid accidents while wearing them.

c. 1860. Women wearing crinolines which are set on fire by flames from a domestic fireplace.
c. 1860. Women wearing crinolines which are set on fire by flames from a domestic fireplace.

Not being constantly aware of exactly where the extremities of the dress were could lead to tragedy.

Thousands of women died in the mid-19th century as a result of their hooped skirts catching fire.

Other hazards included the hoops being caught in machinery, carriage wheels, gusts of wind, or other obstacles.

6. Crinolines crossed class barriers

Crinolines were worn by women of every social standing and class across the Western world, from royalty to factory workers.

Princess Alice by Franz Xaver Winterhalter
Princess Alice by Franz Xaver Winterhalter
Cartoon of Mistress and her Maid in Crinolines
A fashionably dressed woman tells off her maid for wearing a crinoline hoop, unaware that she looks just as ridiculous in hers. Punch, 1861.
1861 Working Class couple enjoying a night at the theatre
1861 Working Class couple enjoying a night at the theatre
Croquet players of 1864 loop their skirts up from floor-length over hooped petticoats. Croquet Scene by Winslow Homer, 1864
Croquet players of 1864 loop their skirts up from floor-length over hooped petticoats. Croquet Scene by Winslow Homer, 1864

 7. Crinolines reached 18 feet in circumference

At its widest point, the crinoline could reach a circumference of up to six yards—providing the perfect opportunity for satirical cartoons to exaggerate dimensions even further.

Emily Madame Bonton says the Circumference of the Crinoline should be Thirty-Six Feet! Caroline Dear me! – I’m only Thirty-Two! I must Inflate a little!
Cartoon in Punch satirizing the circumference of crinolines
Cartoon in Punch satirizing the circumference of crinolines
1860-64, British, silk. metmuseum
1860-64, British, silk. metmuseum
1865, French, silk. memuseum
1865, French, silk. memuseum
1860-64, American, cotton. metmuseum
1860-64, American, cotton. metmuseum
1864 French, silk. metmuseum
1864 French, silk. metmuseum

Contemporary photographs show that many women wore smaller versions of the crinoline, as opposed to the huge bell-shaped creations so often seen in fashion plates. Large crinolines were probably reserved for balls, weddings and other special occasions.

8. Media scrutiny

Widespread media scrutiny and criticism followed the crinoline, from journal articles to poems decrying the fashion, to songs complaining about them.

The crinoline also came under heavy fire from moralists, publicists, and satirists who often condemned the fineries of fashion and sensationalized the most extreme situations—none more so than London’s satirical magazine Punch and New York’s Harper’s Weekly.

Only to think, Julia dear, that our Mothers wore such ridiculous fashions as these! Ha! ha! ha! ha!
1857 Cartoon comparing crinolines to Regency fashion
1857 Cartoon comparing crinolines to Regency fashion
Take care that the Ends of your Hoops be secure; they have been known to give way—to the great alarm and discomfiture of the Lovely Wearer
A fashionably dressed woman is shown with her skirt distorted due to the snapping of several of the hoops that supported her crinoline, much to the amusement of men and women looking on.
A fashionably dressed woman is shown with her skirt distorted due to the snapping of several of the hoops that supported her crinoline, much to the amusement of men and women looking on.
Hint for the Seaside: crinoline forever—no bathing machine required
Two women are shown sea-bathing while wearing crinoline petticoats around their necks as a substitute for bathing tents
Two women are shown sea-bathing while wearing crinoline petticoats around their necks as a substitute for bathing tents

9. Queen Victoria is said to have detested crinolines

Queen Victoria is said to have inspired a song in Punch:

Long live our gracious Queen, Who won’t wear the crinoline!
“I’m not going in this ghastly dress, Albert.”
“But it’s all the rage, my dear.”
“I’ll be the one in a rage if I have to go in this.”

When Queen Victoria’s daughter was married to the Prussian Prince Frederick in 1858, the queen requested the Prussian ladies not to wear crinolines because there was not enough room in the Chapel Royal at St. James’s Palace.

This incident probably led many to believe she disliked crinolines, but numerous photographs show her wearing one.

10. The crinoline craze reached its peak during the early 1860s

Falling out of favor by about 1862, the silhouette of the crinoline changed from bell-shaped to flatter at the front with the fullness projected out more behind.

Called the “crinolette”, it was typically composed of “half hoops” made of the same spring steel

English crinolettes, 1872–75, LACMA
English crinolettes, 1872–75, LACMA

Crinolettes would bridge the gap until the next big fashion craze to sweep the world appeared—the Bustle.

Tissot's Victorian Ladies

References:

Illustrated Encyclopedia of World Costume by Doreen Yarwood
Tudor Costume and Fashion by Herbert Norris
Corsets & Crinolines in Victorian Fashion by Lucy Johnstone, V&A Museum
Victorian and Edwardian Fashion: A Photographic Survey by Alison Gernsheim

Portrait Miniatures: Intimate Expressions of Love

Portrait miniatures were popular among 16th-century English and French aristocrats.

Spreading across Europe in the 18th century, miniatures remained very popular until the latter half of the 19th century when the first photographic processes started to appear.

Today, one of the reasons we take selfies is to share on social networks, particularly for use as our profile pictures. It’s a convenient way to introduce ourselves to other people over distance.

This was one of the uses of portrait miniatures—as profile pictures : “this is me in my Sunday best.”

Portrait miniatures also brought a new innovation in matchmaking. If a nobleman was proposing the marriage of his daughter, he would send a portrait miniature via courier to potential suitors.

At about half the size of an iPhone, they were convenient for carrying a picture of a loved one at all times.

Soldiers and sailors would draw comfort from them while traveling in remote corners of the world. And wives could keep a picture of their husband close to their hearts while he was away.

Small is beautiful.

Here are ten intimate expressions of love … in miniature…

Portrait of a Gentleman by William M. S. Doyle, 1810
Portrait of a Gentleman by William M. S. Doyle, 1810
Portrait of a Lady by Charles Cromwell Ingham, 1837
Portrait of a Lady by Charles Cromwell Ingham, 1837
Portrait of a Man by Nathaniel Jocelyn, 1830
Portrait of a Man by Nathaniel Jocelyn, 1830
Portrait of a Lady by William P. Sheys, 1813
Portrait of a Lady by William P. Sheys, 1813
Self-Portrait by John Henry Brown, 1846
Self-Portrait by John Henry Brown, 1846
By my soul, I can neither eat, drink, nor sleep; nor, what’s still worse, love any woman in the world but her.Samuel Richardson, Clarissa
Mrs. Vanderbank by Christian Friedrich Zincke, 1730
Mrs. Vanderbank by Christian Friedrich Zincke, 1730
Self Portrait by George Harvey, 1830
Self Portrait by George Harvey, 1830
In vain I have struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.Jane Austen, Pride And Prejudice
Rebecca Wetherill by George Hewitt Cushman, 1849
Rebecca Wetherill by George Hewitt Cushman, 1849
Portrait of a Gentleman by Moses B. Russell, 1834
Portrait of a Gentleman by Moses B. Russell, 1834
He feeds upon her face by day and night, And she with true kind eyes looks back on him, Fair as the moon and joyful as the light.Christina Rossetti, In An Artist's Studio
Augusta Temple Palmer by Jean-Baptiste Isabey, 1828
Augusta Temple Palmer by Jean-Baptiste Isabey, 1828
Portrait of a Gentleman by Joseph Wood, 1815
Portrait of a Gentleman by Joseph Wood, 1815
Love seeketh not itself to please, Nor for itself hath any care; But for another gives its ease, And builds a Heaven in Hell’s despair.William Blake, The Clod And The Pebble
Lola Montez by Josef Heigel c. 1820
Lola Montez by Josef Heigel c. 1820
Portrait of a Gentleman by Anna Claypoole Peale, 1832
Portrait of a Gentleman by Anna Claypoole Peale, 1832
Whatever our souls are made of, his and mine are the same.Emily Brontë, Wuthering Heights
Portrait of a Lady by Frederick R. Spencer, 1830
Portrait of a Lady by Frederick R. Spencer, 1830
Self-portrait by Thomas Seir Cummings, 1825
Self-portrait by Thomas Seir Cummings, 1825
Every atom of your flesh is as dear to me as my own: in pain and sickness it would still be dear.Charlotte Brontë, Jane Eyre
Portrait of a Lady by Lawrence Sully, 1795
Portrait of a Lady by Lawrence Sully, 1795
Self Portrait by James Van Dyck, 1836
Self Portrait by James Van Dyck, 1836
I cannot let you burn me up, nor can I resist you. No mere human can stand in a fire and not be consumed.A.S. Byatt, Possession
Elizabeth Scott by Nathaniel Hancock, 1795
Elizabeth Scott by Nathaniel Hancock, 1795
General Henry Knox by Charles Willson Peale, 1778
General Henry Knox by Charles Willson Peale, 1778
Oh the heart that has truly loved never forgets, But as truly loves on to the close.Thomas Moore, Believe Me, If All Those Endearing Young Charms
Rachel Brewer by Charles Willson Peale, 1790
Rachel Brewer by Charles Willson Peale, 1790

Prince Louis Napoleon: The Last Hope of the Bonapartes

On June 1, 1879, Louis Napoleon was killed in action during the Anglo-Zulu War.

Louis Napoleon (1856 – 1879) was the son of Napoleon III (1808 – 1873), Emperor of the Second French Empire until its collapse during the Franco-Prussian war of 1870-1871.

Prince Louis with his parents in 1861
Prince Louis with his parents in 1861

Trained as a soldier in Britain, at the outbreak of the Anglo-Zulu War in South Africa, Louis jumped at the chance to serve alongside British forces.

Louis was no stranger to military action—at the outbreak of the Franco-Prussian War, he had accompanied his father to the front and had come under fire at Saarbrücken.

Napoléon Eugène, Prince Imperial, at age 14

With France now a republic, many in Britain saw Louis Napoleon as the last chance for France to reinstate a monarchy.

Queen Victoria reportedly believed it was the best hope for peace in Europe. There was even speculation that Louis might marry Queen Victoria’s youngest daughter, Princess Beatrice.

The Imperial Prince Louis Napoleon, 1878
The Imperial Prince Louis Napoleon, 1878

With this in mind, there was some reluctance to allow Prince Louis to take part in the African conflict.

Frederic Thesiger, 2nd Baron Chelmsford (1827-1905)
Frederic Thesiger, 2nd Baron Chelmsford (1827-1905)

It was only after significant pressure from Louis’s mother, Empress Eugénie, and from Queen Victoria herself that permission was granted.

Attached to Commander Thesiger’s staff, the intention was that Louis would only be an observer.

Louis’s close friend, Lieutenant Arthur Brigge warned him not to do anything rash, to avoid taking unnecessary risks, and to think of the Empress, his mother, at home, and the party of supporters that were full of hope to see him as the next Emperor.

Thesiger thought that attaching Louis to the Royal Engineers, whose duties were transport and reconnaissance, would not put the prince in any danger.

“don’t do anything rash, and avoid running unnecessary risks”

The prince in South Africa in 1879
The prince in South Africa in 1879

Tasked with ensuring Louis’s safety, Colonel Richard Harrison of the Royal Engineers was told that a strong escort must accompany Louis at all times.

When a forward scouting mission was planned for June 1, Louis was allowed to participate in the mistaken belief that the route would be safe.

Early in the morning of June 1, Lieutenant Jahleel Brenton Carey, a French speaker from Guernsey led the scouting party into the African bush.

Eager to see some action, Louis couldn’t believe his luck—at last, some excitement!

To avoid delays, he had persuaded Carey that there was no need for the full escort. After all, what could possibly go wrong—the route was safe.

What he lacked in military seniority, he made up for with a powerful personality. The young prince swiftly asserted command over the troop.

Louis-Napoléon Bonaparte (1856-1879), Prince Imperial, unique child of Napoleon III of France and his Empress consort Eugénie.
Louis-Napoléon Bonaparte (1856-1879), Prince Imperial, unique child of Napoleon III of France and his Empress consort Eugénie.

This was the life he had wished for—adventure on the African plains!

At noon, they stopped to rest, make some sketches of the terrain and start a camp fire. No one was posted on lookout duty—why bother? It wasn’t as if they were in any danger.

Famous last words.

Zulu warriors
Zulu warriors

Just as they were about to set off again, all hell broke loose.

Screaming and yelling filled the air as about 40 Zulu warriors came running towards them, armed to the teeth with spears and shields.

Louis instinctively reached for the gun holster on his horse’s saddle, but the screaming had startled the horse and it bolted, Louis’s hand still grasping the holster.

Some one hundred yards of being dragged through the bush, the strap broke and Louis fell beneath the horse, his right arm getting trampled.

Drawing the gun with his left hand, he started to run, but the Zulus were too fast.

A searing pain shot through Louis’s leg as a Zulu spear pierced his thigh.

Filled with adrenaline, Louis pulled the spear free of the searing wound then fired on the Zulus.

Again, a sharp burning burst of agony as another spear struck his shoulder.

Death of the Prince impérial during the Anglo-Zulu War, detail of a painting by Paul Jamin
Death of the Prince impérial during the Anglo-Zulu War, detail of a painting by Paul Jamin

Still the Prince fought on, facing the attackers with the spear he pulled from his leg.

But it was all in vain.

The Four Napoleons c. 1858
The Four Napoleons c. 1858

Surrounded and overwhelmed, the spears came thick and fast, one bursting through his right eye and sinking into his brain. When finally his body was recovered, it had eighteen spear wounds.

Two of the troop were also killed and another missing. The four survivors included Lt Carey, who had made no effort to fire upon the Zulus.

Following an inquiry and pressure from Empress Eugénie and Queen Victoria, Carey was court marshaled and shunned for cowardice by his fellow officers for not standing and fighting.

Europe shuddered. The last of the Bonapartes had met his day of reckoning.

Had hopes for a lasting peace in Europe died with him?

American Impressionist Painter Childe Hassam: A 5-Minute Guide

Childe Hassam

Childe Hassam

One of the greatest American Impressionist painters, Frederick Childe Hassam produced over 3000 works in oil, watercolor, etchings, and lithographs.

Pronounced “child HASS’m”, he demonstrated a talent for drawing and watercolor while at primary school.

Childe Hassam illustration for St Nicholas Children's magazine
Childe Hassam illustration for St Nicholas Children’s magazine

At 17, he turned down an offer from his uncle to pay for a Harvard education in favor of working as a wood engraver.

Proving to be a proficient draftsman, he produced engravings for letterheads and newspapers before becoming a freelance illustrator with his own studio.

Read more …

Specializing in illustrations for children’s stories in magazines such as Harper’s Weekly and Scribner’s Monthly, he held his first solo exhibition in Boston in 1883.

Advised by a friend at the Boston Art Club, he took a two-month “study trip” to Europe in the summer of 1883.

Forming the basis of his next exhibition in 1884 were 67 watercolors from his trip to Europe.

Influenced by the Barbizon school—an art movement for Realism in the context of the Romantic Movement—Hassam focused on the use of atmosphere and light in his landscapes.

Canal Scene by Frederick Childe Hassam - 1883
Canal Scene by Frederick Childe Hassam – 1883
Woodland Pond by Frederick Childe Hassam - 1882
Woodland Pond by Frederick Childe Hassam – 1882

French master Jean-Léon Gérôme had these words of advice for Childe Hassam, which he never forgot:

Look around you and paint what you see … render the intense life which surrounds you.
Church Procession, Spanish Steps by Frederick Childe Hassam - circa 1883
Church Procession, Spanish Steps by Frederick Childe Hassam – circa 1883

Taking to heart the words of a noted Boston critic “very pleasant, but not art”, in 1886 Hassam returned to Europe with his wife, settling in a studio in Paris at the center of the art community.

Paris Street Scene by Frederick Childe Hassam
Paris Street Scene by Frederick Childe Hassam

Here, he studied figure drawing and painting at the prestigious Académie Julian but found the teaching stifling,

the Julian academy is the personification of routine … crushing all originality out of growing men. It tends to put them in a rut and it keeps them in it.

Using an innovative change of palette, Hassam painted two versions of Grand Prix Day in 1887. Inspired by the work of French Impressionists, he painted softer, more diffuse colors, full of light, with free brush strokes.

Grand Prix Day by Frederick Childe Hassam - 1887-1888
Grand Prix Day by Frederick Childe Hassam – 1887-1888
Grand Prix Day by Frederick Childe Hassam - 1887
Grand Prix Day by Frederick Childe Hassam – 1887

The completed works garnered attention back home in Boston, with one critic writing,

It is refreshing to note that Mr. Hassam, in the midst of so many good, bad, and indifferent art currents, seems to be paddling his own canoe with a good deal of independence and method. When his Boston pictures of three years ago…are compared with the more recent work…it may be seen how he has progressed.

Exhibiting four paintings at the Exposition Universelle of 1889 in Paris, he won a bronze medal, then moved back to the States to take up residence on New York’s Fifth Avenue, painting the genteel neighborhoods within walking distance of his apartment.

View of Broadway and Fifth Avenue by Frederick Childe Hassam - 1890
View of Broadway and Fifth Avenue by Frederick Childe Hassam – 1890
Spring Morning In The Heart Of The City by Childe Hassam, 1890
Spring Morning In The Heart Of The City by Childe Hassam, 1890
New York is the most beautiful city in the world. There is no boulevard in all Paris that compares to our own Fifth Avenue … the average American still fails to appreciate the beauty of his own country.

Hassam’s career went from strength to strength, earning him as much as $6000 per painting in 1909 (equivalent to roughly $160,000 today).

As New York’s architecture changed, with skyscrapers supplanting stately mansions, Hassam lamented a simpler time when gracious horse-drawn carriages ferried people up and down Fifth Avenue.

Fifth Avenue In Winter by Childe Hassam, 1919
Fifth Avenue In Winter by Childe Hassam, 1919

He tired of the bustling subways, elevated trains, and motor buses, and traveled to Oregon, with its high desert, mountains , and rugged coastline.

Ecola Beach, Oregon by Frederick Childe Hassam - 1904
Ecola Beach, Oregon by Frederick Childe Hassam – 1904

In later life, Hassam produced some of his most distinctive paintings. Inspired by America’s involvement in World War One, he painted the “Flag series” in 1916. Being an avid Francophile, so enthusiastically did he embrace the war effort to help protect French culture that he even volunteered to record the war in Europe, but was declined.

Avenue of the Allies by Frederick Childe Hassam - 1918
Avenue of the Allies by Frederick Childe Hassam – 1918

Chosen by Barack Obama to hang in the Oval Office, the Avenue in the Rain is Hassam’s most famous work from the Flag series. As though viewing through a rain-smeared window, Hassam’s broad brushstrokes make a patriotic statement without overt reference to parades or war.

The Avenue in the Rain bu Childe Hassam, 1917
The Avenue in the Rain bu Childe Hassam, 1917

In his final years, he received a Gold Medal of Honor for lifetime achievement among other awards. However, for denouncing the avant-garde modern art trends of Cubism and Surrealism, some critics viewed him as static and repetitive.

He died peacefully in East Hampton at the age of 75, his legacy, an “abandoned genius” from a bygone time.

In the 1960s and 70s, the resurgence of interest in Impressionism saw his work fetch stratospheric prices.

Home Sweet Home Cottage, East Hampton by Frederick Childe Hassam - circa 1916
Home Sweet Home Cottage, East Hampton by Frederick Childe Hassam – circa 1916

More beautiful paintings from Childe Hassam

Lady in Flower Garden by Frederick Childe Hassam - circa 1891
Lady in Flower Garden by Frederick Childe Hassam – circa 1891
Woman with a Parasol in a Park by Frederick Childe Hassam - 1891
Woman with a Parasol in a Park by Frederick Childe Hassam – 1891
Lady in the Garden by Frederick Childe Hassam - 1897
Lady in the Garden by Frederick Childe Hassam – 1897
The White Dory by Frederick Childe Hassam - 1895
The White Dory by Frederick Childe Hassam – 1895
Rainy Day, Paris by Frederick Childe Hassam - 1893
Rainy Day, Paris by Frederick Childe Hassam – 1893
July Night by Frederick Childe Hassam - 1898
July Night by Frederick Childe Hassam – 1898
Sunday Morning by Frederick Childe Hassam - circa 1897
Sunday Morning by Frederick Childe Hassam – circa 1897
Morning Light by Frederick Childe Hassam - 1914
Morning Light by Frederick Childe Hassam – 1914
Fire Opals by Frederick Childe Hassam - 1912
Fire Opals by Frederick Childe Hassam – 1912
Lilies by Frederick Childe Hassam - 1910
Lilies by Frederick Childe Hassam – 1910
Bleak House, Broadstairs by Frederick Childe Hassam
Bleak House, Broadstairs by Frederick Childe Hassam
Ten Pound Island by Frederick Childe Hassam - 1896
Ten Pound Island by Frederick Childe Hassam – 1896
In Central Park by Frederick Childe Hassam - 1898
In Central Park by Frederick Childe Hassam – 1898
Parc Monceau, Paris by Frederick Childe Hassam - circa 1887-1895
Parc Monceau, Paris by Frederick Childe Hassam – circa 1887-1895
Conversation on the Avenue by Frederick Childe Hassam - circa 1892
Conversation on the Avenue by Frederick Childe Hassam – circa 1892
The Sea by Frederick Childe Hassam - 1892
The Sea by Frederick Childe Hassam – 1892
Promenade at Sunset, Paris by Frederick Childe Hassam - 1888-1889
Promenade at Sunset, Paris by Frederick Childe Hassam – 1888-1889
New York Street Scene by Frederick Childe Hassam - circa 1890
New York Street Scene by Frederick Childe Hassam – circa 1890
Evelyn Benedict at the Isles of Shoals by Frederick Childe Hassam - 1890
Evelyn Benedict at the Isles of Shoals by Frederick Childe Hassam – 1890
Twilight by Frederick Childe Hassam - circa 1888
Twilight by Frederick Childe Hassam – circa 1888
Peonies by Frederick Childe Hassam - 1888
Peonies by Frederick Childe Hassam – 1888
On the Balcony by Frederick Childe Hassam - 1888
On the Balcony by Frederick Childe Hassam – 1888
In the Luxembourg Gardens by Frederick Childe Hassam - 1888
In the Luxembourg Gardens by Frederick Childe Hassam – 1888
In the Sun by Frederick Childe Hassam - 1888
In the Sun by Frederick Childe Hassam – 1888
Mrs. Hassam at Villiers-le-Bel by Frederick Childe Hassam - 1888
Mrs. Hassam at Villiers-le-Bel by Frederick Childe Hassam – 1888
Mrs. Hassam in the Garden by Frederick Childe Hassam - 1888
Mrs. Hassam in the Garden by Frederick Childe Hassam – 1888
Spring (also known as The Artist's Sister) by Frederick Childe Hassam - 1885
Spring (also known as The Artist’s Sister) by Frederick Childe Hassam – 1885
After Breakfast by Frederick Childe Hassam - 1887
After Breakfast by Frederick Childe Hassam – 1887
Feeding Pigeons in the Piazza by Frederick Childe Hassam - circa 1883
Feeding Pigeons in the Piazza by Frederick Childe Hassam – circa 1883
Improvisation by Childe Hassam, 1899
Improvisation by Childe Hassam, 1899
Summer Sunlight (Isles of Shoals) by Childe Hassam, 1892
Summer Sunlight (Isles of Shoals) by Childe Hassam, 1892

Queen Victoria, Last of the Hanoverians

Queen Victoria’s grandfather, George III, was the first of the Hanoverian line to be born in England.

So enamored was George with England that he never once stepped foot out of it.

But spending so much time building a family may have had something to do with that.

George III, Queen Charlotte and their Six Eldest Children by Johan Zoffany, 1770
George III, Queen Charlotte and their Six Eldest Children by Johan Zoffany, 1770

Fifteen children—nine sons and six daughters—were the result of George’s union with the German Princess, Charlotte Sophia.

With such a large family, George and Charlotte were confident of securing a line of succession.

But fate had other plans.

The Succession Crisis

George, Prince Regent and Prince of Wales; later George IV by Thomas Lawrence, 1816
George, Prince Regent and Prince of Wales; later George IV by Thomas Lawrence, 1816

Following recurrent mental illness in 1810, King George III was deemed unfit to rule.

In a period called the British Regency (1810 – 1820), the King’s son George, the Prince of Wales, ruled in his proxy.

And in 1817, Princess Charlotte Augusta of Wales, the only child of the Prince Regent died giving birth to a stillborn son, creating a succession crisis.

Princess Charlotte Augusta of Wales, heiress presumptive of the British crown, 1817
Princess Charlotte Augusta of Wales, heiress presumptive of the British crown, 1817

The Marriage Mission

The situation in 1817 was quite unusual.

At the time, George III’s reign was the longest in English history.

Of his seven sons who survived into adulthood, three were middle-aged bachelors, and the four who were married were childless.

Three of his five daughters were married with no children and two were elderly spinsters.

And so the succession spotlight fell on the three unmarried sons.

The third son, William, Duke of Clarence, was 52 years old; the fourth son Edward, Duke of Kent and Strathearn, was 50; and Adolphus, Duke of Cambridge was 43.

Their mission, which they accepted, was to marry without delay.

Wedding followed wedding in rapid succession.

First up the aisle was Adolphus, the Duke of Cambridge on May 7, 1818. Next was Edward, Duke of Kent, on May 29.

By June 11, all three had dutifully wed German princesses as their custom dictated.

Meet the Parents

Edward, Duke of Kent and Strathearn bu William Beechey, 1818
Edward, Duke of Kent and Strathearn bu William Beechey, 1818

At the time of his marriage, Edward’s career had been far from glittering.

His military service ended when, as Governor of Gibraltar, he roused a mutiny among the troops.

At age 36 and without employment, he retired for a time to the leafy London suburb of Ealing.

As a boy, his German tutor kept him so short of pocket-money that he developed a lifelong habit of accumulating debt.

For a time, he even had to seek asylum in Belgium from an army of creditors.

But all that changed with the succession crisis.

His bride was the 32-year-old widow Mary Louisa Victoria, commonly known as Victoria.

She was the youngest of eight children of Francis Frederick Antony, the reigning Duke of Saxe-Coburg and Saalfeld.

Portrait of Victoria, Duchess of Kent by Richard Rothwell, 1832
Portrait of Victoria, Duchess of Kent by Richard Rothwell, 1832

Mary Louisa Victoria’s life was clouded by superstitions from the moment she was born.

Her birth coincided with the death of Frederick the Great, the King of Prussia.

So enamored were the Prussian people with their king that they nicknamed him “Old Fritz”.

This completely overshadowed Mary Louisa Victoria’s birth, which from that day forward would be a day of mourning for Fritz instead of a celebration of her arrival.

Last of the Hanoverians

Whether or not the alliance of the Duke of Kent and his spouse Princess Victoria would have taken place under less urgent circumstances, it created the longest-reigning monarch in British history—Queen Victoria—surpassed only by the present Queen Elizabeth II.

Victoria was born on May 24, 1819, and christened Alexandrina after Alexander I of Russia, and Victoria after her mother.

The duchess of Kent with her daughter, the future queen Victoria by Henry Bone, 1825
The duchess of Kent with her daughter, the future queen Victoria by Henry Bone, 1825

Known as the Victorian Era, Queen Victoria’s reign of 63 years and seven months was a period of industrial, cultural, political, scientific, and military growth in the United Kingdom and the British Empire.

Victoria was the last of the Hanoverian line in Britain. Her son and successor, Edward VII, belonged to the House of Saxe-Coburg and Gotha, the line of his father.

Portrait of Queen Victoria by Franz Xaver Winterhalter, 1859
Portrait of Queen Victoria by Franz Xaver Winterhalter, 1859

A Fun Quiz

Know your Queen Victoria history? Have a go at our quiz …

Mr and Mrs Andrew Carnegie

It was 8 o’clock on the evening of April 22, 1887.

Ms Louise Whitfield was about to say “I do” to one of the richest men in the world in a quiet private wedding ceremony in her family’s home in New York City.

She was 30 and her soon-to-be husband was none other than industrialist Andrew Carnegie, 21 years her senior.

