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

Valentine Moments in Time

What is love?

Philosophers have debated this question for eons.

They divide love into three forms: eros, the passionate, intense desire; philia, a fondness and appreciation for others; and agape, the love of God and humanity.

Even scientists can’t explain Love.

You can’t blame gravity for falling in love.

—Albert Einstein.

On Valentine’s Day, many thoughts turn to romance.

Historians believe “romance” referred to the artistic expressions of elite classes—in particular, their style of speech, writing, and art.

In French, it means “verse narrative”, and in Latin, “of the Roman style.”

We think of it today as a feeling of excitement and mystery associated with love.

La Belle Dame sans Merci by John William Waterhouse, 1893.
La Belle Dame sans Merci by John William Waterhouse, 1893.

There’s a reason we associate medieval chivalry with romance. Chivalric romance is a type of prose used in European aristocratic circles during the middle ages. It featured the adventures of heroic knights with an emphasis on courtly love.

A highly ritualized, non-physical bond formed between a knight and the lady he served. It was part of a complex moral code of conduct that guided knights as champions of the oppressed, and loyal subjects of their Lord.

Oh, if it be to choose and call thee mine, love, thou art every day my Valentine.

—Thomas Hood.
Hellelil and Hildebrand, The Meeting on the Turret Stairs by Frederic William Burton (1816-1900).
Hellelil and Hildebrand, The Meeting on the Turret Stairs by Frederic William Burton (1816-1900).

Today, even the word medieval evokes romantic images of knights, fair maidens, and dragons.

British sociologist and author Anthony Giddens thinks that the rise of romantic love coincided with the advent of the novel. It began to make its presence felt from around the late 18th century.

In a world where elite classes entered into contracts of marriage for economic and social reasons, the idea of romantic love, of the freedom to fall in love as we do today, was for many, just a dream … but a dream that could be brought to life through novels.

You must allow me to tell you how ardently I admire and love you.

—Mr Darcy.
Scene from Jane Austen's Pride and prejudice.
A scene from Jane Austen’s Pride and prejudice.

An admiring glance, a stolen kiss, a walk by the river, the first embrace. Romantic love abounds in the art of the 18th and 19th centuries.

Enjoy these paintings to Henri Mancini’s Love Theme from Romeo and Juliet.

Romeo and Juliet parting on the balcony in Act III by Ford Maddox Brown, 1866.
Romeo and Juliet parting on the balcony in Act III by Ford Maddox Brown, 1866.

Soul meets soul on lovers’ lips.

—Percy Bysshe Shelley.
Romeo and Juliet by Frank Dicksee, 1884.
Romeo and Juliet by Frank Dicksee, 1884.
The Kiss by Francois Brunery (Italian, 1849 - 1926).
The Kiss by Francois Brunery (Italian, 1849 – 1926).
The Stolen Kiss by Jean-Honore Fragonard - c.1789.
The Stolen Kiss by Jean-Honore Fragonard – c.1789.
Federico Andreotti by Federico Andreotti (Italian, 1847 - 1930).
Federico Andreotti by Federico Andreotti (Italian, 1847 – 1930).
The Lovers by Marie-Francois Firmin-Girard, 1878.
The Lovers by Marie-Francois Firmin-Girard, 1878.
The Lovers by Karl Schweninger Jr. (Austrian, 1854 - 1903).
The Lovers by Karl Schweninger Jr. (Austrian, 1854 – 1903).
The Lovers by Cesare Augusto Detti (Italian, 1847 - 1914).
The Lovers by Cesare Augusto Detti (Italian, 1847 – 1914).
The Happy Lovers by Jean-Honore Fragonard, 1765.
The Happy Lovers by Jean-Honore Fragonard, 1765.
The Fairy Lovers by Theodore Von Holst, c.1840.
The Fairy Lovers by Theodore Von Holst, c.1840.
Lovers in a Garden by Charles Edward Perugini (Italian, 1839 - 1918).
Lovers in a Garden by Charles Edward Perugini (Italian, 1839 – 1918).
Lovers' Meeting by William Powell Frith (English, 1819 - 1909).
Lovers’ Meeting by William Powell Frith (English, 1819 – 1909).
Lovers by Pal Szinyei-Merse, 1870.
Lovers by Pal Szinyei-Merse, 1870.
Lovers under a Blossom Tree by John Callcott Horsley (English, 1817 - 1903).
Lovers under a Blossom Tree by John Callcott Horsley (English, 1817 – 1903).
The Lovers by Charles Webster Hawthorne (American, 1872 - 1930).
The Lovers by Charles Webster Hawthorne (American, 1872 – 1930).
The Lovers of Spring by Henri Martin (French, 1860 - 1943).
The Lovers of Spring by Henri Martin (French, 1860 – 1943).
The Lovers by Pierre-Auguste Renoir, 1875.
The Lovers by Pierre-Auguste Renoir, 1875.
The Lovers by Henri Martin (French, 1860 - 1943).
The Lovers by Henri Martin (French, 1860 – 1943).
The Lovers by Henri Martin (French, 1860 - 1943).
The Lovers by Henri Martin (French, 1860 – 1943).
In the Garden by Pierre Auguste Renoir, 1885.
In the Garden by Pierre-Auguste Renoir, 1885.
Lovers Walking by Giuseppe Pellizza da Volpedo, 1901.
Lovers Walking by Giuseppe Pellizza da Volpedo, 1901.
In Fairy Land A series of pictures from the elf-world by Richard Doyle With a poem by W Allingham - caption: 'An elf and a fairy kissing'.
An elf and a fairy kissing by Richard Doyle.

Now a soft kiss – Aye, by that kiss, I vow an endless bliss.

—John Keats.
The Kiss by Konstantin Somov, 1906.
The Kiss by Konstantin Somov, 1906.

For Your Listening Pleasure

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Henri Mancini
Love Theme from Romeo and Juliet
by André Rieu.