Louise had chosen to wear a gray wool traveling suit. A practical ensemble, the suit consisted of a skirt and two bodices for day wear, an extra set of cuffs, collar, and front insert of gold embroidery on red ground to adapt the suit for more formal occasions.

This is the wedding dress that an unassuming lady chose to wear to marry a man whose net worth just four years later would be the equivalent of $310 billion today.

Mrs Andrew Carnegie's Wedding Dress
Mrs Andrew Carnegie’s Wedding Dress
Mrs Andrew Carnegie's Wedding Dress
Mrs Andrew Carnegie's Wedding Dress
Mrs Andrew Carnegie's Wedding Dress
Mrs Andrew Carnegie's Wedding Dress

Devoted to his mother, Andrew Carnegie had avoided marriage while she was alive.

Never forgetting the role she had played in his success, he later wrote in his biography,

Perhaps some day I may be able to tell the world something of this heroine, but I doubt it. I feel her to be sacred to myself and not for others to know. None could ever really know her–I alone did that. After my father’s early death she was all my own.

When she died in 1886, he was 51 years old. Only now did he feel the time was right to marry Louise.

Andrew and Louise had met six years earlier while horseback riding through Central Park. She was the daughter of a business associate of his and within a year they had grown closer than just friends.

A year into their relationship, Andrew wanted her to accompany him and his mother on a trip back to Dunfermline, Scotland—the place where Andrew grew up in near poverty.

It was something he had promised his mother as a young boy, “some day, I’ll be rich, and we’ll ride in a fine coach driven by four horses.”

His mother had replied, “that will do no good over here, if no one in Dunfermline can see us.”

Andrew Carnegie's birthplace, 4 Moodie Street, Dunfermline, Fife, Scotland. Credit Kilnburn
Andrew Carnegie’s birthplace, 4 Moodie Street, Dunfermline, Fife, Scotland. Credit Kilnburn

Andrew asked his mother to convince Louise’s family to approve of the trip. Victorian sensibilities dictated that such a journey be seen as appropriate for the unattached Louise.

But instead of condoning the trip, Andrew’s mother undermined it, saying to Louise’s parents, “If she were a daughter of mine she wouldna’ go.”

Much to Louise’s dismay, she stayed in New York while Andrew and his mother returned to the home they had abandoned 33 years ago.

Andrew Carnegie Mansion, Manhattan, New York. Credit Gryffindor
Andrew Carnegie Mansion, Manhattan, New York. Credit Gryffindor

Thousands of townspeople greeted them. By this time, Carnegie’s fame and fortune were well known.

“Welcome Carnegie, Generous Son”, read the banners lining the streets. His mother wept tears of joy. This was her moment. They had left the town paupers but returned as if royalty.

Despite being snubbed, romance blossomed between Andrew and Louise on his return to New York. They were secretly engaged in September of 1883.

But only after his mother’s death could he commit to marriage. He wrote to Louise, “today … my first word is to you … Louise, I am wholly yours—all gone but you … I live in you now. Till death, Louise, yours alone.”

Following their wedding, Mr. and Mrs. Andrew Carnegie boarded the steamship “Fulda” as it departed for their honeymoon in England and Scotland.

Victorian life on the promenade deck of an 1890s transatlantic steamship
Victorian life on the promenade deck of an 1890s transatlantic steamship

The couple enjoyed 32 happy years together.

Andrew & Louise Carnegie in 1915
Andrew & Louise Carnegie in 1915

When Andrew Carnegie died in 1919 at the age of 83, he had given away $350,695,653 (approximately $76.9 billion in 2015) of his wealth.

Louise lived for another 27 years and continued making charitable contributions.

Look after the pennies and the pounds will look after themselves

This was a proverb Carnegie’s mother had repeated often and one that would stand him in good stead to become one of the richest men in the world.

The footstone of Andrew Carnegie in Sleepy Hollow Cemetery. Credit Anthony22
The footstone of Andrew Carnegie in Sleepy Hollow Cemetery. Credit Anthony22

10 Historic Victorian Homes from the Great State of Texas

The National Register of Historic Places is the official list of districts, sites, buildings, structures, and objects deemed worthy of preservation in the United States.

Each year about 30,000 properties are added to the more than one million on the National Register.

Here are 10 beautiful Victorian homes in the great state of Texas that are listed on the National Register of Historic Places.

1
Carl Wilhelm August Groos House, San Antonio

The Carl Wilhelm August Groos House is a limestone Victorian Gothic revival building in the King William Historic District of San Antonio, Texas.

Immigrating from Germany to Texas in 1848, Groos and his brothers started a freighting firm and developed an associated banking business.

After the civil war, the banking business flourished, and in 1879 Groos became president of the first building in San Antonio dedicated to banking.

Carl Wilhelm August Groos House, San Antonio, Texas. Credit Larry D. Moore
Carl Wilhelm August Groos House, San Antonio, Texas. Credit Larry D. Moore

2
F. W. Schuerenberg House, Brenham

Built in 1895 and listed on the National Register of Historic Places in 1990, the house is considered a classic example of Victorian architecture.

The son of an early German immigrant, Frederick William Schuerenberg was a local businessman who owned a blacksmith shop in Brenham.

F. W. Schuerenberg House in Brenham, Texas. Credit Larry D. Moore
F. W. Schuerenberg House in Brenham, Texas. Credit Larry D. Moore

3
John Bremond, Jr. House, Austin

Constructed between 1850 and 1910, the Bremond Block Historic District is a collection of eleven historic homes in downtown Austin, Texas.

One of the few remaining upper-class Victorian neighborhoods of the middle to late nineteenth century in Texas, the block was added to the National Register of Historic Places in 1970.

Prominent in late-nineteenth-century Austin social, merchandising, and banking circles, six of the houses were built for family members of brothers Eugene and John Bremond.

John Bremond, Jr. House, Austin, Texas. Credit LoneStarMike
John Bremond, Jr. House, Austin, Texas. Credit LoneStarMike

4
George W. Fulton Mansion, Fulton

The George W. Fulton mansion is one of the earliest Second Empire buildings in the Southwest United States.

Colonel George Ware Fulton and Harriet Gillette Smith built the 4 story structure in 1877 and called it “Oakhurst”.

It featured the most up-to-date conveniences for the time, including indoor plumbing, gas lighting, central heating, and built-in copper tubs in two of the bedrooms.

George W. Fulton Mansion Fulton, Texas. Credit Larry D. Moore
George W. Fulton Mansion Fulton, Texas. Credit Larry D. Moore

5
Pollock-Capps House, Tarrant County

Located atop a bluff overlooking the Trinity River, this Queen Anne Victorian home was named after Joseph Robert Pollock, a physician who moved to Fort Worth in 1887.

Built of red brick and limestone, the house has a slate roof and an octagonal tower on its northeast corner.

Pollock-Capps House in Tarrant County, Texas. Credit Renelibrary
Pollock-Capps House in Tarrant County, Texas. Credit Renelibrary

6
Hoopes-Smith House, Rockport

Built between 1890 and 1892 in Rockport, Texas, the Queen Anne Style late Victorian was named after James M. Hoopes (1839–1931), a prominent local businessman and land developer.

Serving as a boarding house between 1894 and 1930, the house was sold to T. Noah Smith, Sr. (1888–1955), a businessman in oil and shipbuilding.

The house was designated a Texas Historic Landmark in 1989, added to the National Register of Historic Places in 1994, and is currently a bed and breakfast.

The Hoopes-Smith House, Rockport, Texas. Credit Larry D. Moore
The Hoopes-Smith House, Rockport, Texas. Credit Larry D. Moore

7
Littlefield House, Austin

Situated on the campus of the University of Texas at Austin, this late Victorian home was built in 1893 for Civil War veteran George Littlefield, a successful businessman in the banking and cattle trades.

Major Littlefield and his wife Alice bequeathed the house to the university, which is used as office and function space today.

Littlefield House was added to the National Register of Historic Places in 1970.

Littlefield House, Austin, Texas. Credit Larry D. Moore
Littlefield House, Austin, Texas. Credit Larry D. Moore

8
H. P. Luckett House, Bastrop

Built around 1892, this 14-room Queen Anne style house was named after Dr. H.P. Luckett, a prominent citizen of Bastrop who had practiced medicine there for almost 50 years.

The home cost $14,000 (about $370,000 today) to build and featured carved doors and millwork shipped by rail from Houston.

The structure was listed in the National Register of Historic Places on December 22, 1978, and designated a Recorded Texas Historic Landmark in 2011.

The H. P. Luckett House in Bastrop, Texas. Credit Larry D. Moore
The H. P. Luckett House in Bastrop, Texas. Credit Larry D. Moore

9
Norton-Polk-Mathis House, San Antonio

A contributing property to the King William Historic District, the Norton-Polk-Mathis house is named after three former owners.

Construction began in 1876 by local merchant Russel C. Norton, who later remodeled, adding a second story, a Victorian Gingerbread rear Gallery, and an Italian Renaissance Revival Tower.

Later owners were rancher Edwin Polk and business leader Walter N. Mathis, who restored the mansion in 1968 after a long period as a boarding house.

The house was designated a Recorded Texas Historic Landmark in 1971 and is now a museum managed by the National Trust for Historic Preservation.

Norton-Polk-Mathis House, San Antonio, Texas. Credit Larry D. Moore
Norton-Polk-Mathis House, San Antonio, Texas. Credit Larry D. Moore

10
W. H. Stark House, Orange

In 1894, William Henry and Miriam Lutcher Stark moved into their new 14,000-square-foot Victorian home.

The long sloping roofs, second-floor balconies, Jacobean chimneys, wide verandas, and octagonal towers are typical of the beautiful Queen Anne style.

Making his fortune in banking, oil, rice, insurance, and the regional timber industry, Wiliam Henry Stark and his wife built a philanthropic dynasty that still benefits Orange today.

When W.H. and Miriam Stark died in 1936, their son Lutcher Stark closed the house. It was vacant until 1970 when a 10-year restoration project began.

The house was opened to the public in 1981.

W. H. Stark House, Orange, Texas. Credit Larry D. Moore
W. H. Stark House, Orange, Texas. Credit Larry D. Moore

Other examples of historic Victorian homes in Texas

The Dr. Taylor Hudson House in Belton, Texas. Credit Larry D. Moore
The Dr. Taylor Hudson House in Belton, Texas. Credit Larry D. Moore
Fredrick William Beissner House, Galveston, Texas. Credit i_am_jim
Fredrick William Beissner House, Galveston, Texas. Credit i_am_jim
Texas cattle baron J.D. Houston's house in Gonzales, Texas. Credit ProfReader
Texas cattle baron J.D. Houston’s house in Gonzales, Texas. Credit ProfReader
Woods-Hughes House in Brenham, Texas.. Credit Renelibrary
Woods-Hughes House in Brenham, Texas.. Credit Renelibrary
Kennard House, Gonzales, Texas. Credit 25or6to4
Kennard House, Gonzales, Texas. Credit 25or6to4
Landes McDonough House Galveston. Credit i_am_jim
Landes McDonough House Galveston. Credit i_am_jim
The L. T. Lester House, Canyon, Texas. Credit Larry D. Moore
The L. T. Lester House, Canyon, Texas. Credit Larry D. Moore
The Houston House in Gonzales, Texas. Credit ProfReader
The Houston House in Gonzales, Texas. Credit ProfReader
Dr. Nathan and Lula Cass House, Cameron, Texas. Credit Larry D. Moore
Dr. Nathan and Lula Cass House, Cameron, Texas. Credit Larry D. Moore

12 Paintings That Tell Stories from Auguste Toulmouche

French artist Auguste Toulmouche (1829 – 1890) loved to tell stories. But instead of putting quill to paper, he put brush to canvas.

His paintings share the academic style of the Académie des Beaux-Arts that dominated French art in the mid 19th century.

Playing in Toulmouche’s favor was a trend that lent itself to storytelling—a move towards greater idealism. Although painted in the mid-Victorian era, his themes were often set in the Regency revival and late Georgian periods.

Let us examine 12 paintings from Albert Toulmouche … and the stories they tell.

The Love Letter by Auguste Toulmouche, 1863
The Love Letter by Auguste Toulmouche, 1863

With the prevalence of mobile technology today, it is very hard for us to imagine a time when people relied on letters as their primary means of communication across distance.

Dropping the envelope at her feet, this beautiful lady was obviously keen to open the letter from her lover in a hurry.

Moving near the light of the window, she remains standing. If it were bad news, would she be so hasty?

The letter probably has sweet words for her eyes only—and her corner position in the room gives her the privacy she needs.

The Letter by Auguste Toulmouche, 1879
The Letter by Auguste Toulmouche, 1879

Not all news is good news, as the young lady above might be finding out. She’s left the letter on the table and turned away from it, as if rejecting its message.

Is her fiancé away at war? Has something happened to him? She looks concerned, but not devastated. Perhaps she was expecting his return sooner …

Yet again, it could be bad news from her sister. What story do you think the painting tells?

The Reluctant Bride by Auguste Toulmouche, 1866
The Reluctant Bride by Auguste Toulmouche, 1866

Not a happy bunny …

This young lady is not at all sure she’s doing the right thing. In an age when many marriages were for social standing or financial security, marriage for love was something more akin to dreams than reality.

If I can but see one of my daughters happily settled at Netherfield … and all the others equally well married, I shall have nothing to wish for.Mrs Bennett, Pride and Prejudice.

In a letter to her niece Fanny Catherine Knight, Jane Austen reminded her of how elusive perfection can be:

There are such beings in the world, perhaps one in a thousand, as the creature you and I should think perfection, where grace and spirit are united to worth, where the manners are equal to the heart and understanding; but such a person may not come in your way, or, if he does, he may not be the eldest son of a man of fortune, the near relation of your particular friend, and belonging to your own county.
The New Arrival by Auguste Toulmouche, 1861
The New Arrival by Auguste Toulmouche, 1861
Consolation by Auguste Toulmouche, 1867
Consolation by Auguste Toulmouche, 1867

Families were large, but life was precious. Children died young and mothers were lost during childbirth. Cholera, consumption, and smallpox didn’t care how much money people had—they took the lives of rich and poor alike.

The period theme of Toulmouche’s paintings was a time of war. Many a young handsome officer would have fallen in battle.

Grieving and consolation touched everyone at unexpected times.

Sweet Doing Nothing by Auguste Toulmouche, 1877
Sweet Doing Nothing by Auguste Toulmouche, 1877

Novels helped fuel the hopes and dreams of readers. Have you felt this way when reading—so moved that you had to pause and contemplate the moment?

The 18th-century view that reading contemporary novels was a time-wasting leisure activity gave way to 19th-century ideals on their ability to educate.

While Jane Austen’s novels critiqued the life of the British landed gentry, by the mid-1800’s, the most widely read novel in England was the anti-slavery Uncle Toms Cabin of 1852 by American Harriet Beecher Stowe.

An Afternoon Idyll by Auguste Toulmouche, 1874
An Afternoon Idyll by Auguste Toulmouche, 1874

A good book and an afternoon nap. Doesn’t get much better than that, does it?

It was an age when meal times were strictly adhered to. Breakfast would have been eaten early, leaving a long wait until evening for the main meal of the day.

The Duchess of Devonshire reported having a “sinking feeling” mid-afternoon. We’ve all felt that way, haven’t we? Now we can top-up with countless energy snacks and drinks, but the Duchess had another idea—afternoon tea.

Notice also the chinoiserie screen behind the ladies, reflecting the importance of Chinese motifs in Western culture.

The Admiring Glance by Auguste Toulmouche, 1868
The Admiring Glance by Auguste Toulmouche, 1868
Vanity by Auguste Toulmouche, 1890
Vanity by Auguste Toulmouche, 1890

Mirror, mirror on the wall …

It was a time when keeping up appearances was critical to maintaining social standing.

But perhaps Auguste Toulmouche was using parody to message a decadent Victorian audience.

Romanticism—an artistic, literary, and intellectual movement of the first third of the 19th century—initiated a surge of enthusiasm for all things Greek, including Greek mythology.

In Greek mythology, Narcissus was fixated with his own physical appearance and disdained others around him. Nemesis, the spirit of divine retribution against those who succumb to hubris, attracted him to a pool where he fell in love with his own reflection. Unable to take his eyes of his own image, he lost the reason for living and died, staring at his reflection.

Woman Sitting in Front of a Fireplace by Auguste Toulmouche
Woman Sitting in Front of a Fireplace by Auguste Toulmouche

Here’s an interesting painting. The lady is warming her hands and feet at the burning fire, but taking care not to let the heat tinge her complexion with redness. Another reason that made the fan such an indispensable accessory for the 19th-century lady.

Is there more to this story? Is she burning a love letter … ?

A Garden Stroll by Auguste Toulmuche, 1877
A Garden Stroll by Auguste Toulmouche, 1877

What are friends for but to listen to our stories and grievances? The lady on the right seems genuinely concerned for her friend, or perhaps they are sisters.

The painting reminds us that simple pleasures like a stroll in a park or garden, and sharing polite conversation in good company, are some of the best things in life.

The Blue Dress by Auguste Toulmouche, 1870
The Blue Dress by Auguste Toulmouche, 1870

It’s five minutes past three by the trusty wall clock. Why hasn’t he called? Oh yes, phones haven’t been invented yet …

But back to that clock. During the 19th century, pendulum clocks were some of the most accurate timepieces in existence. Any household that could afford one depended on it.

Conceived by Galileo Galilei in around 1637, the daily life of the 19th century revolved around the pendulum clock.

Hope you enjoyed our time together, strolling through Auguste Toulmouche’s little storybook of history.

The Magical Miniature World of Antique Dollhouses

Welcome to the magical world of antique dollhouses.

Early dollhouses were elaborate European cabinet-style “baby house” display cases.

Doll's house from Petronella de la Court (Amsterdam 1670-1690) in the Centraal Museum, Utrecht - The Netherlands.
Doll’s house from Petronella de la Court (Amsterdam 1670-1690) in the Centraal Museum, Utrecht – The Netherlands.

The 17th-century dollhouse of wealthy Dutch widow Petronella Oortman is of such historical significance that it resides permanently in the Rijksmuseum in Amsterdam.

Dolls’ House of Petronella Oortman, c. 1700
Dolls’ House of Petronella Oortman, c. 1700

Like other rich women in Amsterdam and the Hague, Petronella had a dollhouse built that she curated over many years, starting in 1686, and filling it with expensive decorative materials and miniatures.

The Comptoir (office) in the dollhouse of Petronella de la Court, Amsterdam 1670-1680
The Comptoir (office) in the dollhouse of Petronella de la Court, Amsterdam 1670-1680

Petronella’s dollhouse was also painted by Dutch artist Jacob Appel in 1710.

Dollhouse of Petronella Ortman by Jacob Appel, c. 1710
Dollhouse of Petronella Ortman by Jacob Appel, c. 1710

Popular among 17th-century German, Dutch, and English nobility, these dollhouses were less about play than they were ornamental conversation pieces—often filled with real miniature silver and porcelain objet d’art.

Dolls’ House of Petronella Oortman, c. 1700
Dolls’ House of Petronella Oortman, c. 1700

In fact, children were off-limits for these extravagant trophy collections for fear of them being damaged.

Incredible detail included tiny chandeliers, mirrors, and even portraits hung on walls. Doors had real hinges and connected adjoining rooms.

Alsatian Museum, Strasbourg, France. Credit Christina
Alsatian Museum, Strasbourg, France. Credit Christina

Sara Rothé was another famous owner of dollhouses.

An 18th-century art collector from the Northern Netherlands, she made two dollhouses that were miniature copies of her two homes.

Frans Hals Museum dollhouse. Credit Sailko
Frans Hals Museum dollhouse. Credit Sailko

Skilled at embroidery, she embroidered most of the cloth furnishings in the dollhouses.

Perfectly scaled replicas of bedspreads, wool rugs, upholstered chairs, and hardwood floors completed the interior décor.

Dollhouse of Sara Rothé (1699-1751, Amsterdam) now displayed in the Frans Hals Museum in Haarlem
Dollhouse of Sara Rothé (1699-1751, Amsterdam) now displayed in the Frans Hals Museum in Haarlem

Although initially handmade by individual craftsmen, following the industrial revolution, dollhouses were increasingly mass-produced, and as such, were more affordable.

Firms specializing in dollhouse manufacture began to spring up in Germany and England. German companies included Christian Hacker, Moritz Gottschalk, Elastolin, and Moritz Reichel.

Bäumler family doll house nuremberg, ca 1650-1700. Credit Sailko
Bäumler family doll house nuremberg, ca 1650-1700. Credit Sailko
Doll's house from Colmar, Alsace, eastern France (German territory from 1871 - 1918). Credit Esther Westerveld
Doll’s house from Colmar, Alsace, eastern France (German territory from 1871 – 1918). Credit Esther Westerveld
Bäumler family doll house Nuremberg, Germany ca 1650-1700. Credit Sailko
Bäumler family doll house Nuremberg, Germany ca 1650-1700. Credit Sailko

German firms were the leaders up until World War I, with their dollhouses regularly exported to the United States and Britain.

Bäumler family doll house Nuremberg, Germany ca 1650-1700. Credit Sailko
Bäumler family doll house Nuremberg, Germany ca 1650-1700. Credit Sailko
Bäumler family doll house Nuremberg, Germany ca 1650-1700. Credit Sailko
Bäumler family doll house Nuremberg, Germany ca 1650-1700. Credit Sailko
Alsatian Museum, Strasbourg, France (German territory from 1871 - 1918). Credit Anca Pandrea
Alsatian Museum, Strasbourg, France (German territory from 1871 – 1918). Credit Anca Pandrea
Alsatian Museum, Strasbourg, France (German territory from 1871 - 1918). Credit Christina
Alsatian Museum, Strasbourg, France (German territory from 1871 – 1918). Credit Christina
Alsatian Museum, Strasbourg, France (German territory from 1871 - 1918). Credit Christina
Alsatian Museum, Strasbourg, France (German territory from 1871 – 1918). Credit Christina

English counterparts to the German firms were Silber & Fleming, Evans & Cartwright, and Lines Brothers.

Antique English Dollhouse. Credit Paul Keleher
Antique English Dollhouse. Credit Paul Keleher
Constance Dahl's 1882 Dolls House. Credit Clem Rutter
Constance Dahl’s 1882 Dolls House. Credit Clem Rutter
Constance Dahl's 1882 Dolls House. Credit Clem Rutter
Constance Dahl’s 1882 Dolls House. Credit Clem Rutter
Constance Dahl's 1882 Dolls House. Credit Clem Rutter
Constance Dahl’s 1882 Dolls House. Credit Clem Rutter
Constance Dahl's 1882 Dolls House. Credit Clem Rutter
Constance Dahl’s 1882 Dolls House. Credit Clem Rutter

Showcasing the very finest goods of the period, Queen Mary’s Doll’s House was built for Queen Mary, the wife of King George V in 1924.

At five feet tall, it contains an incredible collection of working miniatures: running water, toilets that flush, electric light switches, working elevators, and even a garage with cars that have running motors.

Writers Sir Arthur Conan Doyle (Sherlock Holmes) and Rudyard Kipling (The Jungle Book) contributed special books, written and bound in scale size.

Queen Mary's Dolls' House constructed for Queen Mary in 1924. Credit. Rob Sangster
Queen Mary’s Dolls’ House constructed for Queen Mary in 1924. Credit. Rob Sangster

American dollhouses were introduced by the Bliss Manufacturing Company towards the end of the 19th century. Firms like Roger Williams Toys, Tootsietoy, Schoenhut, and the Wisconsin Toy Co began to flourish in the early 20th century.

19th-century Dollhouse. Credit Joanbanjo2
19th-century Dollhouse. Credit Joanbanjo2
19th-century Dollhouse. Credit Joanbanjo
19th-century Dollhouse. Credit Joanbanjo
Exterior of the Astolat Dollhouse Castle, built between 1976 and 1986 in USA. Credit Dr Michael and Lois Freeman
Exterior of the Astolat Dollhouse Castle, built between 1976 and 1986 in USA. Credit Dr Michael and Lois Freeman

10 Facts About the Victorian Tradition of White Weddings

1
White weddings started with Queen Victoria

Although Queen Victoria was not the first monarch to wear white at her wedding, she is credited with starting the tradition of a white wedding when she chose to wear a white wedding dress to marry Prince Albert in 1840.

The Marriage of Queen Victoria, 10 February 1840 by George Hayter
The Marriage of Queen Victoria, 10 February 1840 by George Hayter

2
Wearing white was unusual at the time of her wedding

At the time of Queen Victoria’s wedding, wearing white was considered unusual, but in less than a decade, it was being proclaimed as a long-standing tradition. Godey’s Lady’s Book—the most widely circulated magazine in America—wrote:

Custom has decided, from the earliest ages, that white is the most fitting hue, whatever may be the material. It is an emblem of the purity and innocence of girlhood, and the unsullied heart she now yields to the chosen one.
Queen Victoria sported the rounded shoulderline that enhanced the length of her neck—a look that was prized through most of the nineteenth century. From the 1830s to the 1880s, the lowered splayed stance of corset straps and open neckline lent a romantic effect.
Queen Victoria sported the rounded shoulderline that enhanced the length of her neck—a look that was prized through most of the nineteenth century. From the 1830s to the 1880s, the lowered splayed stance of corset straps and open neckline lent a romantic effect.

3
White dresses symbolized innocence and status

Not only did white wedding dresses connote innocence and sexual purity, but because laundry technology was not very advanced in the early Victorian period, they also represented a way to display conspicuous consumption.

White wedding dresses showed that the bride’s family could afford a dress that would be ruined by any type of work, indicating that they must be from the leisure class.

Silk-satin, trimmed with Honiton appliqué lace, machine net and bobbin lace, hand-sewn. Royal Collection Trust / © HM Queen Elizabeth II 2016
Silk-satin, trimmed with Honiton appliqué lace, machine net and bobbin lace, hand-sewn. Royal Collection Trust / © HM Queen Elizabeth II 2016

4
Queen Victoria wrote about her wedding dress in her 122-volume diary

Wedding of Queen Victoria and Prince Albert

Queen Victoria was an avid diarist, filling 122 volumes during her lifetime. Describing her choice of wedding dress, she wrote:

I wore a white satin dress, with a deep flounce of Honiton lace, an imitation of an old design. My jewels were my Turkish diamond necklace & earrings & dear Albert’s beautiful sapphire brooch.

5
Victoria’s wedding supported the English lace cottage industry

Examples of Honiton Lace from Honiton, Devon
Examples of Honiton Lace from Honiton, Devon

The lace used for Queen Victoria’s wedding dress was from Honiton in Devon. Lace making was still a cottage industry and her choice demonstrated support for working-class Britain.

The lace comprised of sprigs or motifs made separately and then sewn together into a net.

It is thought Flemish refugees brought the art to England in the mid-to-late 16th century.

6
She commissioned Franz Xaver Winterhalter to paint an anniversary gift for Albert

Queen Victoria by Franz Xaver Winterhalter, 1847. Miniature by John Haslem.
Queen Victoria by Franz Xaver Winterhalter, 1847. Miniature by John Haslem.

In 1847, Victoria commissioned Franz Xaver Winterhalter to paint a portrait of her wearing her wedding clothes as an anniversary present for Prince Albert. The portrait was also copied as an enamel miniature by John Haslem.

7
Her veil was 12 ft long

The veil, which matched the flounce of the dress, was four yards in length and 0.75 yards wide. When Victoria died, she was buried with her wedding veil over her face.

Wedding veils helped promote the Victorian ideal of modesty and propriety. Etiquette books spread the notion that decorous brides were naturally too timid to show their faces in public until they were married.

1868 Wedding Dress. American. Cincinnati Art Museum
1868 Wedding Dress. American. Cincinnati Art Museum

8
She wore specially made matching silk slippers

Queen Victoria's wedding slippers
Queen Victoria’s wedding slippers

Queen Victoria’s white satin slippers matched the white colour of her dress. Long ribbon ties fastening round the ankles held the shoes in place. They were made by Gundry and Son, 1 Soho Square, Boot and Shoemakers to the Queen.

9
Her train needed twelve bridesmaids

A watercolour design for Queen Victoria's twelve bridesmaids' dresses. Royal Collection Trust / © HM Queen Elizabeth II 2016
A watercolour design for Queen Victoria’s twelve bridesmaids’ dresses. Royal Collection Trust / © HM Queen Elizabeth II 2016

The train of Queen Victoria’s wedding dress measured 18 feet (5.5 m) long, requiring 12 bridesmaids to carry it.

10
She started a trend followed by millions

Hollywood movie weddings, especially in the second half of the 20th century, have helped the popularity of white weddings.

But British royal weddings have probably done more to ensure the tradition of white weddings is here to stay than anything else.

In 1981, 750 million people tuned in to watch Charles, Prince of Wales marry Diana Spencer in her elaborate white taffeta dress, with a 25-foot-long train. This wedding is generally considered the most influential white wedding of the 20th century—and also the most expensive at an inflation-adjusted $110 million.

Embed from Getty Images

30 Beautiful Paintings by Berthe Morisot

In 1894, famed art critic Gustave Geffroy described Berthe Morisot, Marie Bracquemond, and Mary Cassatt as “les trois grandes dames” (the three great ladies) of the Impressionist movement.

Born into a wealthy bourgeois family from Bourges, France, Berthe Morisot learnt how to paint at an early age, having private lessons along with her sisters.

As art students, Berthe and her sister Edma would spend hours in the Louvre copying the great works.

While marriage and family life ended Edma’s art career, Berthe continued to paint, and in 1864 at age 23, she exhibited at the prestigious Salon de Paris—the official, annual exhibition of the Académie des beaux-arts in Paris.

Then in 1874, she stopped exhibiting with the academy and joined the Impressionists, which included Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir, and Alfred Sisley.

Regarded as a “virtuoso colorist”, Berthe created a sense of space and depth with color, painting what she saw and experienced in everyday life. But there is a message in her work—one that tells a story of the class and gender restrictions of the 19th century.

Focusing on family life, her portraits often feature her own daughter, Julie, from her marriage to Édouard Manet’s brother, Eugène.

Portrait of Julie (Berthe's daughter) by Berthe Morisot, 1889
Portrait of Julie (Berthe’s daughter) by Berthe Morisot, 1889
Behind the Blinds by Berthe Morisot, 1879
Behind the Blinds by Berthe Morisot, 1879
Lilacs at Maurecourt by Berthe Morisot, 1874
Lilacs at Maurecourt by Berthe Morisot, 1874
Hide and Seek by Berthe Morisot, 1873
Hide and Seek by Berthe Morisot, 1873
On a Bench by Berthe Morisot, 1889
On a Bench by Berthe Morisot, 1889
Woman and Child on a Balcony by Berthe Morisot, 1872
Woman and Child on a Balcony by Berthe Morisot, 1872
Studying the Violin by Berthe Morisot, 1893
Studying the Violin by Berthe Morisot, 1893
The Pink Dress by Berthe Morisot, c.1870
The Pink Dress by Berthe Morisot, c.1870
Young Girl with a Bird by Berthe Morisot, 1891
Young Girl with a Bird by Berthe Morisot, 1891
Young Woman Watering a Shrub by Berthe Morisot, 1876
Young Woman Watering a Shrub by Berthe Morisot, 1876
The Basket Chair by Berthe Morisot, 1882
The Basket Chair by Berthe Morisot, 1882
In the Dining Room by Berthe Morisot, 1875
In the Dining Room by Berthe Morisot, 1875
Lucie Leon at the Piano by Berthe Morisot, 1892
Lucie Leon at the Piano by Berthe Morisot, 1892
The Cradle by Berthe Morisot, 1872
The Cradle by Berthe Morisot, 1872
The Harbor at Lorient by Berthe Morisot, 1869
The Harbor at Lorient by Berthe Morisot, 1869
After Luncheon by Berthe Morisot, 1881
After Luncheon by Berthe Morisot, 1881
Psyché by Berthe Morisot, 1875
Psyché by Berthe Morisot, 1875
The Lake in the Bois de Boulogne by Berthe Morisot, 1879
The Lake in the Bois de Boulogne by Berthe Morisot, 1879
Eugene Manet and His Daughter in the Garden by Berthe Morisot, 1883
Eugene Manet and His Daughter in the Garden by Berthe Morisot, 1883
Young Girl with Doll by Berthe Morisot, 1884
Young Girl with Doll by Berthe Morisot, 1884
Woman Wearing Gloves ny Berthe Morisot, 1885
Woman Wearing Gloves ny Berthe Morisot, 1885
On the Veranda by Berthe Morisot, 1884
On the Veranda by Berthe Morisot, 1884
On the Lake by Berthe Morisot, 1884
On the Lake by Berthe Morisot, 1884
Doll on a Porch by Berthe Morisot, 1884
Doll on a Porch by Berthe Morisot, 1884
Young Girl with Doll by Berthe Morisot, 1883
Young Girl with Doll by Berthe Morisot, 1883
The Fable by Berthe Morisot, 1883
The Fable by Berthe Morisot, 1883
On the Balcony of Eugene Manet's Room at Bougival by Berthe Morisot, 1881
On the Balcony of Eugene Manet’s Room at Bougival by Berthe Morisot, 1881
Young Woman Picking Oranges by Berthe Morisot, 1889
Young Woman Picking Oranges by Berthe Morisot, 1889
Pasie Sewing in the Garden by Berthe Morisot, 1882
Pasie Sewing in the Garden by Berthe Morisot, 1882
Young Woman and Child, Avenue du Bois by Berthe Morisot, 1894
Young Woman and Child, Avenue du Bois by Berthe Morisot, 1894

Inside the Magical World of a Victorian Mansion Filled with Antiques

Imagine having such a large collection of porcelain antiques that you need a separate room to keep it all.

And imagine the same for silver, and you have some idea of the life of Wilhelmina von Hallwyl (1844 – 1930), sole heiress to a wealthy Swedish timber-merchant.

The Porcelain Room
The Porcelain Room
The Silver Room
The Silver Room

Sweden is dominated by forests—and timber was big business in the 19th century. Wood was needed for fuel, construction, the iron and steel industry, shipbuilding, and pulp and paper industries. It helped transform Sweden from an agrarian society into an industrialized nation.

1865 Portrait of Anna Fridrica Wilhelmina von Hallwyl at 21 years old
1865 Portrait of Anna Fridrica Wilhelmina von Hallwyl at 21 years old

Married at the age of 20, Wilhelmina’s Swiss-born husband, Count Walther von Hallwyl (1839–1921), took over the lumber business from her father, allowing Wilhelmina time to indulge her passion for collecting art and antiques.

Wilhelmina was the consummate collector. From her travels around the world, she amassed enough artifacts to fill a house. In fact, she did fill a house—the Hallwyl’s own city mansion. Even the attic had to be converted into a gallery to house her paintings.

The Picture Gallery
The Picture Gallery

Upon her death, Wilhelmina gave back to society—donating her entire house and its contents to the Swedish state. It took eight years to catalogue around 50,000 objects, covering 79 volumes in print.

Wilhelmina von Hallwyl
Wilhelmina von Hallwyl

The house remains as it was when Wilhelmina and her family occupied it. The collections of art, antiques, furniture, textiles and a whole array of everyday household objects used by the family and servants, is just how she left it.

Let us enter the world of Wilhelmina as it was in 1865 …

She wore this dress for the oval portrait above and had been married only a few months at the time. Having traveled extensively with her parents, at 21, she already had a substantial collection of art and antiques.

The dress Wilhelmina was wearing for the portrait of 1865
The dress Wilhelmina was wearing for the portrait of 1865
Detail of the dress Wilhelmina was wearing for the portrait of 1865
Detail of the dress Wilhelmina was wearing for the portrait of 1865
Detail of the dress Wilhelmina was wearing for the portrait of 1865
Detail of the dress Wilhelmina was wearing for the portrait of 1865
Detail of the dress Wilhelmina was wearing for the portrait of 1865
Detail of the dress Wilhelmina was wearing for the portrait of 1865
Grand piano in the Hallwyl museum's large salon. Built in New York in 1896 by Steinway & Sons. Case designed by Isak Gustaf Clason and crafted by the carpenter Carl Herman Benckert.
Grand piano in the Hallwyl museum’s large salon. Built in New York in 1896 by Steinway & Sons. Case designed by Isak Gustaf Clason and crafted by the carpenter Carl Herman Benckert.
The Dining Room
The Dining Room
The parlour room
The parlour room
The Smoking Room
The Smoking Room
A guest bedroom
A guest bedroom
Another bedroom
Another bedroom
This bedroom even has en-suite facilities
This bedroom even has en-suite facilities
A wash and brush up
A wash and brush-up
Time for tea, or perhaps snaps (same as German schnapps)
Time for tea, or perhaps snaps (same as German schnapps)
Would Wilhelmina have sat here to read or write a letter?
Would Wilhelmina have sat here to read or write a letter?
The kitchen
The kitchen
19th-century baking
19th-century baking
The dumbwaiter
The dumbwaiter
The vestibule
The vestibule
Ornate decoration in the hallway
Ornate decoration in the hallway
Stained glass
Stained glass
The main bathroom
The main bathroom

And now for some of Wilhelmina’s curios …

Late 1700s dog Sculpture from Luneville, France
Late 1700s lion Sculpture from Luneville, France
Trusty Remington typewriter
Trusty Remington typewriter
A shaving kit
A shaving kit
Brooch—gold with pearls, in the form of a bird's nest on a branch with rich foliage of lobed leaves.
Brooch—gold with pearls, in the form of a bird’s nest on a branch with rich foliage of lobed leaves.
Gift to Walther von Hallwyl on his birthday January 26, 1857 from his parents.
Gift to Walther von Hallwyl on his birthday January 26, 1857 from his parents.
Cufflinks with case of gold enamel and rose diamonds. The "W" and "E" initials are probably for Wilhelmina and their two daughters—Ebba and Ellen. The third daughter, Irma, probably wasn't born at the time.
Cufflinks with case of gold enamel and rose diamonds. The “W” and “E” initials are probably for Wilhelmina and their two daughters—Ebba and Ellen. The third daughter, Irma, probably wasn’t born at the time.
lossy-page1-1280px-Dokumentation,_utställningen_-Silver_och_smycken_till_vardag_och_fest-_år_2006_-_Hallwylska_museet_-_85808.tif
lossy-page1-800px-Garnityr,_armband._Foto_till_boken-_Ett_sekel_av_dräkt_och_mode_ur_de_Hallwylska_samlingarna_-_Hallwylska_museet_-_89388.tif
lossy-page1-1280px-Garnityr,_halsband._Foto_till_boken-_Ett_sekel_av_dräkt_och_mode_ur_de_Hallwylska_samlingarna_-_Hallwylska_museet_-_89392.tif
lossy-page1-800px-Garnityr,_örhängen._Foto_till_boken-_Ett_sekel_av_dräkt_och_mode_ur_de_Hallwylska_samlingarna_-_Hallwylska_museet_-_89381.tif

A small sample of Wilhelmina’s art gallery …

Portrait of a Two-Year Old Girl by Jan Cornelisz (1636)
Portrait of a Two-Year Old Girl by Jan Cornelisz (1636)
Proposal by Axel Kulle. Wilhelm bought this painting directly from the artist in Paris in 1881
Proposal by Axel Kulle. Wilhelm bought this painting directly from the artist in Paris in 1881
A Merry Company by Anthonie Palamedesz, 1633
A Merry Company by Anthonie Palamedesz, 1633

For a complete look at the gallery and the rest of the museum, why not take a virtual tour.

Click here for a virtual tour of the museum …

References
Wikipedia
hallwylskamuseet.se/sv

All Roads Lead to Silk – A 5-Minute Guide to the History of Silk

For thousands of years, silk has been a symbol of luxury. Its lustrous finish and soft texture made it the choice of royalty and nobility. The ease with which silk could be worked and dyed earned it the title “queen of textiles”.

Enjoy the story of silk, or click here to advance to the silk fashions of the Georgian, Victorian, Edwardian, and Roaring Twenties eras.

Ancient China

According to Chinese tradition and the writings of Confucius, Empress Leizu, wife of the Yellow Emperor, was enjoying midday tea in her garden under a mulberry tree, when a silk cocoon fell into her tea.
She watched in amazement as a fine thread separated from the cocoon, which she started winding around her finger. Empress Leizu had discovered silk.
One of several stories about the origins of silk, the legend of Leizu dates from the 27th century BC.
Silk’s discovery was kept a closely guarded secret within China for over 2000 years. An imperial decree carried a death sentence for anyone caught exporting silkworms or their eggs.
But one day in the first century AD, a Chinese princess hid silk cocoons in her hair as she left China to marry a prince from the Kingdom of Khotan (near present-day Kashmir). Such was her love for silk that she refused to leave without it.

The Silk Road

Khotan became a major stopping point on the Silk Road—an ancient network of trade routes taking its name from the flourishing trade in Chinese silk.
Once the secret of silk was out, China focused on building out trade routes for exporting silk to the West—even extending the Great Wall of China to ensure their protection.

Silk not only accelerated the economic development of Eurasia, but connected East with West along political and cultural lines. Religions, technologies, philosophies, and even diseases all spread along the Silk Road.

Shimmering Silk

Silk was a sign of great wealth in China and became such a mania among high society that its use was subsequently limited to just the imperial family.
Its highly prized natural shimmer comes from the triangular structure that refracts light like a prism. And with good absorbency, it dyes easily.
Although silk was gradually allowed to be worn by other classes of society, Chinese peasants were excluded until 1644.
As China grew rich from the silk trade, neighboring territories looked on through envious eyes. Silk was used as a diplomatic offering to pacify raiding tribes and also to pay China’s own soldiers, who traded it for furs and horses from nomadic peoples at the gates of the Great Wall.

A Symbol of Luxury

The Romans perceived silk as a symbol of decadence and immortality.
Justinian, Emperor of the Byzantine Empire, wanted more than merely trading silk with the Chinese—he wanted to develop his own silk industry.

The monks give the silkworms to the emperor Justinian
The monks give the silkworms to the emperor Justinian

He sent two monks to China to smuggle silkworm eggs out of the country in hollow bamboo rods.
Byzantine silks became known for their meticulous attention to detail and fine decoration.
After the Siege of Constantinople in 1204, the Byzantine silk industry declined and 2000 skilled weavers left for Italy.
And so began a booming Italian silk industry, with the cities of Lucca, Genoa, Venice, and Florence supplying the luxury demands of a growing bourgeoisie across Europe.
Driven by the demand for luxury French fashions, France developed its own silk industry, overtaking Italy as the capital of the European silk trade.

Fragment from an 11th-century Byzantine robe shows griffins embroidered on a delicate silk woven of murex-dyed threads.
Fragment from an 11th-century Byzantine robe shows griffins embroidered on a delicate silk woven of murex-dyed threads.

Technological Advancements

Silk and the textile industry were the driving force behind technological change in the 13th and 14th centuries. Bobbins and warping machines were introduced, as was the button loom of  Jean le Calabrais.
But the biggest changes of all came with the Industrial Revolution.
On the eve of the Industrial Revolution, spinning and weaving were largely cottage industries. Two inventions were about to change a way of life that had existed for centuries and usher in the rise of textile factories and mass production.
An early forerunner to modern-day computers, Joseph Marie Jacquard’s 1801 invention of a programmable loom (the “Jacquard loom”) simplified weaving of complex patterns for brocade, damask, and matelassé.

Power looms boosted worker output by a factor of 40 and by the mid-19th century there were 260,000 in operation in England alone.

1750 British Court Dress. Silk with metallic embroidery. metmuseum
1750 British Court Dress. Silk with metallic embroidery. metmuseum
1750 British Court Dress. Silk with metallic embroidery. metmuseum
French. Silk. metmuseum.org
French. Silk. metmuseum.org
French. Silk. metmuseum.org
French. Silk. metmuseum.org
French. Silk. metmuseum.org
British. Silk. metmuseum.org
Wedding dress, 1856–59. American, silk. metmuseum.org
Wedding dress, 1856–59. American, silk. metmuseum.org
Wedding dress, 1856–59. American, silk. metmuseum.org
Wedding dress, 1856–59. American, silk. metmuseum.org
Wedding dress, 1856–59. American, silk. metmuseum.org
Wedding dress, 1856–59. American, silk. metmuseum.org
1843. Silk. metmuseum.org
American. Silk. metmuseum
American. Silk. metmuseum.org
American. Silk. metmuseum.org
American. Silk. metmuseum.org
American. Silk. metmuseum
French. Silk. metmuseum
French. Silk. metmuseum
French. Silk. metmuseum.org
1924, Callot Soeurs, French, metmuseum.org
Callor Soeurs. Silk. metmuseum.org

20 Romantic Dreamscapes from 19th Century artist Frederic Edwin Church

Frederic Edwin Church loved to dream. He dreamed of mountains, waterfalls, and sunsets. He dreamed of exotic lands shrouded in mist, of waves crashing against craggy cliffs, of reflections in the stillness of dawn’s first light.

Church was a pupil of Thomas Cole, the founder of the Hudson River School of American landscape painters—an art movement influenced by romanticism.

Romanticism was a reaction to the Industrial Revolution and the Enlightenment that emphasized an emotional connection with nature. Romantic paintings used a luminous quality of light to convey idealized scenes depicting the richness and beauty of nature.

Church shows us the wild, untamed frontier landscapes of an unsettled America that were fast disappearing and the dramatic natural wonders he experienced on his travels around the world.

We are reminded of just how small we are in comparison with the magnificence of nature.

Morning in the Tropics by Frederic Edwin Church, 1858
Morning in the Tropics by Frederic Edwin Church, 1858
A Country Home by Frederic Edwin Church, 1854
A Country Home by Frederic Edwin Church, 1854
Landscape in the Adirondacks by Frederic Edwin Church
Landscape in the Adirondacks by Frederic Edwin Church
The Monastery of San Pedro by Frederic Edwin Church, 1879
The Monastery of San Pedro by Frederic Edwin Church, 1879
Landscape in Greece by Frederic Edwin Church, 1873
Landscape in Greece by Frederic Edwin Church, 1873
View in Pittsford, Vt. by Frederic Edwin Church, 1848
View in Pittsford, Vt. by Frederic Edwin Church, 1848
Twilight in the Adirondacks by Frederic Edwin Church
Twilight in the Adirondacks by Frederic Edwin Church
The River of Light by Frederic Edwin Church, 1877
The River of Light by Frederic Edwin Church, 1877
Niagara Falls from the American Side by Frederic Edwin Church, 1867
Niagara Falls from the American Side by Frederic Edwin Church, 1867
The Natural Bridge, Virginia by Frederic Edwin Church, 1852
The Natural Bridge, Virginia by Frederic Edwin Church, 1852
The Falls of Tequendama, Near Bogota, New Granada by Frederic Edwin Church, 1852
The Falls of Tequendama, Near Bogota, New Granada by Frederic Edwin Church, 1852
Coast Scene, Mount Desert by Frederic Edwin Church, 1863
Coast Scene, Mount Desert by Frederic Edwin Church, 1863
Cotopaxi by Frederic Edwin Church, 1855
Cotopaxi by Frederic Edwin Church, 1855
New England Scenery by Frederic Edwin Church, 1851
New England Scenery by Frederic Edwin Church, 1851
South American Landscape by Frederic Edwin Church, 1857
South American Landscape by Frederic Edwin Church, 1857
Scene on the Catskill Creek, New York by Frederic Edwin Church, 1847
Scene on the Catskill Creek, New York by Frederic Edwin Church, 1847
View of Cotopaxi by Frederic Edwin Church, 1857
View of Cotopaxi by Frederic Edwin Church, 1857
Syria by the Sea by Frederic Edwin Church, 1873
Syria by the Sea by Frederic Edwin Church, 1873
Konigsee, Bavaria by Frederic Edwin Church, 1868
Konigsee, Bavaria by Frederic Edwin Church, 1868
The Parthenon by Frederic Edwin Church, 1871
The Parthenon by Frederic Edwin Church, 1871

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Comfortable Elegance — A 5-Minute Guide to the Tea Gown

After a hard day at the mercy of a corset, 19th-century well-to-do ladies found welcome relief in the tea gown.

Worn for an informal afternoon entertaining friends, or dinner at home with family, the tea gown was a kind of halfway house between a wrapper and a ball gown.

With long sleeves, train, and sumptuous fabrics, they were consummately elegant, yet comfortable too—often being worn with a loose-fitting corset or no corset at all.

1875

1875 Tea Gown. American. Wool, silk, cotton. metmuseum
1875 Tea Gown. American. Wool, silk, cotton. metmuseum
1875 Tea Gown. American. Wool, silk, cotton. metmuseum
1875 Tea Gown. American. Wool, silk, cotton. metmuseum

The Japanese craze in western art and fashion, and in particular, the Kimono—worn by Japanese women during formal ceremonies—helped shape European tea gowns, which became popular in the United States at around the same time.

Girl in red kimono lying by George Hendrik Breitner, 1894
Girl in red kimono lying by George Hendrik Breitner, 1894
Girl in a White Kimono by George Hendrik Breitner, 1894
Girl in a White Kimono by George Hendrik Breitner, 1894

1878

c1878. American. Silk, cotton. metmuseum
c1878. American. Silk, cotton. metmuseum
c1878. American. Silk, cotton. metmuseum
c1878. American. Silk, cotton. metmuseum
c1878. American. Silk, cotton. metmuseum
c1878. American. Silk, cotton. metmuseum

1880

1880s Tea Gown. American. metmuseum
1880s Tea Gown. American. metmuseum
1880s Tea Gown. American. metmuseum
1880s Tea Gown. American. metmuseum
1880s Tea Gown. American. metmuseum
1880s Tea Gown. American. metmuseum

By the mid-1880s, tea gowns were considered modish, particularly among followers of the aesthetic movement—believing that life had to be lived intensely, with an ideal of beauty.

One firm catering to this artistic movement was Liberty & Co., famous as the chic venue for exquisite, individualized garments known as “art fabrics from the orient”.

1885

1885 Liberty and Co., British. Silk. metmuseum
1885 Liberty and Co., British. Silk. metmuseum
1885 Liberty and Co., British. Silk. metmuseum
1885 Liberty and Co., British. Silk. metmuseum
1885 Liberty and Co., British. Silk. metmuseum
1885 Liberty and Co., British. Silk. metmuseum

1891

c1891. American. Cotton. metmuseum
c1891. American. Cotton. metmuseum
c1891. American. Cotton. metmuseum
c. 1891. American. Cotton. metmuseum
c1891. American. Cotton. metmuseum
c. 1891. American. Cotton. metmuseum
c1891. American. Cotton. metmuseum
c. 1891. American. Cotton. metmuseum
c1891. American. Cotton. metmuseum
c. 1891. American. Cotton. metmuseum

1907

Jacques Doucet was another couturier known for his passion for the refined and exquisite. The House of Doucet’s luxurious offerings were worn by royalty, elite society, and stage actresses.

In the example below, the lace at the bodice adds aesthetic interest, drawing attention to the wearer’s face. The open robe effect’s historical influence creates an air of romantic fantasy.

1907, Jacques Doucet. French. Silk, linen. metmuseum
1907, Jacques Doucet. French. Silk, linen. metmuseum

1920s

The popularity of the tea gown started to wind down in the 1920s, by which time they were very lightweight, with sheer silk and metallic thread.

1920s Tea Gown. American. Silk, metallic thread. metmuseum

According to the Boston Evening Transcript of 1907, a sale of tea gowns showed list prices varying from (in today’s dollars) about $370 up to $3300.

Boston Evening Transcript of 1907

References
Metropolitan Museum of Art.
Wikipedia.org.
Dress Culture in Late Victorian Women’s Fiction by Dr Christine Bayles Kortsch.
Emily Post (1873–1960): Etiquette, 1922.
Clothing and Fashion: American Fashion from Head to Toe by José Blanco F., Patricia Kay Hunt-Hurst, Heather Vaughan Lee, Mary Doering.

40 Pissarro Paintings of French Country Life

Camille Pissarro (1830 – 1903) loved to paint rural scenes from nature.

He loved to express the beauty and truth of nature as it exists in its purest form without adulteration.

Preferring to finish paintings outdoors “en plein air” in a single sitting, it gave his work a more realistic feel.

This is how he explained his technique of painting to a student:

“Work at the same time upon sky, water, branches, ground, keeping everything going on an equal basis and unceasingly rework until you have got it. Paint generously and unhesitatingly, for it is best not to lose the first impression.”

Blossoming trees, light reflections in water, flowering gardens, and village life—Pissarro captured the mood of changing seasons and times of day.

Let Pissarro lift your mood—simply scroll and enjoy!

Apple Trees, Sunset, Eragny by Camille Pissarro, 1896
Apple Trees, Sunset, Eragny by Camille Pissarro, 1896
The Banks of the Oise by Camille Pissarro, 1877
The Banks of the Oise by Camille Pissarro, 1877
Morning, Sun Effect, Eragny by Camille Pissarro, 1899
Morning, Sun Effect, Eragny by Camille Pissarro, 1899
Morning, Autumn Sunlight, Eragny by Camille Pissarro, 1900
Morning, Autumn Sunlight, Eragny by Camille Pissarro, 1900
Spring Morning, Cloudy, Eragny by Camille Pissarro, 1900
Spring Morning, Cloudy, Eragny by Camille Pissarro, 1900
Vegetable Garden in Eragny, Morning by Camille Pissarro, 1901
Vegetable Garden in Eragny, Morning by Camille Pissarro, 1901
Road along the Loing canal by Camille Pissarro
Road along the Loing canal by Camille Pissarro
Fields by Camille Pissarro, 1877
Fields by Camille Pissarro, 1877
Les mathurins, Pontoise by Camille Pissarro, 1877
Les mathurins, Pontoise by Camille Pissarro, 1877
The Garden at Pontoise by Camille Pissarro, 1877
The Garden at Pontoise by Camille Pissarro, 1877
The Vegetable Garden with Trees in Blossom, Spring, Pontoise by Camille Pissarro, 1877
The Vegetable Garden with Trees in Blossom, Spring, Pontoise by Camille Pissarro, 1877
Resting in the woods Pontoise by Camille Pissarro, 1878
Resting in the woods Pontoise by Camille Pissarro, 1878
A Path in the Woods, Pontoise by Camille Pissarro, 1879
A Path in the Woods, Pontoise by Camille Pissarro, 1879
A Street in Pontoise by Camille Pissarro, 1879
A Street in Pontoise by Camille Pissarro, 1879
Cottages at Auvers, near Pontoise by Camille Pissarro, 1879
Cottages at Auvers, near Pontoise by Camille Pissarro, 1879

A Street in Auvers (Thatched Cottage and Cow) by Camille Pissarro, 1880
A Street in Auvers (Thatched Cottage and Cow) by Camille Pissarro, 1880
Landscape at Chaponval by Camille Pissarro, 1880
Landscape at Chaponval by Camille Pissarro, 1880
Le Valhermeil, near Pontoise by Camille Pissarro, 1880
Le Valhermeil, near Pontoise by Camille Pissarro, 1880
Sunset at Valhermeil, near Pontoise by Camille Pissarro, 1880
Sunset at Valhermeil, near Pontoise by Camille Pissarro, 1880
Kitchen Gardens, Pontoise by Camille Pissarro, 1881
Kitchen Gardens, Pontoise by Camille Pissarro, 1881
View Towards Pontoise Prison, in Spring by Camille Pissarro, 1881
View Towards Pontoise Prison, in Spring by Camille Pissarro, 1881
The Snack, Child and Young peasant at Rest by Camille Pissarro, 1882
The Snack, Child and Young peasant at Rest by Camille Pissarro, 1882
Young Woman and Child at the Well by Camille Pissarro, 1882
Young Woman and Child at the Well by Camille Pissarro, 1882
Landscape at Osny near watering by Camille Pissarro, 1883
Landscape at Osny near watering by Camille Pissarro, 1883
Little Bridge on the Voisne, Osny by Camille Pissarro, 1883
Little Bridge on the Voisne, Osny by Camille Pissarro, 1883
View of a Farm in Osny by Camille Pissarro, 1883
View of a Farm in Osny by Camille Pissarro, 1883
A Servant Seated in the Garden at Eragny by Camille Pissarro, 1884
A Servant Seated in the Garden at Eragny by Camille Pissarro, 1884
Old Houses at Eragny by Camille Pissarro, 1884
Old Houses at Eragny by Camille Pissarro, 1884
Apple Trees in Flower, Eragny by Camille Pissarro, 1895
Apple Trees in Flower, Eragny by Camille Pissarro, 1895
The Banks of the Epte at Eragny by Camille Pissarro, 1884
The Banks of the Epte at Eragny by Camille Pissarro, 1884
The Tedder by Camille Pissarro, 1884
The Tedder by Camille Pissarro, 1884
View of Eragny by Camille Pissarro, 1884
View of Eragny by Camille Pissarro, 1884
Shepherdesses by Camille Pissarro, 1887
Shepherdesses by Camille Pissarro, 1887
Mirbeau's Garden, the Terrace by Camille Pissarro, 1892
Mirbeau’s Garden, the Terrace by Camille Pissarro, 1892
Flowering Plum Tree, Eragny by Camille Pissarro, 1894
Flowering Plum Tree, Eragny by Camille Pissarro, 1894
Morning, Flowering Apple Trees, Eragny by Camille Pissarro, 1898
Morning, Flowering Apple Trees, Eragny by Camille Pissarro, 1898
The Artist's Garden at Eragny by Camille Pissarro, 1898
The Artist’s Garden at Eragny by Camille Pissarro, 1898
Apple Trees and Poplars in the Setting Sun by Camille Pissarro, 1901
Apple Trees and Poplars in the Setting Sun by Camille Pissarro, 1901
A Field in Varengeville by Camille Pissarro, 1899
A Field in Varengeville by Camille Pissarro, 1899
Landscape with Strollers Relaxing under the Trees by Camille Pissarro, 1872
Landscape with Strollers Relaxing under the Trees by Camille Pissarro, 1872

30 Romantic Russian Paintings of Ships at Sea by Ivan Aivazovsky

Ivan Aivazovsky (1817 – 1900) loved the sea. Considered one of the greatest marine artists in history, during his 60-year career he created an astonishing 6,000 beautiful paintings.

Sweeping seascapes, golden sunsets, moonlit nights—Aivazovsky surprises and delights.

He paints mighty ships of the line ploughing through rough waters at full sail, or drifting in the stillness of a calm sea.

He captures the grandeur of the Imperial Russian fleet at anchor in the Black Sea ports.

He caresses the canvas with delicate brushwork and translucent layers of diffuse light.

Warmed by the rising sun, great buildings appear from behind morning mists. Anchored tall ships sit shrouded in glowing fog. Incandescent moonlight shimmers across the calm waters of Black Sea bays.

So admired was his work by Russians, that the saying “worthy of Aivazovsky’s brush” described something “ineffably lovely.”

Press “play” to add atmosphere to your sea voyage as you scroll through Aivazovsky’s beautiful paintings.

Sunset in Crimea by Ivan Aivazovsky, 1865
Sunset in Crimea by Ivan Aivazovsky, 1865
The Bay Golden Horn by Ivan Aivazovsky, 1845
The Bay Golden Horn by Ivan Aivazovsky, 1845
Parade of the Black Sea Fleet by Ivan Aivazovsky, 1849
Parade of the Black Sea Fleet by Ivan Aivazovsky, 1849
Sunset - Ivan Aivazovsky, 1866
Sunset – Ivan Aivazovsky, 1866
Near Crimean coast - Ivan Aivazovsky, 1890
Near Crimean coast – Ivan Aivazovsky, 1890
Shipwreck near Gurzuf - Ivan Aivazovsky, 1898
Shipwreck near Gurzuf – Ivan Aivazovsky, 1898


Lunar night by Ivan Aivazovsky, 1857
Lunar night by Ivan Aivazovsky, 1857
Moon Path by Ivan Aivazovsky
Moon Path by Ivan Aivazovsky
Reval - Ivan Aivazovsky, 1844
Reval – Ivan Aivazovsky, 1844
Calm Sea by Ivan Aivazovsky, 1863
Calm Sea by Ivan Aivazovsky, 1863
Ayu-Dag on a foggy day by Ivan Aivazovsky, 1853
Ayu-Dag on a foggy day by Ivan Aivazovsky, 1853


Morning at Sea by Ivan Aivazovsky, 1849
Morning at Sea by Ivan Aivazovsky, 1849
The Bay of Naples at moonlit night. Vesuvius by Ivan Aivazovsky, 1870
The Bay of Naples at moonlit night. Vesuvius by Ivan Aivazovsky, 1870
The Great Roads at Kronstadt by Ivan Aivazovsky, 1836
The Great Roads at Kronstadt by Ivan Aivazovsky, 1836
The sunset on sea by Ivan Aivazovsky, 1848
The sunset on sea by Ivan Aivazovsky, 1848
Smolny Convent by Ivan Aivazovsky, 1849
Smolny Convent by Ivan Aivazovsky, 1849
Farewell by Ivan Aivazovsky
Farewell by Ivan Aivazovsky


Kerch by Ivan Aivazovsky, 1839
Kerch by Ivan Aivazovsky, 1839
The Bay of Naples in the morning by Ivan Aivazovsky, 1843
The Bay of Naples in the morning by Ivan Aivazovsky, 1843
Russian squadron on the raid of Sevastopol by Ivan Aivazovsky, 1846
Russian squadron on the raid of Sevastopol by Ivan Aivazovsky, 1846
View of Constantinople by Ivan Aivazovsky, 1849
View of Constantinople by Ivan Aivazovsky, 1849
The Ninth Wave by Ivan Aivazovsky, 1850
The Ninth Wave by Ivan Aivazovsky, 1850
Ships at anchor by Ivan Aivazovsky, 1851
Ships at anchor by Ivan Aivazovsky, 1851


Windmill on the Sea Coast by Ivan Aivazovsky, 1851
Windmill on the Sea Coast by Ivan Aivazovsky, 1851
Fishermen on the coast of the sea by Ivan Aivazovsky, 1852
Fishermen on the coast of the sea by Ivan Aivazovsky, 1852
Constantinople by Ivan Aivazovsky
Constantinople by Ivan Aivazovsky
Icebergs by Ivan Aivazovsky c.1860
Icebergs by Ivan Aivazovsky c.1860
A Lunar night on Capri by Ivan Aivazovsky, 1841
A Lunar night on Capri by Ivan Aivazovsky, 1841
Searching for Suvivors by Ivan Aivazovsky, 1870
Searching for Suvivors by Ivan Aivazovsky, 1870
Tempest on the sea at night by Ivan Aivazovsky, 1849
Tempest on the sea at night by Ivan Aivazovsky, 1849


Contains affiliate links

Disclosure of Material Connection: Some of the links in the post above are “affiliate links.” This means if you click on the link and purchase the item, I may receive an affiliate commission. I only recommend products or services that I believe will add value to my readers. I am disclosing this in accordance with the Federal Trade Commission’s 16 CFR, Part 255: “Guides Concerning the Use of Endorsements and Testimonials in Advertising.”

Further Reading
Discover more about Ivan Aivazovsky at Wikipedia.org

12 Fabulous Fabergé Eggs — choose your favorite

Between 1885 and 1917, Peter Carl Fabergé created a limited number of exclusive jeweled eggs for the Russian Tsars Alexander III and Nicholas II as gifts for their wives and mothers.

In the Christian faith, eggs symbolize the empty tomb and resurrection of Jesus—celebrating new life and new beginnings.

It was a different story for the Russian monarchy. The winds of change had swept over Imperial Russia. It was the beginning of the end.

Royal Imperial Family, 1911
Nicholas II and family (left to right): Olga, Maria, Nicholas II, Alexandra Fyodorovna, Anastasia, Alexei, and Tatiana. Livadiya, Crimea, 1913. Portrait by the Levitsky Studio, Livadiya.

But the exquisite bejeweled Fabergé Eggs live on as constant reminders of a bygone time.

A Victorian Easter Diary

26th March, 1874.

Dear Diary,

It’s our Easter Holiday. At last, the long cold winter is over and spring is finally here.

Tomorrow is the Easter hunt in the woods by the school. It will be such fun! Last year, the sounds of excitement filled the forest. My friends and I laughed until we hurt. It was beautiful—the air was filled with a sweet scent of wild flowers and the birds were singing their hearts out. I loved the crackling sound of the twigs beneath our shoes as we frantically searched here and there.

And what treats await us! Colored eggs, Easter gifts, and chocolates lie hidden in hedgerows, in the tangled roots of the mighty beech trees, and amongst the pockets of pale yellow primroses.

An Easter Holiday, the Children of Bloomsbury Parochial School in a Wood at Watford by James Aumonier, 1874.
An Easter Holiday, the Children of Bloomsbury Parochial School in a Wood at Watford by James Aumonier, 1874.

We were really busy today preparing for tomorrow’s Easter hunt. Grandpa helped us dye the Easter eggs.

We dyed and painted three dozen chicken eggs and put them in a basket filled with straw to look like a bird’s nest.

Grandpa showed us how to make different colors for the eggs by boiling them with leaves or onions. We got red by boiling with onion skins and beetroot, gold with marigold flower, violet with mallow flower, and green with periwinkle leaves.

Preparing for Easter by Mikhail Germashev
Preparing for Easter by Mikhail Germashev

Then all the parents and teachers went out to hide them in the woods—for us to find tomorrow morning.

It’s so exciting! How can I possibly sleep tonight?

After we finished coloring the eggs, Mother said a prayer for them and picked some wild flowers to make our egg basket the prettiest you ever saw!

Lord, let the grace of your blessing come upon these eggs, that they be healthful food for your faithful who eat them in thanksgiving for the resurrection of our Lord Jesus Christ, who lives and reigns with you forever and ever.from the Roman Ritual
Easter Sunday by George Hitchcock c. 1904 - Copy
Easter Sunday by George Hitchcock

Before dinner, Mother wrote the Easter Greetings cards to all our family and friends.

She said it’s thanks to Sir Rowland Hill for creating the Uniform Penny Post that we can afford to send twenty cards this year! It costs a penny to send each one. All we have to do is put the cards into an envelope and fix a stamp to it.

Grandpa remembers the old days before stamps, when he used to have to pay to receive cards. How nice it is to live in the modern Victorian era! Mother always says we must count our blessings—I’m so lucky and thankful!

These are our cards that we chose together at the post office. The lady behind the counter was so nice and friendly. She even helped us choose some of the cards.

My favorite card is the last one—the little chicks are admiring a huge pink egg.

Mother told me and my little brother a bedtime story about some special eggs made for the Russian Royal family. Some day I want to see them—just like a real princess. Hope that’s my dream tonight.

Goodnight dear diary. Sleep tight …

Imperial easter egg Renaissance from the collection of the Fabergé Museum in Saint Petersburg, Russia.
Imperial easter egg Renaissance from the collection of the Fabergé Museum in Saint Petersburg, Russia.

12 Fabulous Fabergé Eggs — choose your favorite

Sources:
wikipedia.org
The Roman Ritual. Part XI, Blessings and other sacramentals.

10 Sublime Springtime Paintings from Claude Monet

Claude Monet loved nature — and what better time to enjoy it than its reawakening after a long, cold winter.

He loved to paint “en plein air” — outdoors in the open air — enjoying the fresh light and colors of spring, with the scent of blossoms drifting on the spring breeze.

Here are 10 paintings by Monet that feature “spring” in the title.

Hope they put a spring in your step today!

Springtime in Giverny by Claude Monet
Springtime in Giverny by Claude Monet
Springtime by Claude Monet, 1886
Springtime by Claude Monet, 1886
The Spring in Argentuil by Claude Monet, 1872
The Spring in Argentuil by Claude Monet, 1872
Springtime by Claude Monet, 1872
Springtime by Claude Monet, 1872
The Mount Riboudet in Rouen at Spring by Claude Monet, 1872
The Mount Riboudet in Rouen at Spring by Claude Monet, 1872
Springtime at Giverny by Claude Monet, 1886
Springtime at Giverny by Claude Monet, 1886
Spring by the Seine by Claude Monet, 1875
Spring by the Seine by Claude Monet, 1875
An Orchard in Spring by Claude Monet, 1886
An Orchard in Spring by Claude Monet, 1886
The Spring at Vetheuil by Claude Monet, 1881
The Spring at Vetheuil by Claude Monet, 1881
Spring Landscape by Claude Monet, 1894
Spring Landscape by Claude Monet, 1894

The Hustle and Bustle of Victorian Life — A 5-Minute Guide to the Bustle Dress

Following on from our article on corsets, we turn our attention to the bustle.

We think the bustle epitomizes Victorian fashion during the last quarter of the 19th century. It’s particularly synonymous with the period of peace, prosperity, and progress known as the Belle Époque.

The bustle was celebrated in paintings by the Belle Époque artist Jean Béraud, by the fashion portraitist James Tissot, and by the pointillist artist Georges Seurat in his iconic work “A Sunday Afternoon on the Island of La Grande Jatte”.

La Patisserie Gloppe au Champs Elyssées by Jean-Georges Béraud - 1889
La Patisserie Gloppe au Champs Elyssées by Jean-Georges Béraud – 1889
The Ball on Shipboard by James Tissot, 1874
The Ball on Shipboard by James Tissot, 1874
A Sunday on La Grande Jatte by Georges Seurat, 1884
A Sunday on La Grande Jatte by Georges Seurat, 1884

Out went the huge crinolines of the 1860’s …

1860's fashion plate
1860’s fashion plate

… and in came a slimline version.

1887 Fashion Plate
1887 Fashion Plate

The bustle was far more convenient for day-to-day activities … although some compromises were still necessary as Jean Béraud illustrates so aptly in his painting “Woman in Prayer”.

Woman in Prayer by Jean-Georges Béraud, 1877
Woman in Prayer by Jean-Georges Béraud, 1877

And the effect it had on men ranged from admiring looks at the opera, to marriage proposals on bended knee.

Left: The Box by the Stalls by Jean-Georges Béraud - 1883. Right: An 1885 proposal caricature
Left: The Box by the Stalls by Jean-Georges Béraud – 1883. Right: An 1885 proposal caricature

Even today, the essence of the bustle has been used by top designers such as Vera Wang in her stunning wedding dresses.

Vera Wang wedding dress. Photo credit: Sarah Kate Photography on stylemepretty.com
When I design a wedding dress with a bustle, it has to be one the bride can dance in. I love the idea that something is practical and still looks great.Vera Wang

Crinolines and bustles  were types of framework to give fullness to dresses and keep them from dragging.

1884-86. American. Silk. metmuseum_closeup
Bustle shown overlaid for illustration purposes

Heavy fabric would weigh down the skirts of dresses and flatten them, causing a woman’s petticoated dress to lose its shape during everyday wear—merely from sitting down or moving about.

From around the 1870s to the late 1890s, the large bell-shaped crinolines were superseded by the bustle as the preferred way to create the desired fullness that was in vogue.

The overskirt of the late 1860s was now swept up toward the back with the bustle providing the needed support for the new draped shape.

This fullness was drawn up in ties for walking that created a fashionable “puff”.

In this painting from Belle Époque-era Paris, we see ladies crossing the street in rainy weather while holding their skirts up with one hand.

The bustle made it much easier to manage the fullness of skirts and keep them from dragging on muddy streets.

Boulevard Poissonniere in the Rain by Jean-Georges Béraud - 1885
Boulevard Poissonniere in the Rain by Jean-Georges Béraud – 1885

Supporting this trendsetting puff was a variety of things such as horsehair, metal hoops and down.

More sophisticated designs would allow bustles to reach their maximum potential—looking like a full shelf at the back. Some even joked that the bustles could support an entire tea service!

1884-86. American. Silk. metmuseum_closeup
1884-86. American. Silk. metmuseum_closeup

Some of the sculptural undergarments required to achieve the extreme bustle of the 1880s are shown here.

To support the heavier gowns, light and flexible frameworks were created using wire, cane, and whalebone, held together with canvas tapes or inserts inside of quilted channels.

Bustle from c. 1885, American, linen, metal
Bustle from c. 1885, American, linen, metal
Bustle from 1871, British, cotton, metal. metmuseum
Bustle from 1871, British, cotton, metal. metmuseum
Bustle from 1870s, American. memuseum
Bustle from 1870s, American. memuseum
Bustle from 1870s, American, metmuseum
Bustle from 1870s, American, metmuseum
Bustle from 1880s Europe. metmuseum
Bustle from 1880s Europe. metmuseum
1878. American. Linen, metal. metmuseum
1878. American. Linen, metal. metmuseum
1880s. American. metmuseum
1880s. American. metmuseum
1882 bustle. American. Steel, cotton. metmuseum
1882 bustle. American. Steel, cotton. metmuseum
1873 Bustle. Credit Wilhelm Storm, flickr
1873 Bustle. Credit Wilhelm Storm, flickr
c. 1865. American. silk. metmuseum
c. 1865. American. silk. metmuseum
c. 1865. American. silk. metmuseum_front
c. 1865. American. silk. metmuseum_front
c. 1880. American. Silk, cotton. metmuseum
c. 1880. American. Silk, cotton. metmuseum

c. 1880. American. Silk, cotton. metmuseum_front

1885. American. Silk, linen. metmuseum
1885. American. Silk, linen. metmuseum
1885. American. Silk, linen. metmuseum
1885. American. Silk, linen. metmuseum
c. 1885. American. Silk, cotton. metmuseum
c. 1885. American. Silk, cotton. metmuseum
c. 1885. American. Silk, cotton. metmuseum
c. 1885. American. Silk, cotton. metmuseum
1885. American. Silk, rhinestones, metal. metmuseum
1885. American. Silk, rhinestones, metal. metmuseum
1885. American. Silk, rhinestones, metal. metmuseum
1885. American. Silk, rhinestones, metal. metmuseum
1888. American. Silk, linen, cotton. metmuseum
1888. American. Silk, linen, cotton. metmuseum
1888. American. Silk, linen, cotton. metmuseum
1888. American. Silk, linen, cotton. metmuseum
1885. American. Silk. metmuseum
1885. American. Silk. metmuseum
1885. American. Silk. metmuseum
1885. American. Silk. metmuseum

The feminine bustle silhouette continued through the 1890’s before making way for the S-curve silhouette of the Edwardian era.

Sources
Metropolitan Museum of Art
wisconsinhistory.org
Corsets and Crinolines by Norah Waugh

30 Beautiful Impressionist Paintings from Frank Myers Boggs “An American in Paris”

The Impressionist painter Frank Myers Boggs loved France.

He loved the quays and monuments along the Seine in Paris. He loved the old harbor and the pretty townhouses in Honfleur. He loved the marina, the fish market, the stepped streets, and the tranquil squares of Marseille.

Myers Boggs was one of several young American artists who crossed the stormy seas of the North Atlantic in the 19th century to live, breathe, and paint the “old world” that is France.

He used a somber tonal palette and restrained impressionist technique to capture marine, harbor, and street scenes.

If you love moody skies, if you love the way golden afternoon light falls on old stone buildings, if you love the pale light of misty mornings, the stillness of reflections and cities filled with spires, then you will love the work of Frank Myers Boggs.

Here are 30 Impressionist paintings to feed your soul today.

The Seine at Paris with the Pont du Carousel by Frank Myers Boggs – 1896
Honfleur by Frank Myers Boggs
Honfleur by Frank Myers Boggs
Pont St. Michel by Frank Myers Boggs
Pont St. Michel by Frank Myers Boggs
Market Day, Dreux by Frank Myers Boggs
Honfleur, France by Frank Myers Boggs
Honfleur, France by Frank Myers Boggs
Scene of a Street in front of the Church of Saint-Medard, Paris by Frank Myers Boggs
Scene of a Street in front of the Church of Saint-Medard, Paris by Frank Myers Boggs
The Port of Marseille by Frank Myers Boggs
The Port of Marseille by Frank Myers Boggs
The Seine, Quay Henri IV, Paris by Frank Myers Boggs
The Seine, Quay Henri IV, Paris by Frank Myers Boggs
In Port by Frank Myers Boggs
Grand Opera House, Paris by Frank Myers Boggs
Grand Opera House, Paris by Frank Myers Boggs
French Harbor Scene by Frank Myers Boggs
French Harbor Scene by Frank Myers Boggs
The Church in Normandie by Frank Myers Boggs
The Church in Normandie by Frank Myers Boggs
Paris, the Porte Saint-Denis by Frank Myers Boggs - 1905
Paris, the Porte Saint-Denis by Frank Myers Boggs – 1905
The Harbor at Honfleur by Frank Myers Boggs
The Harbor at Honfleur by Frank Myers Boggs
View of Paris by Frank Myers Boggs - 1900
View of Paris by Frank Myers Boggs – 1900
View of Notre Dame by Frank Myers Boggs - 1898
View of Notre Dame by Frank Myers Boggs – 1898
The Pont Carousel, Paris by Frank Myers Boggs, 1889
Armistice Day, Paris, 1918 by Frank Boggs
Armistice Day, Paris, 1918 by Frank Boggs
On the Quai, Dieppe by Frank Myers Boggs, 1880
On the Quai, Dieppe by Frank Myers Boggs, 1880
The Seine at Paris by Frank Myers Boggs
The Moulin Rouge and the Rue Lepic as Seen from the Place Blanche by Frank Myers Boggs
The Seine and Notre Dame by Frank Myers Boggs
Our Lady of the Double Bridge by Frank Boggs, 1900
Le Quai de Valmy by Frank Boggs, 1905
Paris Street Scene by Frank Boggs, 1893
Paris Street Scene by Frank Boggs, 1893
Paris, the Seine, Quai Notre Dame by Frank Myers Boggs
Cathedral in Paris by Frank Myers Boggs
Dieppe by Frank Myers Boggs – 1881
Street Scene in Paris by Frank Myers Boggs - 1878
Street Scene in Paris by Frank Myers Boggs – 1878
Quai at the Seine in the Paris Moonlight by Frank Myers Boggs
Quai at the Seine in the Paris Moonlight by Frank Myers Boggs

40 Stunning Images of Cornwall in 1895

Unspoiled beaches, enchanting seaside villages, and idyllic countryside make Cornwall a special place to live and visit.

Home of the TV sitcom “Doc Martin”, set in Port Isaac, Cornwall’s wild and rugged beauty, down to earth people, and mild climate make it the perennial favorite getaway for Britons.

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An awful lot of people have childhood memories of holidays in Cornwall, and the holidays are old-fashioned and hugely successful. You stick a child and a dog on one of the beaches, and they just light up; they just love it.Martin Clunes (Doc Martin)

Cornwall stretches its rocky fingers into the Atlantic, cloaked in the whispers of myth and the roar of crashing waves.

The legendary birthplace of King Arthur, shrouded in the ruins of Tintagel Castle, whispers tales of chivalry and magic amidst its windswept cliffs.

But Cornwall’s allure goes beyond Arthurian echoes; it’s a symphony of golden beaches, rugged moorlands, and quaint fishing villages, all painted with the salty brushstrokes of the sea.

Here, surfers dance with rolling waves, foodies savor melt-in-your-mouth pasties, and nature lovers trek through emerald valleys dappled with ancient magic.

From the biodomes of the Eden Project to the tidal island majesty of St Michael’s Mount, Cornwall is a vibrant tapestry woven with breathtaking landscapes, rich history, and the promise of endless adventure.

For centuries, Cornwall has fired the imagination of writers and artists. Now it’s your turn to be inspired by 40 beautiful images from 1895.

Newquay, Beacon Cove, Cornwall, ca. 1895
Truro, Cornwall, England, C. 1895
Penzance, Cornwall, England, C. 1895
Scilly Isles, Tresco Abbey, Cornwall, England, C. 1895
Bude, entrance to harbor and breakwater, Cornwall, England, c. 1895
St. Ives, general view, Cornwall, England, c. 1895
Bude -and- Strattan, Cornwall, England, c. 1895
Boscastle, harbor looking west, Cornwall, England, c. 1895
Trevone, near Padstow, Cornwall, England, c. 1895
Port Isaac, Port Gavern, Cornwall, England, c. 1895
The castle, Launceston, Cornwall, England, c. 1895
Tintagel, King Arthur’s Castle from the valley, Cornwall, England, c. 1895
The Sands, Newquay, Cornwall, England, c. 1895
Port Isaac, looking S.W., Cornwall, England, c. 1895
Lizard Point, Cornwall, England, c. 1895
St. Mawes, near Falmouth, Cornwall, England, c. 1895
Newquay, from East, Cornwall, England, c. 1895
Polseath Bay, Cornwall, England, c. 1895
Launceston from S.W., Cornwall, England, c. 1895
Port Isaac, looking N.E., Cornwall, England, c. 1895
Castle and church, Bude, Cornwall, England, c. 1895
Penzance, St. Michael’s Mount, Cornwall, England, c. 1895
New Road, Boscastle, Cornwall, England, c. 1895
Scilly Isles, Tresco Abbey, old arches, Cornwall, England, c. 1895
Kynance Cove, Cornwall, England, c. 1895
Boscastle, Cornwall, England, c. 1895
Scilly Isles, Hugh Town from Garrison, Cornwall, England, c. 1895
King Harry Passage, near Falmouth, Cornwall, England, c. 1895
Boscastle, the village street, Cornwall, England, c. 1895
Boscastle, view of coast from coast guard’s station, Cornwall, England, c. 1895
Coast view, Kynance, Cornwall, England, c. 1895
Newlyn, general view, Cornwall, England, c. 1895
Padstow Quay, Cornwall, England, c. 1895
Boscastle, Penally Point and Mechard Island, Cornwall, England, c. 1895
Launceston from St. Stephens, Cornwall, England, c. 1895
Bedruthan Steps, Cornwall, England, c. 1895
Mawgan, Vale of Lanherne, Cornwall, England, c. 1895
Compass Point, Bude, Cornwall, England, c. 1895
Vale of Lanherne, Carmanton Drive, Cornwall, England, c. 1895
St. Ives, Porthminster Bay, Cornwall, ca. 1895

10 Exquisite Victorian Dressing Gowns — Slipping Into Something More Comfortable

After an evening spent at the opera or the ball in a tight-laced corsetted gown, perhaps Victorian ladies were a little more than relieved to slip into something more comfortable when they arrived home.

Queen (magazine) of 1881, now known as Harper’s Bazaar, observed the growing popularity of dressing gowns:

It is so much the fashion for young ladies to meet in their rooms, after they have seemingly retired to rest, that very smart dressing-gowns are brought into requisition, and flannel is forsaken for more dressy materials.

Our first example is the quintessential dressing gown of the mid- to late-Victorian era, complete with paisley pattern, military-style cuffs, and cord belt. The teal color runs through the pattern, cord, and lining.

Dressing gown ca. 1875 American Wool, silk metmuseum
Dressing gown ca. 1875 American Wool, silk, metmuseum
Dressing gown ca. 1875 American Wool, silk, metmuseum (back)
Dressing gown ca. 1875 American Wool, silk, metmuseum (back)
Dressing gown ca. 1875 American Wool, silk, metmuseum (detail showing lining)
Dressing gown ca. 1875 American Wool, silk, metmuseum (detail showing lining)

Our next example was a popular style when it became acceptable to receive intimate guests at home in an informal manner. The fabric is more distinctive than the above paisley pattern and the form is more elegant. It was considered equivalent to a man’s banyan or smoking jacket.

Dressing Gown 1880-85 American Wool, Silk, metmuseum
Dressing Gown 1880-85 American Wool, Silk, metmuseum
Dressing Gown 1880-85 American Wool, Silk, metmuseum
Dressing Gown 1880-85 American Wool, Silk, metmuseum
Dressing Gown 1880-85 American Wool, Silk, metmuseum
Dressing Gown 1880-85 American Wool, Silk, metmuseum

Our third example is a sophisticated dressing gown of beautiful colors. The intricate back, with its horizontal ruffles, is reminiscent of the 1870s bustle. The complex back is sewn from four pieces starting at the shoulder seam, with a gradual flare to the hem.

Dressing gown 1865-75 American Wool, silk, metmuseum
Dressing gown 1865-75 American Wool, silk, metmuseum
Dressing gown 1865-75 American Wool, silk, metmuseum
Dressing gown 1865-75 American Wool, silk, metmuseum
Dressing gown 1865-75 American Wool, silk, metmuseum
Dressing gown 1865-75 American Wool, silk, metmuseum

Our last example is an expensive, custom-made wool garment which belonged to a fashionable woman. According to the Metropolitan Museum of Art, the evidence of high craftsmanship is in the skill, time, and extra material it would have taken to precisely place the stripe at the sleeve ends and match at the seams.

Dressing gown 1885–90 European wool, metmuseum
Dressing gown 1885–90 European wool, metmuseum
Dressing gown 1885–90 European wool, metmuseum
Dressing gown 1885–90 European wool, metmuseum

Other examples of Victorian dressing gowns

Dressing gown, c.1850, American, Silk, cotton. metmuseum
Dressing gown, c.1850, American, Silk, cotton. metmuseum
Dressing gown, c.1850, American, Silk, cotton. metmuseum
Dressing gown, c.1850, American, Silk, cotton. metmuseum
Dressing gown, c.1850, American, Silk, cotton. metmuseum
Dressing gown, c.1850, American, Silk, cotton. metmuseum
Dressing gown, c.1855, American, metmuseum
Dressing gown, c.1855, American, metmuseum
Dressing gown, c.1855, American, metmuseum
Dressing gown, c.1855, American, metmuseum
Dressing gown, c.1855, American, metmuseum
Dressing gown, c.1855, American, metmuseum
Dressing gown, 1880-90, American, wool, metmuseum
Dressing gown, 1880-90, American, wool, metmuseum
Dressing gown, 1880-90, American, wool, metmuseum
Dressing gown, 1880-90, American, wool, metmuseum
Dressing gown 1860s American, Cotton, silk, metmuseum
Dressing gown 1860s American, Cotton, silk, metmuseum
Dressing gown, c.1872, American, Silk, wool, cotton, metmuseum
Dressing gown, c.1872, American, Silk, wool, cotton, metmuseum
Dressing gown 1870s American Linen, cotton, metmuseum
Dressing gown 1870s American Linen, cotton, metmuseum

A Dressing Gown Poem

Outside in my dressing gown by Liz Cowley.

I’m outside in my dressing gown —
I often am at half past seven,
when plants are sometimes waking up.
To me, that is a time of heaven.

The builders on the roof next door
were once surprised to see me there,
amazed to watch me pottering
in slippers and with unbrushed hair.

Thank God they’ve learned to look away,
accepting there’s a nut next door
who’s up and out and not yet dressed —
they don’t look startled any more.

They do their own thing, I do mine —
they glance at me, then look away.
I’m glad they have accepted it —
the way I like to start the day.

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20 Beautiful Cottage Paintings by Victorian Artist Helen Allingham

Helen Allingham (1848 – 1926) was an English watercolour painter and illustrator of the Victorian era.

Displaying a talent for art from an early age, she drew inspiration from her maternal grandmother Sarah Smith Herford and aunt Laura Herford—both accomplished artists.

She attended the National Art Training School in London—now the Royal College of Art.

In 1874, she produced 12 illustrations for the serialised version of Thomas Hardy‘s novel “Far from the Madding Crowd“.

In 1890, she became the first woman to become a full member of the Royal Watercolour Society.

A Cottage With Sunflowers by Helen Allingham
A Cottage With Sunflowers by Helen Allingham
A Surrey Cottage by Helen Allingham
A Surrey Cottage by Helen Allingham
A Mother And Child Entering A Cottage by Helen Allingham
A Mother And Child Entering A Cottage by Helen Allingham
A Cottage Near Crocken Hill by Helen Allingham
A Cottage Near Crocken Hill by Helen Allingham
A Village Street by Helen Allingham
A Village Street by Helen Allingham
An Iltshire Cottage by Helen Allingham
An Iltshire Cottage by Helen Allingham
Children On A Path Outside A Thatched Cottage, West Horsley, Surrey by Helen Allingham
Children On A Path Outside A Thatched Cottage, West Horsley, Surrey by Helen Allingham
Children Outside a Cottage by Helen Allingham
Children Outside a Cottage by Helen Allingham
Cottage at Pinner by Helen Allingham
Cottage at Pinner by Helen Allingham
Cottage, Freshwater, Isle of Wight by Helen Allingham
Cottage, Freshwater, Isle of Wight by Helen Allingham
Hill Farm, Symondsbury by Helen Allingham
Hill Farm, Symondsbury by Helen Allingham
Irish Cottage by Helen Allingham
Irish Cottage by Helen Allingham
Manor House, Kent by Helen Allingham
Manor House, Kent by Helen Allingham
Outside the cottage by Helen Allingham
Outside the cottage by Helen Allingham
The saucer of milk by Helen Allingham
The saucer of milk by Helen Allingham
A Berkshire Cottage by Helen Allingham
A Berkshire Cottage by Helen Allingham
A Buckinghamshire house at Penstreet by Helen Allingham
A Buckinghamshire house at Penstreet by Helen Allingham
A Cottage Door by Helen Allingham
A Cottage Door by Helen Allingham
A Cottage near Brook, Witley, Surrey by Helen Allingham
A Cottage near Brook, Witley, Surrey by Helen Allingham
A Surrey Cottage by Helen Allingham
A Surrey Cottage by Helen Allingham

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10 Fascinating Facts About the Belle Époque

1. The Belle Époque was an era of peace and plenty between wars

The French expression Belle Époque was used in retrospect after the horrors of World War One—a term of nostalgia for a simpler time of peace, prosperity, and progress.

At the beginning of the Belle Époque, France was recovering from defeat in the Franco-Prussian War—a defeat of staggering proportions. In just 9 months, France suffered 138,871 dead, 143,000 wounded, and 474,414 captured—a total that was more than six times that of the Prussian opposition.

The Rifle Battalion 9 from Lauenburg at Gravelotte by Ernst Zimmer

In the wake of the Franco-Prussian War, Paris would suffer again through the Commune—a short-lived internal conflict between radical revolutionaries and the French Government. More tragedy and more loss, with estimates ranging from 7,000-20,000 revolutionary “Communards” killed.

Between the Paris Commune and the German heavy artillery bombing, Paris was a mess by the time a ceasefire was signed.

The ruins of the Hôtel de Ville (City Hall) after the Paris Commune (May 1871)

At the end of the Belle Époque, the winds of war were once again in the air. This time, it would be a thousand times worse.

One look at the devastation—hell on earth—and it’s easy to imagine every French soldier huddled, shivering in the filth of trench warfare, trying desperately to cling to the distant memory of a beautiful time—the Belle Époque.

Chateau Wood Ypres, Belgium, 1917

2. It was a global phenomenon

Similar periods of economic growth were experienced in Britain during the late Victorian and Edwardian eras, in Germany under Kaiser Wilhelm I and II during the German Reich, in Russia under Alexander III and Nicholas II, in the United States in a period called the Gilded Age, and in Mexico during the Porfiriato.

Austrian-turned British, and Jewish banker, Baron Ferdinand de Rothschild’s weekend retreat of Waddesdon Manor in Buckinghamshire—built between 1874 and 1889—epitomizes the excesses of the era’s aristocracy in Britain.

Top: Waddesdon Manor, Buckinghamshire, England. Image credit GavinJA. Bottom left: The Concert by James Tissot. Bottom Right: Londoners outside Harrods, 1909.

Russian aristocrats enjoyed waltzing the night away at lavish balls in St Petersburg.

Ball for St. Petersburg Nobility by Kardovsky

The Porfiriato was an era when Porfirio Díaz was president of Mexico from 1876-1911. He promoted order and progress that modernized the economy and encouraged foreign investment. The Porfiriato ended in 1910 with the outbreak of the Mexican Revolution.

During the late 19th century and very early 20th, this theatre was the site of most of Mexico City’s high culture, presenting events such as theatre, operettas, Viennese dance and more.

The Gilded Age was a period of rapid economic growth in the United States—an era when anyone was a potential Andrew Carnegie, and Americans who achieved wealth celebrated it as never before.

Biltmore Estate in Asheville, North Carolina, built between 1889 and 1895, is the largest privately owned house in the United States. Image credit RLTerry.

3. It was an era of huge urban population growth

In the 39 years preceding 1911, the population of Paris grew by 64%. By the end of the Belle Époque, the population of Paris was higher than it is today.

Paris in 1897 – Boulevard Montmartre, by Camille Pissarro
Boulevard des Capucines by Claude Monet, 1883

New York’s population increased by 2 1/2 times from 1870 to 1900.

New York City’s Fifth Avenue bustling with horse-drawn traffic and two motor cars, 1900

Chicago experienced even greater growth, with a staggering ten-fold increase in population between 1870 and 1900.

Chicago c1900

4. The Belle Époque was an era of progress and prosperity

With the humiliating defeat in the Franco-Prussian war a distant memory, the Paris Expositions of 1878, 1889 and 1900 celebrated France’s recovery.

At the Exposition of 1878, the gardens of the Trocadéro displayed the full-size head of the Statue of Liberty, before the statue was completed and shipped to New York.

Head of the Statue of Liberty in the gardens of the Trocadéro, 1878

Gustave Eiffel’s thousand-foot tower was symbolic of just how far France had come. It was the tallest manmade structure in the world and stood at the entrance to a showcase of French ingenuity and engineering mastery.

Paris Exposition Champ de Mars and Eiffel Tower, Paris, France, 1900

An equally significant building was the Machinery Hall. At 111 meters (364 ft), it spanned the longest interior space in the world at the time.

Central Dome of the Gallerie des Machines, Exposition Universelle de Paris, 1889, by Louis Béroud (1852-1930).

5. It was an era of cultural exuberance

Marked by the red windmill on its roof, the Moulin Rouge is considered the spiritual birthplace of the modern version of the can-can dance.

The Moulin Rouge at midnight

Befitting the decadence of the times, the dance was considered scandalous and there were even attempts to repress it. Women wore pantalettes, which could be unintentionally revealing.

Depiction of the can-can by Henri de Toulouse-Lautrec, 1895

The club’s decor still holds the romance of fin de siècle (end of the century) France.

At the Moulin Rouge, The Dance by Henri de Toulouse-Lautrec, 1890

6. It was an era of rich and poor

Paris was both the richest and poorest city in France. An 1882 study of Parisians concluded that 27% of Parisians were upper- or middle-class while 73% were poor.

Paris workers unloading flour. Louis-Robert Carrier-Belleuse, 1885

During America’s Gilded Age, the wealthiest 2% of American households owned more than a third of the nation’s wealth, while the top 10% owned roughly three quarters.

“The protectors of our industries”. Cartoon showing Cyrus Field, Jay Gould, Cornelius Vanderbilt, and Russell Sage, seated on bags of “millions”, on large heavy raft being carried by workers.

In New York, the opera, the theatre, and lavish parties consumed the ruling class. Mrs. Stuyvesant Fish once threw a dinner party to honor her dog who arrived sporting a $15,000 diamond collar.

In 1890, 11 million of the nation’s 12 million families earned less than $1200 per year; of this group, the average annual income was $380—well below the poverty line.

7. It was an era of scientific and technological advancement

The second wave of the industrial revolution seized the world.

Along came cameras, electric lights, the telephone, the gramophone, the automobile, and the dawn of air travel.

When Queen Victoria invited herself to Rothschild’s Waddeston Manor, it is said she was so impressed with the electric lighting that she spent 10 minutes switching an electric chandelier on and off.

William H. Taft learns by telephone of his nomination for president, 1908
Louis Pasteur in his laboratory, painting by A. Edelfeldt in 1885
The first illustration of Benz’s Patent-Motorwagen was published in 1888 in the Leipziger Illustrierten Zeitung

8. An era of art and architecture

Although the architecture of the Belle Époque combined elements from several styles, the predominant architectural style was Art Nouveau.

A reaction to the academic influence of the Académie des Beaux-Arts, Art Nouveau (“new art”) was inspired by the natural forms and structures of flowers, plants, and curved lines. Architects tried to harmonize with the natural environment.

Art Nouveau building in Paris by architect Jules Lavirotte, sculptures by Jean-François Larrivé (1875–1928)
The art nouveau Le Grand Café, Place d’Allier, Moulins, France
Hector Guimard’s original Art Nouveau entrance of the Paris Métro in Abbesses station

The Paris Exposition Universelle of 1900 was an Art Nouveau extravaganza.

Paris Exposition Palace of Electricity, Paris, France, 1900

9. The Belle Époque was an era of fashion

Jeanne Paquin was one of several fashion designers of the Belle Époque. She became known for her publicity stunts including sending her models to the races and the opera to get her designs noticed.

‘Five Hours at Paquin’s’ by Henri Gervex, 1906

10. It was an era of Imperialism

The “Scramble for Africa” was a race by European powers to colonize as much of Africa as possible in the latter part of the 19th century.

African land under European control went from 10% in 1870 to 90% in 1914.

Scramble for Africa 1880. Credit Somebody500
Scramble for Africa 1913. Credit Somebody500
The Rhodes Colossus: Caricature of Cecil John Rhodes, after he announced plans for a telegraph line and railroad from Cape Town to Cairo.

By the end of the 19th century, Africa was one of the last regions of the world unaffected by Imperialism. That was about to change.

France and Britain in particular carved out huge swathes of land, with France concentrating on Northwest Africa and Britain wanting the eastern ports as stopovers for it’s Indian and Asian trade routes.

Cecil Rhodes was the man behind Rhodesia (now Zimbabwe) and the world-famous de Beers diamond company. His British South Africa Company acquired the land during the Belle Époque.

The Belle Époque was a beautiful era, but as Mark Twain described the Gilded Age, it was a thin veneer hiding systemic problems—discontent among the working classes, political tensions between nation states, militarism, imperialism, and to top it all, an unyielding arms race that by 1914 was a bubble about to burst. All that was needed was a trigger event.

Sources and credits

40 Delightful Images of Devon, England in the 1890s

Devon is a county of England in the south-west corner of the British Isles.

The name Devon comes from a Celtic tribe called Dumnonii, meaning “deep valley dwellers”, that inhabited the area at about the time of the Roman invasion of Britain (AD 43).

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In around AD 1000, the Anglo-Saxons partly absorbed Devon into one of their Kingdoms, called Wessex. At this time, Devon became a “shire”. Although not in common use today, the term “Devonshire” is often used for the light meal known as “Devonshire Cream Tea”.

Oddly enough, the seat of the Duke of Devonshire is held in Derbyshire at Chatsworth House and has no connection to the county of Devon.

The arrival of the railways in the 19th century secured Devon’s position as one of Britain’s favourite seaside resort destinations. The “English Riviera” spans several towns on the southern coast of Devon, which benefit from a mild climate, sandy beaches, and plenty of leisure attractions.

Join us as we tour the towns of late-19th-century Devon.

Town and hotels from Capstone, Ilfracombe, Devon
Town and hotels from Capstone, Ilfracombe
Capstone, from the arcade, Ilfracombe, Devon
Capstone, from the arcade, Ilfracombe
Capstone steps, Ilfracombe, Devon
Capstone steps, Ilfracombe
Shaldon Bridge in Teignmouth, Devon
Shaldon Bridge in Teignmouth
Tavistock, Devon
Tavistock
HMS Impregnable, Devonport Dockyard
HMS Impregnable, Devonport Dockyard
High Street, Exeter, Devon
High Street, Exeter
The Tower, Newton Abbot, Devon
The Tower, Newton Abbot
Abbey bridge, Tavistock, Devon
Abbey bridge, Tavistock
View from Torquay Road, Teignmouth, Devon
View from Torquay Road, Teignmouth
View from the Ness, Teignmouth, Devon
View from the Ness, Teignmouth
View from E. Cliff, Teignmouth, Devon
View from E. Cliff, Teignmouth, Devon
The Ness, Teignmouth, Devon
The Ness, Teignmouth
The den, Teignmouth
The den, Teignmouth
The den, Teignmouth, Devon
The den, Teignmouth
The beach, Teignmouth, Devon
The beach, Teignmouth
Taddiport from Castle Hill, Torrington, Devon
Taddiport from Castle Hill, Torrington, Devon
Rothern Bridge, Torrington, Devon
Rothern Bridge, Torrington
High Street, Clovelly, Devon
High Street, Clovelly
Princess Gardens, Torquay, Devon
Princess Gardens, Torquay
Natural Arch, Torquay, Devon
Natural Arch, Torquay
Landing place, Totnes, Devon
Landing place, Totnes, Devon
Guildhall Square, Tavistock, Devon
Guildhall Square, Tavistock
General view, Totnes, Devon
General view, Totnes
From Waldren Hill, Torquay, Devon
From Waldren Hill, Torquay
From the hill, Torquay, Devon
From the hill, Torquay
From Rock Walk, Torquay, Devon
From Rock Walk, Torquay
Fore Street, Totnes, Devon
Fore Street, Totnes
Cockington Village, Torquay, Devon
Cockington Village, Torquay
Cockington Church, Torquay, Devon
Cockington Church, Torquay
Castle Hill, Torrington, Devon
Castle Hill, Torrington
Babbacombe Beach, Torquay, Devon
Babbacombe Beach, Torquay
Babbacombe Beach, Torquay, Devon
Babbacombe Beach, Torquay
Approach to Babbacombe Beach, Torquay, Devon
Approach to Babbacombe Beach, Torquay
Anstey's Cove, Torquay, Devon
Anstey’s Cove, Torquay
Lee
Lee
Brentor, Dartmoor, Devon
Brentor, Dartmoor
Glen Lyn, falls and upper bridge, Lynton and Lynmouth, Devon
Glen Lyn, falls and upper bridge, Lynton and Lynmouth, Devon
Saltash Bridge, Plymouth, Devon
Saltash Bridge, Plymouth
Swiss cottage, Lee, Devon
Swiss cottage, Lee

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30 Beautiful Paintings of the American West by Albert Bierstadt

German-born American artist Albert Bierstadt (1830 – 1902) was best known for his paintings of the American West.

A member of the mid 19th-century American art movement known as the Hudson River School, he focused on romantic landscapes.

Traveling westward with land surveyors and authors, he captured sketches to develop into large-scale paintings back at his New York studio.

In the 1860’s he became a member of the much-vaunted National Academy—an honorary association of American artists. He received medals as he traveled extensively in Europe and even had a private reception with Queen Victoria.

Demand for his work was so high that by 1865 his paintings were fetching $10,000 – $25,000 (worth approx $280,000 – $700,000 today)

When in 1872, his drawings of Yellowstone convinced Congress to pass the Yellowstone Park Bill, he was firmly established as the preeminent painter of the American West.

Bierstadt used light to glorify the romance of sweeping landscapes, depicting the untamed West as a land full of promise, of Manifest Destiny, and the American Dream.

Lake in the Sierra Nevada by Albert Bierstadt, 1867
Lake in the Sierra Nevada by Albert Bierstadt, 1867
Looking Up the Yosemite Valley by Albert Bierstadt, 1867
Looking Up the Yosemite Valley by Albert Bierstadt, 1867
Merced River, California by , (1830 - 1902)
Merced River, California by , (1830 – 1902)
Old Faithful by Albert Bierstadt, (1830 - 1902)
Old Faithful by Albert Bierstadt, (1830 – 1902)
Oregon Trail by Albert Bierstadt (1830 - 1902)
Oregon Trail by Albert Bierstadt (1830 – 1902)
Puget Sound on the Pacific Coast by Albert Bierstadt, 1870
Puget Sound on the Pacific Coast by Albert Bierstadt, 1870
Rocky Mountain Landscape by Albert Bierstadt, 1870
Rocky Mountain Landscape by Albert Bierstadt, 1870
Sierra Nevada by Albert Bierstadt, 1873
Sierra Nevada by Albert Bierstadt, 1873
Storm in the Rocky Mountains, Mount Rosalie by Albert Bierstadt - 1866
Storm in the Rocky Mountains, Mount Rosalie by Albert Bierstadt – 1866
Sunset over the River by Albert Bierstadt , (1830 - 1902)
Sunset over the River by Albert Bierstadt , (1830 – 1902)
The Campfire by Albert Bierstadt , (1830 - 1902)
The Campfire by Albert Bierstadt , (1830 – 1902)
The Falls of St. Anthony by Albert Bierstadt c.1887
The Falls of St. Anthony by Albert Bierstadt c.1887
The Golden Gate by Albert Bierstadt, 1900
The Golden Gate by Albert Bierstadt, 1900
The Kern River Valley (Sequoia National Park, California) by Albert Bierstadt, 1871
The Kern River Valley (Sequoia National Park, California) by Albert Bierstadt, 1871
The Rocky Mountains, Lander's Peak by Albert Bierstadt, 1863
The Rocky Mountains, Lander’s Peak by Albert Bierstadt, 1863
Valley in Kings Canyon by Albert Bierstadt (1830 - 1902)
Valley in Kings Canyon by Albert Bierstadt (1830 – 1902)
Valley of the Yosemite by Albert Bierstadt, 1864
Valley of the Yosemite by Albert Bierstadt, 1864
Western Landscape by Albert Bierstadt, (1830 - 1902)
Western Landscape by Albert Bierstadt, (1830 – 1902)
Whyte's Lake, Estes Park, Colorado by Albert Bierstadt, 1877
Whyte’s Lake, Estes Park, Colorado by Albert Bierstadt, 1877
Yellowstone Falls by Albert Bierstadt, 1881
Yellowstone Falls by Albert Bierstadt, 1881
Among the Sierra Nevada Mountains, California by Albert Bierstadt, 1868
Among the Sierra Nevada Mountains, California by Albert Bierstadt, 1868
California Coast by Albert Bierstadt, (1830 - 1902)
California Coast by Albert Bierstadt, (1830 – 1902)
California Spring by Albert Bierstadt, 1875
California Spring by Albert Bierstadt, 1875
Cho-looke, the Yosemite Fall by Albert Bierstadt, 1864
Cho-looke, the Yosemite Fall by Albert Bierstadt, 1864
Emigrants Crossing the Plains by Albert Bierstadt, 1869
Emigrants Crossing the Plains by Albert Bierstadt, 1869
Estes Park, Colorado by Albert Bierstadt, 1869
Estes Park, Colorado by Albert Bierstadt, 1869
Gates of Yosemite by Albert Bierstadt c.1882
Gates of Yosemite by Albert Bierstadt c.1882
Geysers in Yellowstone by Albert Bierstadt, 1881
Geysers in Yellowstone by Albert Bierstadt, 1881
Indian Canoe by Albert Bierstadt, 1886
Indian Canoe by Albert Bierstadt, 1886
Indians spear fishing by Albert Bierstadt, 1862
Indians spear fishing by Albert Bierstadt, 1862

Interested in learning more?

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The Luxurious Waterfront Mansion of a 19th-Century Russian Banker

Alexander_Baron_Stieglitz

Just how wealthy were bankers in the 19th century?

Judge for yourself as we look at the waterfront mansion of Baron von Stieglitz—governor of the State Bank of the Russian Empire under Emperor Alexander II.

The English Embankment—named after the British Embassy and English church located there—was one of the most fashionable streets in all of Saint Petersburg, Russia.

It was here in 1859 that Baron von Stieglitz commissioned prominent architect Alexander Krakau to design a magnificent mansion in the Renaissance Revival  style.

English Embankment in Saint Petersburg by Eduard Gaertner, 1835
English Embankment in Saint Petersburg by Eduard Gaertner, 1835

Besides owning several manufacturing enterprises, von Stieglitz financed a railroad from St Petersburg to Moscow and secured loans to help fund the Russian Crimean War effort.

In the 1870’s, von Stieglitz started to give back to the society that had led to his good fortune. He donated funds to a museum and established a school for Technical Drawing.

After his death in 1884, the mansion went to his adopted daughter,  Nadezhda Polovtsova. She was the illegitimate daughter of Grand Duke Mikhail Pavlovich—a cousin of Emperor Alexander II’s youngest son, Grand Duke Pavel Alexandrovich (1860-1919).

Grand Duke Pavel Alexandrovich with his first wife Princess Alexandra.
Grand Duke Pavel Alexandrovich with his first wife Princess Alexandra.

Nadezhda sold the property to the Treasury, but it was soon back in the hands of royal acquaintances when it was purchased for Grand Duke Pavel Alexandrovich on his marriage to Princess Alexandra of Greece.

The mansion may have held happy memories for von Stieglitz, but for Pavel Alexandrovich, it was the beginning of a series of tragedies.

Princess Alexandra died during the birth of their second child. And when the Bolsheviks came to power, Pavel was arrested, had all property confiscated, and was summarily shot.

A tragic ending in the story of a grand building.

Italian painter Luigi Premazzi (1814 – 1891) captured the lavishly decorated interiors in a series of stunning watercolor paintings.

The Russian mansion of von Stieglitz: the Concert Hall, 1870
The Russian mansion of von Stieglitz: the Concert Hall, 1870
The mansion of von Stieglitz: The Dining-room, 1869
The mansion of von Stieglitz: The Dining-room, 1869
The Russian mansion of von Stieglitz: The Library. 1870
The Russian mansion of von Stieglitz: The Library. 1870
The mansion of von Stieglitz: The Blue Drawing-Room. 1870
The mansion of von Stieglitz: The Blue Drawing-Room. 1870
The Russian mansion of von Stieglitz: The Dining-room. 1870
The Russian mansion of von Stieglitz: The Dining-room. 1870
The Russian mansion of von Stieglitz: The Drawing-Room. 1870
The Russian mansion of von Stieglitz: The Drawing-Room. 1870
The mansion of von Stieglitz: The Golden Drawing-Room. 1870
The mansion of von Stieglitz: The Golden Drawing-Room. 1870
The Russian mansion of von Stieglitz: The Main Study. 1869
The Russian mansion of von Stieglitz: The Main Study. 1869
The mansion of von Stieglitz: The Study of Baroness Stieglitz. 1870
The mansion of von Stieglitz: The Study of Baroness Stieglitz. 1870
The Russian mansion of von Stieglitz: The Supper-room. 1871
The Russian mansion of von Stieglitz: The Supper-room. 1871
The Russian mansion of von Stieglitz: White Drawing-Room. 1870
The Russian mansion of von Stieglitz: White Drawing-Room. 1870

Today the mansion sits abandoned and decaying, waiting for an investor to restore it back to its former glory.

“An Afternoon at the Park” — 36 Beautiful Paintings of Public Parks

The first parks were royal deer parks — large tracts of land set aside for hunting by royalty and the aristocracy.
Hyde Park in London, for example, was originally Henry VIII’s private deer chase.

Deer in a Clearing by Albert Bierstadt (1830 - 1902)
Deer in a Clearing by Albert Bierstadt (1830 – 1902)

Royal preserves evolved into landscaped parks of country houses and mansions—serving not just as hunting grounds, but also symbols of wealth and status.

Country House in a Park by Jacob van Ruisdael, 1670
Country House in a Park by Jacob van Ruisdael, 1670

During the 18th century, Britain became the world’s dominant colonial power and wealthy landed gentry wanted landscaped grounds around their country estates.

As master Gardener at Hampton Court Palace, Lancelot Capability Brown was one of the most prominent landscape architects. He would often tell clients that their estates had great “capability” for landscape, earning him the nickname “Capability Brown”.

Stone arch bridge in Stourhead. Credit Hans Bernhard
Stone arch bridge in Stourhead. Credit Hans Bernhard

Pemberley in Jane Austen’s Pride and Prejudice is thought to be modeled after Chatsworth House—a stately home in Derbyshire—the grounds of which were another of Capability Brown’s projects.

In the 19th century, cities grew more crowded, and the old royal hunting grounds were opened to the public.

Kensington Gardens, London by Camille Pissarro, 1890
Kensington Gardens, London by Camille Pissarro, 1890

Rapid industrialization brought with it the need to set aside additional areas of land within cities for public enjoyment.

Having access to a natural environment was seen as a way to improve conditions for factory workers, provide better public health, and promote an amicable public gathering place.

What incredible foresight the Victorians had — a 2001 study conducted in the Netherlands found that a ten percent increase in nearby green space decreased a person’s health complaints in an amount equal to a five-year reduction in age.

It’s hard to imagine cities like New York, London, Paris, Boston, and San Francisco without parks today.

Join us as we take an artist’s tour of parks and recreation while listening to Flower Duet from Lakme (Affiliate link).

In the Park, Paris by Childe Hassam, 1889
In the Park, Paris by Childe Hassam, 1889
Central Park by Childe Hassam, 1892
Central Park by Childe Hassam, 1892
Prospect Park, Brooklyn by William Merritt Chase, 1887
Prospect Park, Brooklyn by William Merritt Chase, 1887
Hyde Park, London by Camille Pissarro, 1890
Hyde Park, London by Camille Pissarro, 1890
The Park by William Merritt Chase, 1887
The Park by William Merritt Chase, 1887
The Park by William Merritt Chase, 1887
The Park by William Merritt Chase, 1887
A May Morning in the Park by Thomas Eakins, 1880
A May Morning in the Park by Thomas Eakins, 1880
In Central Park, New York by Maurice Prendergast, 1901
In Central Park, New York by Maurice Prendergast, 1901
Tompkins Park, Brooklyn by William Merritt Chase, 1887
Tompkins Park, Brooklyn by William Merritt Chase, 1887
The Coronation Procession, Hyde Park by Stanley Clare Grayson, 1853
The Coronation Procession, Hyde Park by Stanley Clare Grayson, 1853
In the Park - a By-Path by William Merritt Chase, 1890
In the Park – a By-Path by William Merritt Chase, 1890
Park Monceau, Paris by Claude Monet, 1876
Park Monceau, Paris by Claude Monet, 1876
The Drive, Central Park by William James Glackens, 1905
The Drive, Central Park by William James Glackens, 1905
Park Monceau by Claude Monet, 1878
Park Monceau by Claude Monet, 1878
Central Park by Maurice Prendergast, 1901
Central Park by Maurice Prendergast, 1901
In the Park by Konstantin Makovsky, 1881
In the Park by Konstantin Makovsky, 1881
Bank of a Lake in Central Park by William Merritt Chase, 1890
Bank of a Lake in Central Park by William Merritt Chase, 1890
Mrs. Chase in Prospect Park by William Merritt Chase, 1886
Mrs. Chase in Prospect Park by William Merritt Chase, 1886
Prospect Park, Brooklyn by William Merritt Chase, 1887
Prospect Park, Brooklyn by William Merritt Chase, 1887
Park Monceau by Claude Monet, 1878
Park Monceau by Claude Monet, 1878
The Mall, Central Park by Maurice Prendergast, 1901
The Mall, Central Park by Maurice Prendergast, 1901
Terrace at the Mall, Central Park by William Merritt Chase, 1890
Terrace at the Mall, Central Park by William Merritt Chase, 1890
Children in the Park, Boston by Frederick Childe Hassam (1859 - 1935)
Children in the Park, Boston by Frederick Childe Hassam (1859 – 1935)
Entrance to the Voyer-d'Argenson Park at Asnieres by Vincent van Gogh, 1887
Entrance to the Voyer-d’Argenson Park at Asnieres by Vincent van Gogh, 1887
Boston Common by Childe Hassam, 1891
Boston Common by Childe Hassam, 1891
In the Park by Eugene Jansson, 1888
In the Park by Eugene Jansson, 1888
Descending the Steps, Central Park by Frederick Childe Hassam, 1895
Descending the Steps, Central Park by Frederick Childe Hassam, 1895
In the Park by Alexei Bogoliubov, 1872
In the Park by Alexei Bogoliubov, 1872
In Central Park, New York by Maurice Prendergast, 1901
In Central Park, New York by Maurice Prendergast, 1901
In the Park by Ion Andreescu, (1850 - 1882)
In the Park by Ion Andreescu, (1850 – 1882)
Afternoon in the Park by Alfred Émile Léopold Stevens, 1885
Afternoon in the Park by Alfred Émile Léopold Stevens, 1885
Spring, Grammercy Park by John French Sloan, 1912
Spring, Grammercy Park by John French Sloan, 1912
In St Cloud Park by Pierre-Auguste Renoir, 1866
In St Cloud Park by Pierre-Auguste Renoir, 1866
In the Park by Andrei Shilder, 1886
In the Park by Andrei Shilder, 1886
Woman in the Park by Ion Theodorescu-Sion, 1919
Woman in the Park by Ion Theodorescu-Sion, 1919
Moonlight on the lake Roundhay Park Leeds by John Atkinson Grimshaw (1836 - 1893)
Moonlight on the lake Roundhay Park Leeds by John Atkinson Grimshaw (1836 – 1893)

References

  • Wikipedia.org
  • Great City Parks by Alan Tate
  • The Benefits of Parks
  • The Royal Parks

25 Dreamlike Paintings of 19th-Century Dutch Towns and Cities

Self portrait as a firewood gatherer walking along a frozen canal.
Self-portrait as a firewood gatherer walking along a frozen canal.

Cornelis Springer (1817-1891) specialised in the arrangement and accurate representation of town scenes. His paintings were in such high demand that he had a two-year waiting list.

Raised in a family of architects and building contractors, he learned early to appreciate the beautiful buildings of Amsterdam.

Learning perspective drawing from his brother Hendrick—a professional architect—he completed his studies at the Amsterdam Academy of Fine Arts under instruction from Kaspar Karsen, a famous townscape painter.

Cornelis Springer’s beautiful scenes depict people going about day-to-day life—gathering at the fish market, unloading horse-drawn carts, merchants selling goods, or businessmen in conversation outside elegant canalside buildings.

With a keen eye for the social and economic activities that drive a city, Springer brings to life the beauty of Dutch architecture.

Altstadtmarkt in Brunswijk by Cornelis Springer
Altstadtmarkt in Brunswijk by Cornelis Springer
Zuiderhavendijk, Enkhuizen by Cornelis Springer, 1868
Zuiderhavendijk, Enkhuizen by Cornelis Springer, 1868
A View of a Town along the Rhine by Cornelis Springer
A View of a Town along the Rhine by Cornelis Springer
Altstadtmarkt in Brunswijk by Cornelis Springer
Altstadtmarkt in Brunswijk by Cornelis Springer
A View of Franeker with the Zakkend Ragerschuisje by Cornelis Springer
A View of Franeker with the Zakkend Ragerschuisje by Cornelis Springer
Cheese market with the Weigh house in Enkhuizen by Cornelis Springer, 1867
Cheese market with the Weigh house in Enkhuizen by Cornelis Springer, 1867
Cornelis Springer, The Gemeenlandshuis and the Old Church, Delft by Cornelis Springer, 1877
Cornelis Springer, The Gemeenlandshuis and the Old Church, Delft by Cornelis Springer, 1877
Village View by Cornelis Springer
Village View by Cornelis Springer
A View of the Delftse Vaart and Saint Laurens Church, Rotterdam by Cornelis Springer, 1840
A View of the Delftse Vaart and Saint Laurens Church, Rotterdam by Cornelis Springer, 1840
Figures on a Market Square in a Dutch Town by Cornelis Springer, 1843
Figures on a Market Square in a Dutch Town by Cornelis Springer, 1843
Study for View on Den Haag by Cornelis Springer
Study for View on Den Haag by Cornelis Springer
The town hall at Leiden by Cornelis Springer, 1870
The town hall at Leiden by Cornelis Springer, 1870
The Orphanage On The Hooglandse Kerkgracht, Leiden by Cornelis Springer
The Orphanage On The Hooglandse Kerkgracht, Leiden by Cornelis Springer
City View at Hoorn by Cornelis Springer
City View at Hoorn by Cornelis Springer
Market Oudewater by Cornelis Springer
Market Oudewater by Cornelis Springer
The bend in the Herengracht by Cornelis Springer, 1882
The bend in the Herengracht by Cornelis Springer, 1882
Walenkerk Haarlem by Cornelis Springer
Walenkerk Haarlem by Cornelis Springer
View of Montelspran by Cornelis Springer
View of Montelspran by Cornelis Springer
View on Enkhuizen by Cornelis Springer
View on Enkhuizen by Cornelis Springer
Voorburgwal in Amsterdam by Cornelis Springer
Voorburgwal in Amsterdam by Cornelis Springer
Many Figures On The Market Square In Front Of The Martinikirche, Braunschweig by Cornelis Springer
Many Figures On The Market Square In Front Of The Martinikirche, Braunschweig by Cornelis Springer
St. Michael Church in Zwolle by Cornelis Springer, 1862
St. Michael Church in Zwolle by Cornelis Springer, 1862
A view of the Staal Everspijp and the Grote Kerk in summer, Enkhuizen by Cornelis Springer, 1866
A view of the Staal Everspijp and the Grote Kerk in summer, Enkhuizen by Cornelis Springer, 1866
A View of the Delftse Vaart and Saint Laurens Church, Rotterdam by Cornelis Springer, 1840
A View of the Delftse Vaart and Saint Laurens Church, Rotterdam by Cornelis Springer, 1840
View behind the Grote Kerk in Naarden by Cornelis Springer
View behind the Grote Kerk in Naarden by Cornelis Springer

20 Elegant Modern Women—the 19th-Century Paintings of Alfred Stevens

Alfred Stevens was one of Belgium’s leading 19th-century artists who specialized in paintings of fashionable young women in elegant interiors.

Read more …

As a young boy, Alfred Stevens (1823 – 1906) was surrounded by art: his father was an art collector and his grandparents ran a cafe in Brussels that was a meeting place for artists and writers.

At age 14, he studied at the Académie Royale des Beaux-Arts in Brussels, and at 20 was admitted to the most prestigious art school in Paris—the École des Beaux-Arts.

By  1851, at the age of 28, three of his paintings were admitted to the Brussels Salon, the most exclusive art exhibition in Belgium. Two years later, he was awarded a medal at the Paris Salon—the most important art event in the world.

It was here, in Paris, that he would find fame and fortune painting elegant modern women.

Here are 20 exquisite paintings from Alfred Steven’s repertoire that show his meticulous attention to contemporary dress and decor.

Departing for the Promenade, by Alfred-Émile-Léopold Stevens, 1859
Departing for the Promenade, by Alfred-Émile-Léopold Stevens, 1859
La Parisienne Japonaise by Alfred Stevens, 1871
La Parisienne Japonaise by Alfred Stevens, 1871
Lady at a Window Feeding Birds by Alfred Stevens, 1859
Lady at a Window Feeding Birds by Alfred Stevens, 1859
Pleasant Letter by Alfred Stevens, 1860
Pleasant Letter by Alfred Stevens, 1860
The Lady in Pink by Alfred Stevens, 1867
The Lady in Pink by Alfred Stevens, 1867
In the Studio by Alfred Stevens, 1888
In the Studio by Alfred Stevens, 1888
The Japanese Mask by Alfred Stevens, 1877
The Japanese Mask by Alfred Stevens, 1877
In the Country by Alfred Stevens, 1823-1906
In the Country by Alfred Stevens, 1823-1906
After the Ball by Alfred Stevens, 1873
After the Ball by Alfred Stevens, 1873
Autumn Flowers by Alfred Stevens, 1866
Autumn Flowers by Alfred Stevens, 1866
News from Afar by Alfred Stevens, 1865
News from Afar by Alfred Stevens, 1865
The Letter by Alfred Stevens, 1823-1906
The Letter by Alfred Stevens, 1823-1906
At Home by Alfred Stevens, 1823-1906
At Home by Alfred Stevens, 1823-1906
The Happy Mother by Alfred Stevens, 1823-1906
The Happy Mother by Alfred Stevens, 1823-1906
Déjà by Alfred Stevens, 1863
Déjà by Alfred Stevens, 1863
Pensive Woman Near a Window by Alfred Stevens, 1823-1906
Pensive Woman Near a Window by Alfred Stevens, 1823-1906
La Parisienne by Alfred Stevens, 1879
La Parisienne, 1879 by Alfred Stevens, 1879
Portrait of Baroness du Mesnil Saint-Front by Alfred Stevens, 1886
Portrait of Baroness du Mesnil Saint-Front by Alfred Stevens, 1886
Mother and Children by Alfred Stevens, 1882
Mother and Children by Alfred Stevens, 1882
The Blue Ribbon by Alfred Stevens, 1823-1906 Credit Giacasso
The Blue Ribbon by Alfred Stevens, 1823-1906 Credit Giacasso

The Dancers of Degas

Ballerinas are to Degas as lilies are to Monet.

Art is not what you see, but what you make others seeEdgar Degas.
Dancers on Set by Edgar Degas, c.1880_inset 1

And “make us see” is what he does with exquisite aplomb. He renders the beauty of fleeting movement, of ballerinas in mid-performance, with a luminous quality. But he also captures the human side of ballerinas, in their simplest, most intimate moments—warming up, stretching at the bar, practicing positions, or talking in the dressing room.

At the ballet, Degas found himself. It satisfied his penchant for classical elegance and put to use his rigorous academic training from the École des Beaux-Arts in Paris—one of the world’s oldest and most prestigious fine art schools.

He frequented the Palais Garnier—the home of the Paris Ballet and Opera, lurking in the wings and foyer hoping to befriend the influential patrons who might gain him access to the private world of ballerinas.

Mimed poetry, dream made visible.

Degas’s paintings of ballet performances capture the essence of what makes ballet special—the balance, poise, and precision of movement. A contemporary critic called ballet “mimed poetry, dream made visible.”

747px-Opera_Garnier_Stairway_2008

Degas became a familiar sight for the young ballerinas—some poor, dreaming of becoming the princesses of the stage. One said he “used to stand at the top or bottom of the many staircases . . . drawing the dancers as they rushed up and down.” He noticed everything—from the most difficult of choreographed sequences to the smallest errors—making notes as he went.

In later life, Degas became a recluse, believing that “the artist must live alone, and his private life must remain unknown“. His eyesight was failing him and he spent his last years, almost blind, wandering the streets of his beloved Paris.

He wrote to a friend,

with the exception of the heart, it seems to me that everything within me is growing old in proportion, and even this heart of mine has something artificial. The dancers have sewn it into a bag of pink satin, pink satin slightly faded, like their dancing shoes.

Like the dancing shoes, Degas himself faded away in September 1917, but his work lives on in brilliant color.

Listen to Steven Gutheinz as we marvel at the dancers of Degas.

The Dancing Class by Edgar Degas, 1871
The Dancing Class by Edgar Degas, 1871
Rehearsal of the Scene by Edgar Degas, 1872
Rehearsal of the Scene by Edgar Degas, 1872
Ballet School by Edgar Degas, 1873
Ballet School by Edgar Degas, 1873
The Ballet Class by Edgar Degas, 1874
The Ballet Class by Edgar Degas, 1874
The Rehearsal by Edgar Degas, c.1874
The Rehearsal by Edgar Degas, c.1874
The Rehearsal of the Ballet on Stage by Edgar Degas, 1874
The Rehearsal of the Ballet on Stage by Edgar Degas, 1874
Rehearsal on Stage by Edgar Degas, 1874
Rehearsal on Stage by Edgar Degas, 1874
Two Dancers in the Studio (also known as Dance School) by Edgar Degas, c.1875
Two Dancers in the Studio (also known as Dance School) by Edgar Degas, c.1875
Dancer Onstage with a Bouquet by Edgar Degas, c.1876
Dancer Onstage with a Bouquet by Edgar Degas, c.1876
Dancer on Point by Edgar Degas, c.1877
Dancer on Point by Edgar Degas, c.1877
Two Dancers on the Stage by Edgar Degas, 1877
Two Dancers on the Stage by Edgar Degas, 1877
Dancers Practicing at the Bar by Edgar Degas, 1877
Dancers Practicing at the Bar by Edgar Degas, 1877
Dancer Posing by Edgar Degas, c.1878
Dancer Posing by Edgar Degas, c.1878
Dancers by Edgar Degas, c.1878
Dancers by Edgar Degas, c.1878
The Dance Studio by Edgar Degas, c.1878
The Dance Studio by Edgar Degas, c.1878
Two Dancers Entering the Stage by Edgar Degas, c.1878
Two Dancers Entering the Stage by Edgar Degas, c.1878
Ballet Scene by Edgar Degas, 1879
Ballet Scene by Edgar Degas, 1879
The Dance Lesson by Edgar Degas, c.1879
The Dance Lesson by Edgar Degas, c.1879
Two Ballet Dancers by Edgar Degas - circa 1879
Two Ballet Dancers by Edgar Degas – circa 1879
Dancers on Set by Edgar Degas, c.1880
Dancers on Set by Edgar Degas, c.1880
Th Ballet Class by Edgar Degas, 1881
Th Ballet Class by Edgar Degas, 1881
Dancers in a Studio by Edgar Degas, c.1884
Dancers in a Studio by Edgar Degas, c.1884
The Pink Dancers, Before the Ballet by Edgar Degas, 1884
The Pink Dancers, Before the Ballet by Edgar Degas, 1884
The Ballet Dancers (also known as The Dressing Room) by Willard Leroy Metcalf - 1885
The Ballet Dancers (also known as The Dressing Room) by Willard Leroy Metcalf – 1885
Ballet Scene by Edgar Degas, 1893
Ballet Scene by Edgar Degas, 1893
Ballet Dancers by Edgar Degas, c.1895
Ballet Dancers by Edgar Degas, c.1895
Ballet Dancers in the Wings by Edgar Degas, 1900
Ballet Dancers in the Wings by Edgar Degas, 1900

Sources and Further Reading

Degas and his Dancers—The Smithsonian.
Edgard Degas—Wikipedia.org

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12 Exquisite Romantic Paintings to Feed Your Soul

Franz Unterberger (1837 – 1902) was an Austrian painter specializing in architecture, water scenes and landscapes in the romantic style. Best known for his scenic paintings of Italy’s coasts and cities, his credo was “il puro vero”, meaning “pure truth”, which he tried to convey by contrasting magnificent vistas with day-to-day life. The viewer is drawn initially to the splendor of the setting, and then to the people going about their daily lives in beautiful surroundings.


 

The view from the Balcony
The view from the Balcony
The Grand Canal, Venice
The Grand Canal, Venice
Rio St. Geronimo, Venice
Rio St. Geronimo, Venice
Rio Santa Barnaba, Venice
Rio Santa Barnaba, Venice


 
 

Monaco
Monaco
In the Bay of Naples
In the Bay of Naples
Genoa
Genoa
Amalfi
Amalfi


 
 

Amalfi, The Gulf Of Salerno
Amalfi, The Gulf Of Salerno
A View in Venice, Rio S. Marina
A View in Venice, Rio S. Marina
The Bay of Naples
The Bay of Naples
The Amalfi Coast
The Amalfi Coast


 

10 Views of Victorian London — Then and Now

Like many older cities around the world, London has changed with the times.

But unlike many cities, a great deal of old London remains for us to explore.

Let’s take a tour of London as Sir Arthur Conan Doyle would have known it in his fictional characterizations of Sherlock Holmes.

Under most of the old images is a link that will open a Google Street View “live” 360° window in place within the article, allowing you to pan and zoom to see things from different angles or perspectives.

1. Clapham Common

 The clock tower and the Plough Inn at Clapham Common, London, 1895.
The clock tower and the Plough Inn at Clapham Common, London, 1895.

The image above shows the clock tower and Plough Inn at Clapham Common.

The clock tower has stayed the same, helping us fix our location on Google Maps, but the row of buildings on the right has undergone development. The inn now has a mock Tudor frontage and is owned by a pub chain under a different name. It’s also gained a reputation for being haunted.

In the 1970s, an apparition is said to have appeared in one of the bedrooms being occupied by a barman, who resigned immediately after the experience. Referred to as Sarah, the ghostly figure has been described as having “raven hair running over her shoulders.”

Perhaps Sarah was trying to tell the owners not to make too many changes.

2. Fleet Street & Ludgate Hill

Fleet Street in London looking east towards St Paul's Cathedral. Photograph by James Valentine, c.1895.
Fleet Street in London looking east towards St Paul’s Cathedral. Photograph by James Valentine, c.1895.
Fleet St looking towards St Paul’s Cathedral. Credit Secret Pilgrim, Flickr

By comparing the above two images looking down Fleet Street towards Ludgate Hill and St Paul’s Cathedral, we see that there was a bridge in 1895 that is no longer there today. It was a railway bridge for the London, Chatham and Dover railway.

Closed in 1923, it was eventually demolished in 1990. In the below drawing from 1872, we can see a steam train crossing the bridge when the street was much narrower and caused severe traffic congestion.

If you’re in this part of London, look for a blue plaque at the bottom of Ludgate Hill, marking the spot where the first London newspaper—the “Daily Courant”—was published in 1702.

Ludgate Hill - A block in the street, by Gustave Doré (1872).
Ludgate Hill – A block in the street, by Gustave Doré (1872).

3. Piccadilly Circus

One of the attractions of Piccadilly Circus today is the neon signage and video display. There’s not much neon in the 1895 image but most of the grand old buildings surrounding this famous meeting place still exist. The circus—from Latin for “circle”—was originally built to connect Regent Street with Piccadilly.

Big red double decker buses have replaced the Victorian horse-drawn carriages … and did you notice the carriages in 1895 are going anticlockwise around Piccadilly Circus—the opposite of today’s traffic convention in the UK?

Piccadilly Circus, London 1895
Piccadilly Circus, London 1895

4. Hyde Park Corner

Hyde Park Corner, London, 1895.
Hyde Park Corner, London, 1895.

Just as at Piccadilly Circus, we see the Victorian horse-drawn “omnibusess” at Hyde Park Corner in 1895.

The omnibus was one of the most common means of getting around London (and other cities in Europe and the United States) in the late 19th century.

It was a very cozy arrangement indeed, with two wooden benches facing each other, the passengers’ knees almost touching the person sitting opposite.

An omnibus ride to Piccadilly Circus – Mr. Gladstone travelling with ordinary passengers by Alfred Morgan, 1885
An omnibus ride to Piccadilly Circus – Mr. Gladstone travelling with ordinary passengers by Alfred Morgan, 1885

There were also double-decker omnibuses, with the top deck open to the elements and the benches back-to-back.

London Omnibus photo. Credit Tony Duell

5. Trafalgar Square

Trafalgar Square, from National Gallery, London, c1890.
Trafalgar Square, from National Gallery, London.

Some locations in London are iconic and known the world over—Trafalgar Square being one of them. It’s good to see that very little has changed since 1890. Some things should stay the same.

6. The Royal Exchange

Britain’s first specialist commercial building, the Royal Exchange dates back to 1571, when it was opened by Queen Elizabeth I.

The Great Fire of London destroyed the first building in 1666, the present one being built in the 1840s and occupied by Lloyd’s insurance for nearly 150 years.

Today it’s filled with luxury shops, restaurants, cafes, and offices.

Royal Exchange, London, c.1890.
Royal Exchange, London, c.1890

7. Holborn & Snow Hill

Here, the present starts to look radically different from the past.

The 1890s image below is the corner of Holborn and Snow Hill, where in 1883, Henry Wellcome, founder of Burroughs Wellcome and Co. (now GlaxoSmithkline, one of the world’s largest pharmaceutical companies) opened its headquarters.

The impressive late Victorian building was constructed of red brick, with granite pillars around the entrance.

The interior was designed by Christopher Dresser—considered to be Britain’s first industrial designer.

Burroughs Wellcome & Co. Headquarters, Holborn Viaduct, London
Burroughs Wellcome & Co. Headquarters, Holborn Viaduct, London

On the night of May 11, 1941, the building was completely destroyed in a German bombing raid.

Burroughs & Wellcome Building on Snow Hill after bomb damage, cyclist passing, road-sweeper at work.
Burroughs & Wellcome Building on Snow Hill after bomb damage, cyclist passing, road-sweeper at work.

In the 1960s, the site became a bland modernist high-rise office block.

But construction is underway on new student accommodation for the London School of Economics.

Original Victorian
Mid-Century Modernism.
Credit: Images George Rex
Planned LSE student accommodation
Credit: Stiff+Trevillion

8. Rotten Row and Hyde Park Corner

Rotten Row and Hyde Park Corner, London.
Rotten Row and Hyde Park Corner, London.

What a great name: “rotten row”. Wondering what the story is behind it? It’s a fascinating one.

Rotten Row is a track running along Hyde Park’s south side, from Hyde Park Corner to the Serpentine Road. At the time of the 1890s photograph, it was a fashionable place for upper-class Victorian Londoners to ride their horses.

The story goes that at the end of the 17th century, highwaymen were quite common in Hyde Park, and King William III wanted to create a safer way to commute between his new court at Kensington Palace, and the old one at St. James’s Palace.

So in 1690, a broad avenue was built through Hyde Park, lit with 300 oil lamps. It was Britain’s first artificially lit highway. Called “Route du Roi”—French for King’s Road—Londoners nicknamed it “Rotten Row”, and the name stuck.

9. Tower Bridge

Tower Bridge, London, c.1895.
Tower Bridge, London, c.1895.
Tower Bridge, London 2015.
Tower Bridge, London 2015.

Tower bridge is another iconic symbol of London, built between 1886 and 1894. The 1895 image above shows the new bridge shortly after completion.

The bridge has remained the same but notice what’s going on behind. London’s skyline is becoming a hotch-potch of oddly-shaped buildings with correspondingly odd nicknames.

To the right of the bridge in our present-day view, there’s the “Gherkin” opened in 2004, and visible under the bridge, there’s an odd-looking building nicknamed the “Walkie-Talkie” tower because of its shape. Completed in 2014, it is London’s fifth-tallest building, but unlike most skyscrapers that get narrower the higher up you go, this one actually gets wider.

10. Victoria Embankment

We’re going to finish our exciting tour of Victorian London with a view of the Victoria Embankment. There are some big changes here!

Victoria Embankment, London, c1895.
Victoria Embankment, London, c1895.

Cleopatra’s Needle to the left of center in both images gives us our bearings.

Within Google Maps, we’re standing on the Golden Jubilee Bridge—one of a pair of cable-stayed pedestrian bridges running either side of the Victorian-era Hungerford Bridge. We’re looking downstream towards the Waterloo Bridge. Note the charming paddle steamer—very different from today’s riverboats.

As we look downstream in the 1895 image, we’re actually looking at the original Waterloo Bridge, opened in 1817, and so named to commemorate the allied victory at the Battle of Waterloo. This bridge had nine arches compared to today’s bridge which only has five. Famous paintings of the nine-span bridge were created by Claude Monet and John Constable. But the painting that shows the bridge most clearly is by Emile Claus (below).

Waterloo Bridge in the Sun by Emile Claus, 1916.
Waterloo Bridge in the Sun by Emile Claus, 1916.

Sources
Wikipedia.org
mysteriousbritain.co.uk
wellcomelibrary.org

Abandoned Buildings — Stories Frozen in Time

History is literally dying all around us. Decay is nature’s process of creative destruction—destroying the old to make way for the new.

Andre Govia is on a mission. He is one of an intrepid group of urban explorers who photograph abandoned buildings. He captures moments that would otherwise slip into the mists of time, unnoticed, forgotten.

The people may have gone, but for now, the buildings live on to tell their stories.

Nature never sleeps. Soon enough, the buildings too will be gone. All that will remain are memories and Andre Govia’s photographs.

Listen to the haunting Rachmaninoff 2nd concerto as we explore these abandoned beauties.

What is the story of this room?
The piano and the music stand tell of a love affair with music. Once the room was filled with the sounds of music and laughter. Family and friends gathered round the piano to sing together.
The lady of the house loved to paint and her little girl loved to play with her pushchair.
There was joy, creativity, and shared happiness.

Happy childhood memories …

And what about this elegant room? How many guests were entertained here? How many times did the fireplace burn brightly on cold winter evenings? Did couples stand by the french windows at parties, sipping cocktails and gazing at the moonlit gardens?
The floor is bare, the paint peeled, but signs of its former glory remain.

Photo by Andre Govia.
Entertaining guests …

Ah what joy this room must have brought to the former family. Reading bedtime stories and watching patiently as their little one slipped into sleep.

Photo by Andre Govia.
Bedtime stories …

Persistent exposure to water causes plaster to gradually decay and soften until physical failure occurs. Leaks, damp, overgrown flora, and frost all provide ways for moisture to permeate buildings.

A major component in most historic buildings, timber is prone to attack from fungi and insects. Once rot sets in, repair costs often mean it’s cheaper to abandon the buildings altogether.

Photo by Andre Govia.
Decay is all around us …

Sadly, for every historic building that is restored, there must be hundreds that are left to wither and die.

Once upon a time, this abandoned cottage was a cozy family home.

Intimate details of its former life are apparent in the assortment of bottles on the dressing table, the photograph still hanging on the wall, the paraffin lamp, and bellows to help get a good fire going.

It was 12:25—as indicated by the clock on the mantlepiece—when time ran out in this room from the past.

Photo by Andre Govia.
Time stood still …

It’s not just old homes and mansions that are abandoned. This church has fallen into disrepair, making a very dangerous place to be.

Abandoned Church. Photo by Andre Govia.
High in the rafters …

Although Andre Govia and friends have years of experience in urban exploration, they have fallen through floors and broken limbs. They keep the locations secret to discourage unskilled adventure seekers.

Dinner is served. This abandoned manor house even has place settings for dinner service as if expecting guests to arrive at any moment.

You can almost hear the chatter as guests finish their cocktails and are shown to their seats by the Lady of the house.

Abandoned Manor House. Photo by Andre Govia.
Dinner at 8 …

A soft, filtered light enters through net curtains in this abandoned bedroom.

As if from a movie set, the vintage wheelchair, four-poster bed, and solid wood armoire add drama to this eerie scene.

A musty bedroom. Photo by Andre Govia.
The soft light from the window …
Those who do not remember the past are condemned to repeat it. —George Santayana.

Why does it matter what happened long ago?

History connects us with people and events through time. The lessons to be learned from studying those connections are profound.

A novel way to die? Photo by Andre Govia.
Reading into the past …

The complex cultures, traditions, and religions of the world were created over millennia. Understanding the linkages between past and present is to understand what it means to be human.

We are living history. We are all rooted in time.

Preserving our past provides a secure foundation for our future.

Photo by Andre Govia.
The grand stairway …
Photo by Andre Govia.
There was laughter. There was joy …
Photo by Andre Govia.
Shuttering away the past …
Photo by Andre Govia.
Even the light cannot enter …
Photo by Andre Govia.
Still standing proud …
Photo by Andre Govia.
The ghosts continue their conversations …
Photo by Andre Govia.
Crumbling walls of art …
Photo by Andre Govia.
Standing defiant and proud …
Photo by Andre Govia.
We played here too …
Photo by Andre Govia.
Underneath the arches …
Photo by Andre Govia.
Our daughter’s favorite doll …

Sources
Wikipedia.org, buildingconservation.com, history.ac.uk
Images reproduced with kind permission of Andre Govia.
Music: Rachmaninoff Concerto #2, 2nd Movement. (Contains Amazon affiliate link)

40 Beautiful Images of Wales from the 1890s

Through the magic of “Photochrom” comes these beautiful color images of Wales from the late 19th century.

Photochrom is a process for producing colorized images from black-and-white photographic negatives.

It was most popular in the 1890s, when true color photography had been developed but was still not commercially viable.

Journey with us through beautiful Wales as we listen to a traditional Welsh folk song.

Llandudno
Llandudno
Pier and Pavilion, Colwyn Bay
Pier and Pavilion, Colwyn Bay
North Sands, Tenby
North Sands, Tenby
Monmouth
Monmouth
Lyn Crafnant, Trefriew
Lyn Crafnant, Trefriew
Llangollen
Llangollen
Llangollen
Llangollen
Llandogo on the Wye
Llandogo on the Wye
Kidwelly, Carmarthen
Kidwelly, Carmarthen
Llanberis
Llanberis
Happy Valley, Llandudno
Happy Valley, Llandudno
Gwynant Valley
Gwynant Valley
Fairy Glen, Bettws-y-Coed
Fairy Glen, Bettws-y-Coed
Dixton Ferry and Church, Monmouth
Dixton Ferry and Church, Monmouth
Conwy Castle entrance
Conwy Castle entrance
Chepstow
Chepstow
Chain Bridge Hotel, Berwyn Valley, Llangollen
Chain Bridge Hotel, Berwyn Valley, Llangollen
Carnarvon Castle
Carnarvon Castle
Carnarvon Castle at sunset
Carnarvon Castle at sunset
Caerphilly Castle
Caerphilly Castle
Cadair Idris and Dyssyni Valley
Cadair Idris and Dyssyni Valley
Bridge over the Monnow, Monmouth
Bridge over the Monnow, Monmouth
Bridge at Carmarthen
Bridge at Carmarthen
Bettws-y-Coed
Bettws-y-Coed
Abergavenny, Sugar Loaf Mountain
Abergavenny, Sugar Loaf Mountain
Abergavenny, Neville Court
Abergavenny, Neville Court
Welsh spinners and spinning wheel
Welsh spinners and spinning wheel
Vicinity of Newland Church, Monmouth
Vicinity of Newland Church, Monmouth
Vale of Festiniog from Terrace Plas, Festiniog
Vale of Festiniog from Terrace Plas, Festiniog
Troy House, Monmouth
Troy House, Monmouth
Torrent Walk, Dolgelly
Torrent Walk, Dolgelly
Tintern Abbey, S.W.
Tintern Abbey, S.W.
The promenade at Colwyn Bay
The promenade at Colwyn Bay
The Harbor at Tenby
The Harbor at Tenby
The bridge, Chepstow
The bridge, Chepstow
The beach at Llandudno
The beach at Llandudno
Tenby
Tenby
Swallow Falls, Fairy Glen, Bettws-y-Coed
Swallow Falls, Fairy Glen, Bettws-y-Coed
Station Road, Colwyn Bay
Station Road, Colwyn Bay
South Stack Lighthouse, Holyhead
South Stack Lighthouse, Holyhead

Following in the footsteps of Sissi at the Hungarian Opera in 1885

Join us as we take a journey inside some of the world’s great opera houses.

Imagine we’re in 1885, and tonight, we have tickets for the Hungarian Royal Opera House in Budapest, Hungary.

The neo-Renaissance opera house was designed by Miklós Ybl, a major figure in 19th-century Hungarian architecture.

Built between 1875 and 1884, it was a time when Franz Joseph I was Emperor of Austria and King of Hungary. There had been peace for 20 years and Hungary was prospering.

Emperor Franz Joseph I and Empress Elisabeth
Franz Joseph I of Austria and Elizabeth of Bavaria (“Sissi”)

His wife, the Empress Elizabeth of Austria, Queen of Hungary—fondly known as “Sissi”—spent most of her time in Hungary, either at their sprawling country residence of Gödöllő Palace or the capital city, Budapest.

The politics and protocol of the Vienna court did not suit her. She much preferred to ride her horses through the beautiful grounds of Gödöllő and attend the opera in Budapest.

Naturally introverted, it is said that when Sissi wanted to break from the solitude of Gödöllő for the cultural delights of Budapest, she would attend the opera and watch performances from the first-floor proscenium box known as the “Sissi Box”. From here, she could see everything whilst being hidden from public view.

Join us as we follow in Sissi’s footsteps while listening to Ferenc Erkel, who composed the Hungarian national anthem.

This is the Hungarian Royal Opera House in the latter part of the 19th century.

At night, it would have been a glorious sight, lit with softly glowing gas lights, first introduced in 1856.

Hungarian State Opera House Credit Snobli Ivan, flickr
Hungarian State Opera House Credit Snobli Ivan, flickr
View of the Hungarian State Opera House at night. Credit Mstyslav Chernov
View of the Hungarian State Opera House at night. Credit Mstyslav Chernov

The main entrance was dazzling, with its richly decorated Baroque interior, marble columns, and vaulted ceiling covered in beautiful murals depicting the nine Muses—the Greek goddesses of literature, science, and the arts.

Going to the opera was a great social occasion for the elite of Budapest society.

A vast, sweeping marble staircase allowed the ladies to show off their new gowns.

Hungarian State Opera House. Credit jaime.silva, flickr
Hungarian State Opera House. Credit jaime.silva, flickr
The grand staircase is one of the most impressive aspects of the Opera House. Image Credit Hungarian State Opera.

We will use the royal entrance, naturally. The royal staircase takes us discreetly from the street to the parlours on the first floor.

A private entrance from the carriage ramp in Dalszínház street – known as the royal staircase – leads to the parlours on the first floor. Credit Hungarian State Opera.

And there is the royal box in the center, with a magnificent view—the best seat in the house.

Hungarian State Opera House. Credit Ted McGrath, flickr
Hungarian State Opera House. Credit Ted McGrath, flickr

What a beautiful creation this is. Seating 1,261 people, it has a horseshoe shape and, according to sound measurements, the third best acoustics in Europe.

Hungarian State Opera House. Credit Jason DeRose, flickr
Hungarian State Opera House. Credit Jason DeRose, flickr
Hungarian State Opera House. Credit Miroslav Petrasko, flickr
Hungarian State Opera House. Credit Miroslav Petrasko, flickr
Hungarian State Opera House. Credit Markus Lutkemeyer, flickr
Hungarian State Opera House. Credit Markus Lutkemeyer, flickr
Hungarian State Opera House. Credit ecv5, flickr
Hungarian State Opera House. Credit ecv5, flickr
Teatro dell'Opera. Credit: Andrea Puggioni
Teatro dell’Opera. Credit: Andrea Puggioni

Sissi preferred the proscenium box—just to the left of the stage. So nice and private—hidden from prying eyes. Those who knew called it the “Sissi box”.

Hungarian State Opera House. Credit hijukal, flickr
Hungarian State Opera House. Credit hijukal, flickr

Let the opera begin.

Click here to pan around the opera house interior in real-time.

Sources

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12 Beautiful Paintings from Russian Artist Lev Lagorio

Lev Lagorio (1828–1905) loved the way light plays with the beauty and drama of sea and mountains.

Known for his seascapes, Lagorio studied at the Imperial Academy of Arts in Saint Petersburg, Russia.

Influenced by the great marine artist Ivan Aivazovsky, Lagorio went on a sea voyage in 1845 aboard a Russian warship, where he studied the arrangement of ships—many of which feature in his work.

He spent eight years in Italy, his paintings of which earned him a professorship on returning to Russia.

In his later years, Lagorio painted coastal views of Finland and Norway.

1. Caucasian canyon, 1893

2. Normandy Beach, 1859.

3. Landscape with trees, houses and river, 1878

4. Moon light on the Neva, 1898

5. On the Caucasus Mountains, 1870

6. On the island of Capri. Coastal cliffs. 1859

7. On the island of Capri. Fisher’s house, 1859

8. Batum (a seaside city on the Black Sea coast), 1881

9. Defense of Bayazet during the Russo-Turkish War of 1877-1878

10. View of Ayu-Dag (Crimea) from Alushta

11. Transportation of Ice, 1849

12. Dacha (A Russian country house), 1892

A Lasting First Impression – how Monet started a revolution in art

It was April 15, 1874, on the boulevard des Capucines, Paris, France.

Monet waited nervously for people to arrive at his new exhibition, organized with the help of friends Pierre-Auguste Renoir, Edgar Degas, Edouard Manet, Camille Pissarro, and others.

The well-known photographer Nadar (the pseudonym of Gaspard-Félix Tournachon) had recently moved to a new location and offered his studio to Monet and friends to use for their exhibition.

The home of photographer Nadar, where the 1874 exhibition took place.
The home of photographer Nadar, where the 1874 exhibition took place.

Times were hard. The artists were constantly in need of money. An economic slump had hit the art market and the scant sales through art dealers had all but dried up.

The young artists had banded together to form a guild-like association and called themselves “Société anonyme des artistes peintres, sculpteurs et graveurs” (Anonymous Society of Painters, Sculptors, and Engravers).

They wanted to show their work as independent artists, free from any restrictions imposed by the increasingly conservative Salon de Paris.

Formally dressed patrons at the Salon in 1890
Formally dressed patrons at the Salon in 1890

Exhibition at the Salon de Paris was considered essential for any artist to achieve success in France.

But the Salon’s jurors had snubbed Monet and the group of artists, and refused to exhibit many of their works. They opposed the artists’ shift away from traditional styles.

It was the rejection of his larger paintings, like Women in the Garden (below) that finally convinced  Monet of the need for his own exhibition.

Women in the Garden by Claude Oscar Monet, 1867 (100 in x 81 in)
Women in the Garden by Claude Oscar Monet, 1867 (100 in x 81 in)

Now was the opportunity to proudly show another of his larger works—The Luncheon. It too had been turned down by the Paris Salon.

The Luncheon, 1868, Städel, which features Camille Doncieux and Jean Monet, was rejected by the Paris Salon of 1870 but included in the first Impressionists' exhibition in 1874. (97 in x 85 in)
The Luncheon, 1868, Städel, which features Camille Doncieux and Jean Monet, was rejected by the Paris Salon of 1870 but included in the first Impressionists’ exhibition in 1874. (97 in x 85 in)

Altogether, 165 works were exhibited, including 9 by Morisot, 6 by Renoir, 10 by Degas, 5 by Pissarro, 3 by Cézanne, and 3 by Guillaumin.

But it was Monet’s own painting, Impression, Sunrise that would lead to the new name for the group.

What was intended as an insult by art critic Louis Leroy to describe the vague forms and incomplete appearance, was taken as a token of esteem by the group of artists, who would become known as “Impressionists”.

Impression, Sunrise, 1872; the painting that gave its name to the style.
Impression, Sunrise, 1872; the painting that gave its name to the style.

In his article “The Impressionist Exhibition”, Louis Leroy tried to ridicule the Impressionists by writing from the imaginary perspective of a traditional artist who was shocked at seeing their work:

‘Ah! This is it, this is it!: he cried in front of n. 98. ‘This one is Papa Vincent’s favorite! What is this a painting of? Look in the catalogue.’ ‘Impression, Sunrise.’ ‘Impression– I knew it. I was just saying to myself, if I’m impressed, there must be an impression in there… And what freedom, what ease in the brushwork! Wallpaper in its embryonic state is more labored than this seascape!”

During the exhibition, Monet talked about his technique for landscapes in an interview with Maurice Guillemot for La Revue Illustrée:

A landscape is only an impression, instantaneous, hence the label they’ve given us– all because of me, for that matter. I’d submitted something done out of my window at Le Havre, sunlight in the mist with a few masts in the foreground jutting up from the ships below. They wanted a title for the catalog; it couldn’t really pass as a view of Le Havre, so I answered: “Put down Impression.” Out of that they got impressionism, and the jokes proliferated….”

Followers of Impressionism argued that it represented how the eye sees subjects—not in terms of lines and contours, but through the interplay of light and color to form an impression.

Although initially skeptical, the public came to believe the Impressionists had developed their own highly original style.

Impressionism changed the world of painting by disrupting the conventions of the past. It paved the way for a number of later styles, including Neo-Impressionism, Post-Impressionism, Fauvism, and Cubism.

The Groundbreaking Impressionist Exhibition of 1874

Boulevard des Capucines by Claude Monet, 1874.
Boulevard des Capucines by Claude Monet, 1874.
Fishing Boats Leaving the Harbor, Le Havre by Claude Monet, 1874.
Fishing Boats Leaving the Harbor, Le Havre by Claude Monet, 1874.
Le verger (The Orchard) by Camille Pissarro, 1872.
Le verger (The Orchard) by Camille Pissarro, 1872.
Gelee blanche (Hoarfrost) by Camille Pissarro, 1873
Gelee blanche (Hoarfrost) by Camille Pissarro, 1873.
The Chestnut Trees at Osny by Camille Pissarro, 1873.
The Chestnut Trees at Osny by Camille Pissarro, 1873.
Portrait de Mme Morisot et de sa fille Mme Pontillon ou La lecture (The Mother and Sister of the Artist - Marie-Joséphine & Edma) by Berthe Morisot, 1870.
Portrait de Mme Morisot et de sa fille Mme Pontillon ou La lecture (The Mother and Sister of the Artist – Marie-Joséphine & Edma) by Berthe Morisot, 1870.
The Harbor at Lorient by Berthe Morisot, 1869.
The Harbor at Lorient by Berthe Morisot, 1869.
Hide and Seek by Berthe Morisot, 1873.
Hide and Seek by Berthe Morisot, 1873.
The Cradle by Berthe Morisot, 1872.
The Cradle by Berthe Morisot, 1872.
The village of Maurecourt by Berthe Morisot, 1873.
The village of Maurecourt by Berthe Morisot, 1873.
Young Girl with a Parrot by Berthe Morisot, 1873.
Young Girl with a Parrot by Berthe Morisot, 1873.
Rivage de Portrieux by Eugène Boudin, 1874.
Rivage de Portrieux by Eugène Boudin, 1874.
Autumn - Banks of the Seine near Bougival by Alfred Sisley 1873.
Autumn – Banks of the Seine near Bougival by Alfred Sisley 1873.
The Hanged Man's House by Paul Cezanne, 1873.
The Hanged Man’s House by Paul Cezanne, 1873.
A Carriage at the Races by Edgar Degas, 1872.
A Carriage at the Races by Edgar Degas, 1872.
Study: Landscape at Auvers by Paul Cezanne, 1873.
Study: Landscape at Auvers by Paul Cezanne, 1873.
Dancer by Pierre-Auguste Renoir, 1974.
Dancer by Pierre-Auguste Renoir, 1974.
The Theatre Box by Pierre-Auguste Renoir, 1974.
The Theatre Box by Pierre-Auguste Renoir, 1974.

Monet tried to sell Impression, Sunrise at the exhibition for 1000 francs but failed.

In 2008, at a Christie’s auction, Le bassin aux nymphéas from the water lillies series sold for $80,451,178.

Le Bassin Aux Nymphéas by Claude Monet, 1919.
Le Bassin Aux Nymphéas by Claude Monet, 1919.

Reference sources

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A Victorian Fashion Show

Imagine you’re attending a fashion show in the Victorian era. You get to choose the trends for the next Victorian season—what’s hot and what’s not from the entire period of Queen Victoria’s reign—1837-1901.

Before we begin voting yea or nay, let’s review the Victorian ladies fashion scene.

Read more …

In the 1840s and 1850s, dresses were mostly simple and pale, often with wide puffed sleeves. Corsets and chemises were worn under gowns, together with multiple layers of petticoats. The arrival of the crinoline meant far fewer petticoats were required to maintain the desired fullness and volume of skirts. Dresses with a solid bodice were worn during the day, and a low-neckline off-the-shoulder look was typical for evening wear.

By the 1860s, skirts were  flatter at the front and projected out more at the back. Wide pagoda sleeves and high necklines with lace or tatted collars became popular. The low-neckline evening dresses were worn with short gloves, fingerless lace or crocheted mitts. In America, the influence of civil war military-style decoration appeared in civilian clothing.

In the 1870s, tea gowns were worn for entertaining at home and didn’t require corsets. Bustles replaced crinolines for supporting skirts, as a slimmer style came into vogue. Evening dresses were very tight around the corseted torso.

During the 1880s, bustles initially became less prominent, but sizes grew again later in the decade. Greater affluence brought more leisure time with fashion catering to riding and walking pursuits.

High collars, held in place by collar stays, and stiff steel boning characterized the 1890s. Crinolines and bustles were no more. Instead, in came the tiny wasp waist.

Vote yea or nay for your favorites below …

Vote for your favorites

Scroll through the dresses, select up to 3 of your favorites (click again to de-select), and then click the Vote button at the bottom.

Click to open the fashion show
24
Min votes count should be 1

The Changing Face of the Second Empire

In the 1860s and 70s, there was an architectural style that took the world by storm.

It was called “Second Empire”, named after the French Second Empire of Napoleon III’s reign as Emperor of France (1852-70).

Read more …
Napoleon III by Alexandre Cabanel, 1865
Napoleon III by Alexandre Cabanel, 1865

Napoleon III wasn’t just the emperor of France during the Second Empire, he was its chief architect. Under his ambitious vision, Paris underwent a dramatic transformation, replacing medieval alleys with wide avenues and grand buildings adorned in a new style, aptly named the “Second Empire.” Napoleon III not only championed this eclectic blend of Renaissance, Baroque, and contemporary elements, but actively fostered its development by commissioning iconic projects like the Palais Garnier opera house and the Louvre extension. He saw architecture as a tool for both national prestige and social welfare, showcasing France’s power while providing much-needed jobs and housing. So, while talented architects like Hector Lefuel crafted the finer details, it was Napoleon III’s grand vision and unwavering support that truly molded the Second Empire’s architectural aesthetic, leaving a lasting legacy of opulent beauty and urban grandeur.

Period paintings give us an idea of what Paris was like during the French Second Empire.

Music in the Tuileries Gardens, by Edouard Manet (1862). The parks of Paris, particularly the Tuileries gardens and the new Bois de Boulogne, provided entertainment and relaxation for all classes of Parisians during the Second Empire.
Music in the Tuileries Gardens, by Edouard Manet (1862). The parks of Paris, particularly the Tuileries gardens and the new Bois de Boulogne, provided entertainment and relaxation for all classes of Parisians during the Second Empire.
Party night at the Tuileries, June 10, 1867 by Pierre Tetar van Elven, 1867.
Party night at the Tuileries, June 10, 1867 by Pierre Tetar van Elven, 1867.
The Avenue de l'Opera, one of the new boulevards created by Napoleon III. The new buildings on the boulevards were required to be all of the same height and same basic façade design, and all faced with cream-hued stone, giving the city center its distinctive harmony.
The Avenue de l’Opera, one of the new boulevards created by Napoleon III. The new buildings on the boulevards were required to be all of the same height and same basic façade design, and all faced with cream-hued stone, giving the city center its distinctive harmony.

And the opulent interiors hark back to an age of extravagance.

The Grand Foyer of the Opera Garnier, Paris. Image credit Degrémont Anthony.
The Grand Foyer of the Opera Garnier, Paris. Image credit Degrémont Anthony.
The Salon doré (Golden Room), office of the President of the French Republic. Image credit Chatsam.
The Salon doré (Golden Room), office of the President of the French Republic. Image credit Chatsam.
Second Empire style Grand Salon in the Apartements of Napoléon III, Louvre palace.
Second Empire style Grand Salon in the Apartements of Napoléon III, Louvre palace.

The Second Empire style was characterized by a multifarious mix of earlier European styles—particularly Baroque—often having mansard roofs and square based domes.

An abundance of Neo-Baroque decorative elements on the south façade of the Opéra Garnier in Paris, France. Image credit Paris16
An abundance of Neo-Baroque decorative elements on the south façade of the Opéra Garnier in Paris, France. Image credit Paris16
Roof detail of a Second Empire style house in Salem, Massachusetts
Mansard roof detail of a Second Empire style house in Salem, Massachusetts
A square-based domes tops the Mitchell Building, an 1876 office building, Milwaukee, Wisconsin. Image credit Kenneth C. Zirkel
A square-based dome tops the Mitchell Building—an 1876 office building, Milwaukee, Wisconsin. Image credit Kenneth C. Zirkel

Second Empire could be easily scaled, making it good for a variety of municipal and corporate buildings.

The Élysée Palace (Official residence of the President of France since 1848). Image credit Remi Mathis.
The Élysée Palace (Official residence of the President of France since 1848). Image credit Remi Mathis.
Baltimore City Hall, Baltimore, Maryland. Complete 1875
Baltimore City Hall, Baltimore, Maryland. Completed 1875
Alfred B. Mullett's former State, War and Navy Building, Washington, D.C., begun during the Grant administration and built between 1871 and 1888.
Alfred B. Mullett’s former State, War and Navy Building, Washington, D.C., begun during the Grant administration and built between 1871 and 1888.
Central Post Office, Buenos Aires, Argentina (1909 - 1928). Image Credit Albano Azarian.
Central Post Office, Buenos Aires, Argentina (1909 – 1928). Image Credit Albano Azarian.
Facade of the Brussels Stock Exchange, Belgium. Built 1873. Image credit Ben2.
Facade of the Brussels Stock Exchange, Belgium. Built 1873. Image credit Ben2.
Mansard rooftops along Boulevard Haussmann in Paris constructed during the Second French Empire. Image credit Thierry Bézecourt.
Mansard rooftops along Boulevard Haussmann in Paris constructed during the Second French Empire. Image credit Thierry Bézecourt.
Caldwell County Courthouse, Lockhart, Texas. Built 1894. Image credit CMBJ.
Caldwell County Courthouse, Lockhart, Texas. Built 1894. Image credit CMBJ.

The style spread throughout Europe and across to the United States, where the tower and mansard roof were often the most notable Second Empire elements.

Cresting around the roof and tower became a popular decoration in the US and sometimes acted as a lightning conductor.

 Ornate creasting across the roof of Glanmore Mansion was completed in 1883 for John Philpot Curran Phillips. Image credit Bill Badzo, flickr.
Ornate cresting across the roof of Glanmore Mansion was completed in 1883 for John Philpot Curran Phillips. Image credit Bill Badzo, flickr.
Cresting around the mansard-roofed tower of the Joseph R. Bodwell House, Hallowell, Maine. Built 1865. Image credit Taoab.
Cresting around just the tower of the Joseph R. Bodwell House, Hallowell, Maine. Built 1865. Image credit Taoab.

Made of wood, brick or stone, elaborate examples often had paired columns as well as sculpted details around the doors, windows, and dormers.

Heck-Andrews House in Raleigh, North Carolina, completed in 1870.
Heck-Andrews House in Raleigh, North Carolina, completed in 1870.

For the nouveau riche, the opulent Second Empire style was the perfect choice to express their new found wealth.

But by the 1880’s, it started to fall out of favor. In came the Queen Anne style, with its wraparound porches, round towers, overhanging eaves and painted balustrades.

By the mid-20th century, thousands of Second Empire homes were demolished in sweeping urban renewal programs.

Instead of harking back to a glorious age, the style became associated with horror thanks to TV shows like the Addams Family and the 1960 movie Psycho.

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The Psycho set on the Universal lot, featuring a Ford Custom 300 similar to that driven by Janet Leigh in the film.
The Psycho set on the Universal Studios lot, featuring a Ford Custom 300 similar to that driven by Janet Leigh in the film.

Today, Second Empire is comparatively rare, but some outstanding examples live on as reminders of a glorious bygone era.

Shard Villa (The Columbus Smith Estate) Salisbury, Vermont. Completed 1874. Image credit Don Shall.
Shard Villa (The Columbus Smith Estate) Salisbury, Vermont. Completed 1874. Image credit Don Shall.
The Second Empire style Hegeler Carus Mansion on Seventh Street in LaSalle, Illinois. Image credit Terence Faircloth, flickr
The Second Empire style Hegeler Carus Mansion on Seventh Street in LaSalle, Illinois. Image credit Terence Faircloth, flickr
Second Empire in St John, New Brunswick, Canada. Formerly known as Earl House and built in 1870.. Image credit Julien Duguay
Second Empire in St John, New Brunswick, Canada. Formerly known as Earl House and built in 1870.. Image credit Julien Duguay
North Adams Public Library (North Adams, Massachusetts). Built in 1865 for Sanford Blackinton. Image credit C Hanchey, flickr.
North Adams Public Library (North Adams, Massachusetts). Built in 1865 for Sanford Blackinton. Image credit C Hanchey, flickr.
Glen Auburn, Second Empire in Natchez, MIssissippi. Credit Tom Barnes.
Glen Auburn, Second Empire in Natchez, MIssissippi. Credit Elisa.rolle.
George Wise House/Bibber Memorial Chapel, Kennebunk, ME. Built 1868. Photo credit Doug Copeland, flickr.
George Wise House/Bibber Memorial Chapel, Kennebunk, ME. Built 1868. Photo credit Doug Copeland, flickr.
Bossler Mansion, St. Anne's Hill, Dayton, Ohio. Circa 1870s. Image credit  Bossler Mansion on Facebook.
Bossler Mansion, St. Anne’s Hill, Dayton, Ohio. Circa 1870s. Image credit Bossler Mansion on Facebook.

Music of the Second Empire

Jacques Offenbach became known for his operettas satirising the French court of Napoleon III during the Second Empire. But it was good-natured and Napoleon so enjoyed it that he personally granted Offenbach French citizenship and the Légion d’Honneur.

“Belle nuit, ô nuit d’amour,” Jacques Offenbach’s iconic aria from the opera “Les contes d’Hoffmann,” resonates far beyond the stage. Composed in 1881, just one year after the fall of the Second Empire, it carries whispers of the era’s opulent excess and fleeting pleasures. The song’s dreamy waltz rhythm and melancholic lyrics – “fleeting time doth ne’er return, but bears on wings our dreaming” – echo the Second Empire’s own bittersweet legacy. Just as the glittering reign of Napoleon III crumbled under political turmoil, leaving behind a nation grappling with change, “Belle nuit” celebrates a love both passionate and transitory, a mirror to the empire’s own ephemeral grandeur. Its popularity in the years following the empire’s demise suggests a yearning for lost romance and escapism, a nostalgic ode to a bygone era even as France moved towards a new republic. Thus, “Belle nuit” holds a unique position, acting as both a lament for the Second Empire and a timeless expression of love’s bittersweet beauty.

Ooh la la! The Victorian Secret – How to Get Into Shape in Just 5-Minutes With No Exercise

Before it became popular to lift heavy objects for an hour or run down the street for fun (known to Victorians as “work”), people of leisure got into shape using a single piece of wearable equipment that didn’t weigh much at all — the corset.

This fantastic invention is possibly the fastest way to get into shape known to mankind—and it’s stood the test of time for several centuries.

Slip one of these on and we look absolutely fabulous!

Being an innovative lot, the Victorians over-engineered the corset to reduce waist size down to an incredibly small 16″ (40cm). (The smallest waist in recorded history was that of Ethel Granger at 13″ (33cm) ).

I’ll just slip into something less comfortable.

And the Victorian Secret applied equally to men.

Jolly fine rugby match yesterday, wasn’t it old chap?
Yes, spiffing!
Advertisement of corsets for men, 1893
Advertisement of corsets for men, 1893

Wall paintings and statues from Minoan Crete (3rd millennium BCE) depict women wearing tight bodices that are thought to be the oldest known examples of corsets.

But our story begins with a powerful Italian lady by the name of Catherine de’ Medici.

When Catherine became Queen of France in 1547, as the wife of Henry II of France, she required everyone attending court to sport a slim waistline.

Biographer Mark Strage called her the most powerful woman in sixteenth-century Europe.

So feared was Catherine that rumours circulated about her eating little children.

With Catherine’s influence behind it, the corset’s future looked rosy.

Catherine de' Medici
Catherine de’ Medici

Initially a simple bodice stiffened with whalebone or reed, the early corsets were worn only by the aristocracy.

They were often called “a pair of bodies” because they were made in two pieces that fastened together, most often with lacing.

1750, Italian. Credit Metropolitan Museum of Art
1750, Italian. Credit Metropolitan Museum of Art

In the 17th and 18th centuries, “stays” became fashionable.

They provided support, held the shoulders back, and gave a conical shape to the upper body.

Woman's corset (stays) c. 1730–1740. Silk plain weave with supplementary weft-float patterning, stiffened with baleen. Los Angeles County Museum of Art
Woman’s corset (stays) c. 1730–1740. Silk plain weave with supplementary weft-float patterning, stiffened with baleen. Los Angeles County Museum of Art

With or without shoulder straps, the most basic were made of leather and simply wrapped around the torso, then tightened with lacing at the back.

The upper classes could afford custom-made stays, but in both cases, just how tight one should lace them became a matter of controversy and satire during the late 1700s and early 1800s.

Tight-lacing Satire
Tight-lacing Satire

This is where the term “strait-laced” comes from—strait (with no “gh”) meaning tight, as in rigid in manners of conduct.

The French Revolution threatened to wipe the corset from the annals of history when the “Empire Silhouette” came into fashion.

Thanks to Napoleon’s first Empress, Joséphine de Beauharnais, the high-waisted appearance with long, flowing skirt became popular across Europe.

French lady in 1808. The style was often accompanied by a shawl or similar wrap, or a short 'Spencer' jacket, as the dresses were light and left much uncovered.
French lady in 1808. The style was often accompanied by a shawl or similar wrap, or a short ‘Spencer’ jacket, as the dresses were light and left much uncovered.

But this style didn’t last long. As full skirts and small waists began to dominate the fashion scene, the body-shaping qualities of the corset once again won people over.

Men continued to wear corsets, but claimed it was for medicinal purposes—the old “back pain”.

Once the Victorians had figured out how to mass-produce corsets, there was no turning back.

By 1850, steel was used for boning and eyelets, allowing corsets to be laced very tightly indeed.

In fashionable London, tight lacing was a serious affair—even for one’s teenaged daughters.

An article in the New York Times read:

…tight lacing is fashionable again. One of the most exclusive corsetieres in Oxford Street, who is the authority for the statement, said today: We are on the verge of another tiny-waist craze. The demand for the smaller sizes in corsets has doubled in the last six months. Eighteens are now in common demand and orders for seventeen-inch and sixteen-inch corsets have greatly increased in the last few weeks. Not a few of my clients are systematically training for the fashionable measurements. When the eventual size is decided upon, three pairs of corsets are made, one for ordinary wear, one for special occasions, and another for night wear. To take a typical case, a young lady was brought to me by her mother at the beginning of the year. The girl, who was 16 years old, was tall and already possessed of a well-developed figure. She had a waist that measured twenty inches. Her mother was desirous that it be reduced to sixteen inches. I provided three pairs of corsets of graduated sizes, and the young miss wore sixteen-inch corsets, laced close the week before last at the Buckingham Palace garden party. She and her mother were so delighted with the effect that the girl came to me a day or two later to be measured for a pair of fifteens for dress occasions.

In Europe, the tight-laced corset won royal patronage courtesy of Empress Elisabeth of Austria “Sissi”, who used tight-lacing to reduce her waist to the coveted 16″ (40cm).

She became obsessed with her trademark “wasp waist”, and her lacing procedure sometimes took an hour.

Sissi’s youngest daughter adopted her mother’s fixation with extreme slenderness and is said to have been terrified when, as a young girl, she met Queen Victoria for the first time.

Portrait of Empress Elisabeth of Austria by Franz Schrotzberg, 1853.
Portrait of Empress Elisabeth of Austria by Franz Schrotzberg, 1853.

In the Edwardian era, corsets became longer and straight at the front, with a pronounced curve at the back.

This pushed the upper body forward and the posterior out, creating a profile known as the “S-Curve” or “S-Bend.

Edwardian era corsets. Left and middle: 1905. Right: 1917.
Edwardian era corsets. Left and middle: 1905. Right: 1917.

With the post-Edwardian period came the last stand of the corset before it was to fall out of fashion in favor of the girdle in the 1920s.

The corset was dead. Long live the corset.

Today, the corset lives on in the fashion world thanks largely to the goth and steampunk subgenres, but thanks to new latex rubber materials, also as an inexpensive body shaper.

Steampunk corsets: credit greylock, Steampunk Family the von Hedwig, Neil Girling.
Steampunk corsets: credit greylock, Steampunk Family the von Hedwig, Neil Girling.

The Bygone Corseted Era

Life imitates Art far more than Art imitates Life—Oscar Wilde.

Undoubtedly, taken to an extreme, the whims of fashion can be deleterious to health. But the age of corsets personifies the human fascination with the art aesthetic.

Early 18th century, Spanish. Credit Metropolitan Museum of Art.
Early 18th century, Spanish. Credit Metropolitan Museum of Art.
18th Century Italy
18th Century Italy. Credit KCI.
1760s, French. Credit Metropolitan Museum of Art.
1760s, French. Credit Metropolitan Museum of Art.
1760, France. Credit Metropolitan Museum of Art.
1750, Europe. Credit Metropolitan Museum of Art.
1750, Europe. Credit Metropolitan Museum of Art.
1750, British. Credit Metropolitan Museum of Art.
1750, British. Credit Metropolitan Museum of Art.
1750, France. Credit Royal Ontario Museum.
Corsets from 1760 (including child corset, center). Credit KCI.
1760's Switzerland
1760’s Switzerland. Credit KCI
1855, France
1855, France. Credit KCI.
1867, American. Credit Metropolitan Museum of Art.
1867, American. Credit Metropolitan Museum of Art.
1872, France
1872, France. Credit Metropolitan Museum of Art.
1880, European. Credit Metropolitan Museum of Art.
1880, European. Credit Metropolitan Museum of Art.
1842, British
1842, British. Credit Metropolitan Museum of Art.
1847, American. Credit: https://www.whitehousehistory.org
1847, American. Credit: https://www.whitehousehistory.org
1876, French. Credit Metropolitan Museum of Art.
1876, French. Credit Metropolitan Museum of Art.
1880, American. Credit Metropolitan Museum of Art.
1876 Corset. American. Royal Worcester Corset Company. silk, cotton, metal, bone. Credit metmuseum.
1876 Corset. American. Royal Worcester Corset Company. silk, cotton, metal, bone. Credit metmuseum.
1880s, American. Credit Metropolitan Museum of Art.
1880s, American. Credit Metropolitan Museum of Art.
1882, American. Credit Metropolitan Museum of Art
1882, American. Credit Metropolitan Museum of Art
1880, British. Credit Metropolitan Museum of Art.
1880, British. Credit Metropolitan Museum of Art.
1887, French. Credit Metropolitan Museum of Art.
1887, French. Credit Metropolitan Museum of Art.
1864, French. Credit Metropolitan Museum of Art.
1864, French. Credit Metropolitan Museum of Art.
1891, French. Credit Metropolitan Museum of Art.
1891, French. Credit Metropolitan Museum of Art.

Beautiful British Towns – Past vs Present

Louise Rayner was a British watercolour artist of the Victorian Era.

During the summers of the 1870s and 1880s, she traveled extensively across the UK, painting everyday life as street scenes of towns and cities during the booming Victorian era.

Her paintings show people going about their work, and have a quaint “olde worlde” feel to them.

Under each of Louise Rayner’s paintings, there is a live “Street View” (from Google maps) of the same location depicted in the paintings—you can pan and zoom around the image to get a 360º view.

How have things changed? Let’s take a look.

In her painting of Watergate Street in Chester, we can see that many buildings from Louise Rayner’s day still exist today. You can even “walk” down the street in the Google Maps “live” image—just follow the arrows. The shop fronts may be modern, but as you look up, you find the original buildings—almost identical to Victorian times. How marvelous—modern commerce co-existing with history.

Watergate Street, Chester by Louise Rayner, c,1870-1880
Watergate Street, Chester by Louise Rayner, c,1870-1880

In her second painting, depicting Fish Street in Shrewsbury, we see a narrow section of street that’s just wide enough for one car to pass through today. The buildings may have changed, but their character remains largely the same.

Fish Street, Shrewsbury by Louise Rayner, c.1870-1880
Fish Street, Shrewsbury by Louise Rayner, c.1870-1880

In the third Louise Rayner painting, showing Church Street in Warwick, there are clearly big changes since the 1880s. This narrow section of Church Street (with the man carrying two baskets), has gone completely—replaced by a wider street at this spot.

Notice the drainage channel running down the center in the painting. Smaller towns like Warwick would still have suffered from poor drainage and sanitation in the 1870s. It was likely that alleyways like this were overcrowded, with inadequate water supply and shared privies. Sewage would have accumulated in cesspools and created a terrible stench, especially in summer.

St Mary's Church from Church Street, Warwick by Louise Rayner, 1870-1880
St Mary’s Church from Church Street, Warwick by Louise Rayner, 1870-1880

In her painting of Durham Cathedral, shown towering above the River Wear in the North East of England, we can see cute little cottages and townhouses on the left bank by the bridge. Whilst the bridge remains intact, today, we have a mix of traditional cottages and modern condominiums.

The right bank of the river today features restaurants and a shopping centre—taking advantage of the beautiful view across the river towards the cathedral.

Durham Cathedral from Framwellgate Bridge by Louise Rayner, 1870-1880
Durham Cathedral from Framwellgate Bridge by Louise Rayner, 1870-1880

In Louise Rayner’s painting of Eastgate Street, Chester, we see a lot of similarities with how the street looks today. The clock above the bridge has been added since the painting, but take a close look at the building on the right nearest the bridge. Notice the corner turret that was a common feature of Victorian architecture. It indicates how little that building has changed in 130 years.

Chester is a beautiful town with many well-preserved historic buildings.

Eastgate Street, Chester by Louise Rayner, 1870-1880
Eastgate Street, Chester by Louise Rayner, 1870-1880

More of Louise Rayner’s work

Wyle Cop, Shrewsbury by Louise Rayner
Wyle Cop, Shrewsbury by Louise Rayner
The Cross looking towards Watergate Street, Chester by Louise Rayner
The Cross looking towards Watergate Street, Chester by Louise Rayner
The Poultry Cross, Salisbury by Louise Rayner
The Poultry Cross, Salisbury by Louise Rayner
Watergate Street Row South,  Chester by Louise Rayner
Watergate Street Row South, Chester by Louise Rayner
John Knox's House, Edinburgh by Louise Rayner
John Knox’s House, Edinburgh by Louise Rayner
East Gate, Warwick by Louise Rayner
East Gate, Warwick by Louise Rayner
Chester Bridge Street looking north by Louise Rayner
Chester Bridge Street looking north by Louise Rayner

10 Lessons from Queen Victoria’s Favorite Prime Minister

Benjamin Disraeli, 1st Earl of Beaconsfield (1804 – 1881), was twice the Prime Minister of the United Kingdom during Queen Victoria’s reign.

He is remembered for his influential voice in world affairs, associating the Conservative party with the glory and power of the British Empire.

And he was the favorite Prime Minister of Queen Victoria, who told her oldest daughter,

“The present man will do well. He is very peculiar … but very clever and sensible … He is full of poetry, romance and chivalry. When he knelt down to kiss my hand, he said ‘In loving loyalty and faith.'”

Here are 10 timeless nuggets of wisdom from Benjamin Disraeli—as relevant today as they were during Queen Victoria’s reign and long before.

The first is my favorite Disraeli quote that finds a happy balance between optimism and pessimism. We know things can go wrong, but if we prepare for that, we can maintain an optimistic view of life.

Hope

Benjamin Disraeli by H Lenthall, c. 1870
Benjamin Disraeli by H Lenthall, c. 1870

Change

There is nothing more certain than change. Technological change is particularly apparent in our modern age. Disraeli witnessed huge advances in technology and industrialization during the Victorian Era. Just as we accept a change in the weather and prepare accordingly, if we accept change in our lives and prepare as Disraeli suggests, we can manage and deal with change more effectively (Amazon affiliate link).

Changeable Weather by Gustave Léonard de Jonghe
Changeable Weather by Gustave Léonard de Jonghe

Travel

Travel helps open our minds to diversity. The world is full of different lands, different architecture, different foods, different people. Travel helps us realize that although we are all different, we are all uniquely important.

The Travelling Companions by Augustus Leopold Egg - 1862
The Travelling Companions by Augustus Leopold Egg – 1862

Heroes

Disraeli’s advice on how to be a hero—believe you can do it. Belief in ourselves and our ability to do great things is a prerequisite to being one of life’s heroes.

It pays to dream big—many of the world’s most successful people started with a big dream.

Florence Nightingale, Wellcome Trust
Florence Nightingale, Wellcome Trust

Knowledge

“The only true wisdom is in knowing you know nothing.”

—Socrates

When we realize we don’t have all the facts, we’re prompted to discover them. With today’s web and search technologies, it’s much easier and faster to find information that helps us arrive at the facts and increase our knowledge.

Still life with books by L. Block (1848-1901)
Still life with books by L. Block (1848-1901)

Audacity

One of the greatest examples of audacity was Washington’s crossing of the Delaware River during the American Revolutionary War in 1776.

Despite bad weather and icy, treacherous water, Washington led a column of Continental Army troops to a surprise victory against the Hessian forces at the Battle of Trenton.

Washington’s audacity turned the tide for the Continental Army that only a week earlier was on the verge of collapse. It inspired soldiers to serve longer and attracted new recruits.

Washington Crossing the Delaware by Emanuel Leutze, MMA-NYC, 1851
Washington Crossing the Delaware by Emanuel Leutze, MMA-NYC, 1851

Criticism

It’s human nature to be critical. Churchill thought that although criticism is unpleasant, it is necessary.

American writer Elbert Hubbard found a solution for avoiding criticism: “do nothing, say nothing, and be nothing”.

But not all criticism is fair, warranted, or justified. Disraeli’s words strike at the heart of the extra care needed for constructive criticism—to improve an outcome by offering valid and well-reasoned options in a friendly manner.

Escaping Criticism by Pere Borrell del Caso, 1874
Escaping Criticism by Pere Borrell del Caso, 1874

Courage

Where courage is the strength to face our fears, bullying is a smokescreen to hide them.

Disraeli advocated courage, not bullying. As a child, he struggled against antisemitism, but his courage and pride in his Jewish heritage saved him from humiliation.

Courage is Half the Battle by John Henry Dolph (American, 1835 - 1903)
Courage is Half the Battle by John Henry Dolph (American, 1835 – 1903)

Conduct

Disraeli suffered defeat and loss in his life through circumstance, but he never felt bitter or unfriendly to those who rejected him. He swallowed his pride and kept the characteristically British “stiff upper lip”.

Exemplary behavior by Horatio Henry Couldery (United Kingdom, 1832 - 1893)
Exemplary behavior by Horatio Henry Couldery (United Kingdom, 1832 – 1893)

Love

Disraeli reminds us that the most powerful force on earth is love. It is what gives life its purpose and its continuity.

Mother and Child in an Interior by Peter Ilsted - 1898
Mother and Child in an Interior by Peter Ilsted – 1898

Recommended books on Disraeli’s nuggets of wisdom:

The book cover images connect you with Amazon and contain Affiliate links, which means we may earn a small commission from qualifying purchases. Thanks for supporting our work.

HOPE
CHANGE
TRAVEL
HEROES
KNOWLEDGE
AUDACITY
CRITICISM
COURAGE
CONDUCT
LOVE

The Story of Queen Wilhelmina – the World’s First Female Billionaire

Look at those eyes. Even at seven years old, Princess Wilhelmina of the Netherlands seemed to know she was destined for greatness.

And she wasn’t wrong—just three years later she became Queen of the Netherlands. Her mother, Emma, was named regent, but by all accounts, Wilhelmina was a wise head on young shoulders.

Portrait of Princess Wilhelmina, 1887
Portrait of Princess Wilhelmina, 1887

Our accompanying music is by Dutch composer Alphons Diepenbrock.

In 1895, when she was 15, she visited Queen Victoria in England, who wrote in her diary:

The young Queen … still has her hair hanging loose. She is slender and graceful, and makes an impression as a very intelligent and very cute girl. She speaks good English and knows how to behave with charming manners.

Enthroned in 1898 at 18 years old and married at 20, life moved fast for the young Queen Wilhelmina.

Queen Wilhelmina wearing her coronation robe by Thérèse Schwartze, 1898
Queen Wilhelmina wearing her coronation robe by Thérèse Schwartze, 1898

There was considerable pressure on Wilhelmina to produce an heir. Many people believed her heir presumptive—a German Prince with close associations with the Imperial family—would fold the Netherlands into the German Empire if he ever came to power.

After 8 years, two miscarriages and a stillborn son, the whole country was overjoyed when Princess Juliana was born in 1909. Although Wilhelmina suffered two further miscarriages, the birth of Juliana had assured the royal family of Orange-Nassau would continue.

Queen Wilhelmina and her daughter Juliana, circa 1914
Queen Wilhelmina and her daughter Juliana, circa 1914

Wilhelmina’s father, King William III, was 63 when she was born. He would only live another 10 years, but these were said to be the best years of his reign. Wilhelmina’s mother, Queen Emma, had a calming effect on her father’s impulsiveness. The marriage was a very happy one.

This stable environment must have given Wilhelmina a good start in life. She was strong willed and knew exactly what she wanted. With a keen business mind, her investment acumen made her the world’s richest woman, and the first female billionaire.

Opening of the Amsterdam Commodity Exchange, 1903
Opening of the Amsterdam Commodity Exchange, 1903

Such confidence showed itself early in her reign. At age 20, she ordered a Dutch warship to evacuate Paul Kruger from South Africa’s embattled Transvaal—an independent country until defeated in 1902 by the British in the Second Boer War, when it became a colony under British rule.

The Transvaal region of South Africa was inhabited by Boers—descendants of Dutch-speaking settlers. Many people of the Netherlands, including Wilhelmina, felt close ties with the Boers. For this reason, she disliked the United Kingdom intensely.

Her feelings towards Britain changed by the start of World War II when King George VI sent a British warship, this time to evacuate her and her family, along with her Government, to the safety of British shores.

Queen Wilhelmina reading a speech for Radio Oranje in 1940
Queen Wilhelmina reading a speech for Radio Oranje in 1940

The BBC provided its facilities so that Wilhelmina could broadcast to her people in the German-occupied Netherlands. Seen as a symbol of resistance, she called Hitler “the arch-enemy of mankind”. At great risk, many Dutch people tuned in to listen to her late-night broadcasts. Churchill described her as the only real man among the governments-in-exile in London.

On 4 September 1948, after a reign of 57 years and 286 days, Wilhelmina stepped down, handing the crown to her daughter Juliana. The influence of the Dutch monarchy had begun to decline, but the country still loved its royal family. Wilhelmina retreated to Het Loo Palace, making few public appearances until the devastating North Sea flood of 1953. Once again she rallied the Dutch people.

Het Loo Palace from the garden. Image credit Hans A. Rosbach
Het Loo Palace from the garden. Image credit Hans A. Rosbach

At the time of her death a New York Times obituary sums up what the Dutch people thought of their Queen Wilhelmina during World War II:

Although celebration of the Queen’s birthday was forbidden by the Germans, it was commemorated nevertheless. When churchgoers in the small fishing town of Huizen rose and sang one verse of the Dutch national anthem, Wilhelmus van Nassauwe, on the Queen’s birthday, the town paid a fine of 60,000 guilders (over half a million US dollars today).

22 Beautiful Paintings of 19th-Century American Life

At one time, especially between 1815 and 1915, the horse and buggy was the primary mode of short-distance transportation in America.

Horsemanship was largely confined to wealthy landowners, western pioneers, and the military.

But as long as there were rudimentary roadways, the low skill requirement of horse and buggy gave freedom of mobility to thousands more.

A horse and buggy circa 1910
A horse and buggy circa 1910

Until Henry Ford made automobiles affordable for the working class, horse-drawn buggies were the most common means of getting around towns and surrounding countryside.

Edward Lamson Henry (1841 – 1919) was an American painter who studied at the Pennsylvania Academy of Fine Arts. He moved to Paris at the age of 19 — a time of Claude Monet, Pierre-August Renoir, and Alfred Sisley.

His great attention to detail and membership of the New York Historical Society won him admiration from contemporaries who viewed his work as authentic historical reconstructions.

Who better to show us American life in the time of the horse and buggy than Edward Lamson Henry. To enhance the atmosphere of these beautiful paintings, optionally play the music.

The Conversation by Edward Lamson Henry - 1882
The Conversation by Edward Lamson Henry – 1882
Testing His Age by Edward Lamson Henry - 1891
Testing His Age by Edward Lamson Henry – 1891
Carriage Ride by Edward Lamson Henry - 1886
Carriage Ride by Edward Lamson Henry – 1886
Portrait of Mrs. Lydig and Her Daughter by Edward Lamson Henry - 1887-1891
Portrait of Mrs. Lydig and Her Daughter by Edward Lamson Henry – 1887-1891
Stopping for a Chat by Edward Lamson Henry - 1889
Stopping for a Chat by Edward Lamson Henry – 1889
The Latest Village Scandal by Edward Lamson Henry - 1885
The Latest Village Scandal by Edward Lamson Henry – 1885
Horse and Buggy on Main Street by Edward Lamson Henry - 1889
Horse and Buggy on Main Street by Edward Lamson Henry – 1889
A Moment of Peril by Edward Lamson Henry - 1890
A Moment of Peril by Edward Lamson Henry – 1890
A Summer Day by Edward Lamson Henry - 1890
A Summer Day by Edward Lamson Henry – 1890
Later Afternoon on the Old Delaware and Hudson Canal, at Port Ben, Ulster County, New York by Edward Lamson Henry - circa 1894
Later Afternoon on the Old Delaware and Hudson Canal, at Port Ben, Ulster County, New York by Edward Lamson Henry – circa 1894
An Informal Call by Edward Lamson Henry - 1895
An Informal Call by Edward Lamson Henry – 1895
Waiting for the Ferry, Shelter Island, New York by Edward Lamson Henry - 1895
Waiting for the Ferry, Shelter Island, New York by Edward Lamson Henry – 1895
At the Watering Trough by Edward Lamson Henry - 1900
At the Watering Trough by Edward Lamson Henry – 1900
One Sunday Afternoon by Edward Lamson Henry - 1902
One Sunday Afternoon by Edward Lamson Henry – 1902
'What's the News' by Edward Lamson Henry - 1909
‘What’s the News’ by Edward Lamson Henry – 1909
Unexpected Visitors by Edward Lamson Henry - 1909
Unexpected Visitors by Edward Lamson Henry – 1909
St. Mark's in the Bowery in the Early Forties by Edward Lamson Henry - 1917
St. Mark’s in the Bowery in the Early Forties by Edward Lamson Henry – 1917
Coming Home by Edward Lamson Henry
Coming Home by Edward Lamson Henry
Horse and Buggy by Edward Lamson Henry
Horse and Buggy by Edward Lamson Henry
The Village Street by Edward Lamson Henry
The Village Street by Edward Lamson Henry
Station on the Morris and Essex Railroad by Edward Lamson Henry - 1864
Station on the Morris and Essex Railroad by Edward Lamson Henry – 1864
The Camden and Amboy Railroad with the Engine 'Planet' in 1834 by Edward Lamson Henry - 1904
The Camden and Amboy Railroad with the Engine ‘Planet’ in 1834 by Edward Lamson Henry – 1904

Whether a quaint novelty ride around Central Park or a touch of Cinderella magic to a storybook wedding, we can still experience the joys of a horse and buggy ride today.

Bride in a white dress descends from an open horse-drawn carriage decorated with ribbons at a wedding in Minnesota. Credit Jonathunder
Bride in a white dress descends from an open horse-drawn carriage decorated with ribbons at a wedding in Minnesota. Credit Jonathunder
Central Park 'Horse & Buggy'. Credit - David Ohmer, flickr.
Central Park ‘Horse & Buggy’. Credit – David Ohmer, flickr.

C

Castles of England and Wales as Victorians Saw Them

Before there was the motorcar, Victorians traveled to see castles by train and horse-drawn carriage.

There was no jostling for a parking space, no parking tickets or parking meters to worry about, no traffic noise. Just history, and the sound of the wind.

It must have been quite something.

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Listen to “Fivos Valachis” as you scroll through a wonderland of castles from a bygone time.

Aberystwyth Castle, Wales
Aberystwyth Castle, Wales
Cardiff Castle, Wales
Cardiff Castle, Wales
Caernarfon Castle, Wales
Caernarfon Castle, Wales
Chepstow Castle, Wales
Chepstow Castle, Wales
Conwy Castle, Wales
Conwy Castle, Wales
Corfe Castle, Dorset, England
Corfe Castle, Dorset, England
Denbigh Castle, Wales
Denbigh Castle, Wales
Dolbadarn Castle, Llanberis, Wales
Dolbadarn Castle, Llanberis, Wales
Dover Castle, Dover, England
Dover Castle, Dover, England
Goodrich Castle, Goodrich, England
Goodrich Castle, Goodrich, England
Harlech Castle, Wales
Harlech Castle, Wales
Kenilworth Castle, Kenilworth, England
Kenilworth Castle, Kenilworth, England
Kidwelly Castle, Carmarthen, Wales
Kidwelly Castle, Carmarthen, Wales
Pembroke Castle, Wales
Pembroke Castle, Wales
Raglan Castle, England
Raglan Castle, England
Raglan Castle, England
Raglan Castle, England
Rhuddlan Castle, Rhyl, Wales
Rhuddlan Castle, Rhyl, Wales
Skipton Castle, Yorkshire, England
Skipton Castle, Yorkshire, England
Tower of London, England
Tower of London, England
Warwick Castle, England
Warwick Castle, England

The Remarkable Story of the Real Fagin from Charles Dickens’ Oliver Twist