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Category: Regency

I am excited about two things to share with you! First, I can –FINALLY!! –tell you that the “new, improved” version of The Magnificent Marquess has a release date! May 15. (Cue the fireworks?)

I have worked on the revisions for months and months –it started to look like the improvement project that would never end. But I am happy with the final results, and delighted to share them. This book was originally published in 1998, so a lot of readers out there now never caught the first version. Just as well. This one is longer, so it is able to have greater character depth across the spectrum and even some new characters! The plot hasn’t changed, exactly, but I think it got more interesting.

I also love my new cover. How can anyone resist a hero with these amber eyes?

 But if you think those look a trifle haunted, you would be right. The Marquess of Milbourne may be newly arrived in London from India, immensely wealthy and handsome as sin, but he’s a wounded soul with a broken heart. I am a sucker for wounded hero stories!

The blurb: When all of London is enthralled by the newly-arrived Marquess of Milbourne, Mariah Parbury’s curiosity about his life in India undermines her resistance to his charm. Could he possibly care for her? But he has enemies. When dangerous secrets emerge about him, is she willing to risk her life as well as her heart for the chance of love?

“…a fascinating web of piquant romance and spine-tingling danger guaranteed to take your breath away.”—Romantic Times Magazine

I don’t have buy links yet, but the book will be available on all the usual ebook sources such as Amazon, Barnes & Noble, and Smashwords for the other connections to iBooks, etc.

That said, are there any Dr Who fans out there reading this? Episode #3 of the new season that aired in the U.S. last weekend was set at the London Frost Fair of 1814!!! Just heavenly having the good doctor and his new assistant/”boss” running around in Regency dress among all the hoi polloi at the fair. The episode, titled “Thin Ice” of course involved so much more, but if you haven’t seen it I won’t spoil it by saying anything more. Just always happy to see our period used (when done well) as a setting for popular TV!! This great episode tribute painting was done by Thomas Chapman, who is apparently a huge Dr Who fan. You can see more of his artwork on Facebook at: https://www.facebook.com/thomaschapmanartworkandgraphics/  Want to know more about the frost fairs? Nice general background article at Radio Times: http://www.radiotimes.com/news/2017-04-29/what-were-the-thames-frost-fairs-and-why-dont-we-still-have-them-today

I would love to run around in a beautiful green pelisse like Billie’s in this episode, wouldn’t you? Are you a Who fan? ‘Fess up –I know you’re out there! I could totally envision Dr Who enjoying tea with my Magnificent Marquess in his “East Indian-style” refurbished home. But that would be in 1817, so instead I’m inviting you!

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How much do you know about LGBT history during the Regency period? Today we offer you a guest post by writer Graham Stokes (who happens to be Risky Gail Eastwood’s son).

 As most of you probably know, June is LGBT Pride Month. The month is generally filled with gregarious celebrations commemorating the Stonewall Riots which occurred on June 28, 1969 and launched the modern LGBT rights movement as it is known today. But the history of the LGBT community goes back much farther than that. Here’s a glimpse of it specifically during the Regency period.

To start, let’s talk terms. Of the words that make up the acronym LGBT, only the word “lesbian” was used in the Regency with the same meaning as it has today. Even though we’ve used “queer” in our post title, it actually just meant weird or deviant back then, without any specifically sexual connotation. Homosexuals were known as “mollies”. Some sources say this was an evolution of 18th century slang when a “Molly” meant an effeminate man.

In the British Empire, not only was homosexual behavior between men still illegal in the Regency era, it still carried the possibility of a death sentence. Homosexual and transgender people were forced into hiding. Taverns, coffee houses, and other businesses that could provide cover for them were called “molly houses”.

Molly houses were primarily establishments where men could meet other men –or male prostitutes, a practice that was increasingly common by the Regency period –for sexual encounters. However, these houses were also the hub of what little community there was for LGBT people.  Cross-dressing was commonplace inside molly houses. Some outdoor locations, such as public toilets and certain public parks and thoroughfares, became known as “molly markets” but served much the same purpose as molly houses.

For convenience (of the authorities), pillories were often built near these places, because of how frequently offenders were placed in them. Ironically, this meant that pillories often became an identifier of a place where a molly market might be, rather than a deterrent from seeking one.

Early in 1810, James Cook and someone named Yardley (full name unknown) opened a molly house on Vere Street called the White Swan. Both men would later claim they had wives and kids, were completely straight, and were only operating the molly house for the money. On July 8, less than six months after the White Swan opened, Bow Street Runners raided the place.

This Vere Street coterie, as it was called, was reported in every newspaper. Twenty-seven men were arrested, though only eight were prosecuted and convicted for the crime of buggery. Six of them, convicted only of “attempted sodomy” (a subset of the umbrella term “buggery”), were pilloried in the Haymarket on September 27. A large and unruly crowd came out to watch the punishment and hurl things –reportedly including dead cats –at the “mollies”. The city was forced to deploy 200 armed constables to prevent anything worse from happening.

The following spring, on March 7, 1811, 46-year old John Hepburn and 16-year old drummer boy Thomas White –both convicted of engaging in the actual act of sodomy –were hung despite neither of them being present at the White Swan at the actual time of the raid. The lawyer Robert Holloway would write a book about the incident, published in 1813, entitled The Phoenix of Sodom.

This would not be the end of the scandal stirred up by the Vere Street coterie. The Weekly Dispatch reported that the Reverend John Church had been performing false marriages between the male clients of the White Swan. The rumors are, at this point, unprovable but the modern LGBT community of the UK claims John Church performed the first same-sex marriages in England. For his part, Reverend Church denied the accusations, claiming they had been started by his rivals in the clergy. He took legal action against the Weekly Dispatch to ensure such stories were not reported again.

However, in 1816, Church became involved in another scandal when he was arrested on charges and this time convicted of attempted sodomy. The trial took more than a year. Upon the news of the verdict, a large crowd burned an effigy of him at his church, the Obelisk Tabernacle. Rev. Church was sentenced to two years in prison. He resumed his career as a minister after his release, and was not involved in any more scandals afterwards.

The validity of the accusations against Church is certainly questionable, as false accusations of sodomy were not unheard of. In his memoirs, radical speaker Henry Hunt recalled the supporters of his opponents frequently heckling him with remarks that suggested he was engaging in buggery. In 1811, the Lord Bishop of Clogher, Percy Jocelyn, was accused of “committing unnatural acts with another man” by a man named James Byrne. The Bishop took legal action against the accusations that he stated were false.

Given a lack of evidence to support the accusations, and considering the Bishop’s membership in the Society for the Suppression of Vice –an organization responsible for many raids on molly houses –the court sentenced Byrne to three floggings and two years in prison. Byrne nearly died from the first two floggings, so he recanted his accusation and the third flogging was canceled.

 Byrne’s accusations, however, had not been forgotten by 1822, when Bishop Percy Jocelyn was caught in the act of buggering a soldier named John Moverly. The ensuing scandal, taking into account the bishop’s hypocrisy and high social standing, was so vicious that the moral superiority of every clergyman in England was called into question. The scandal reverberated throughout society. Lord Castlereagh’s suicide less than a month afterwards is said now to have been because he was being blackmailed for “preferring men.” As for the Bishop, he was fortunate to have the means to escape from England to France. 

 

France had decriminalized sodomy in 1791, and when Napoleon created a new penal code in 1810 he carried over the entire lack of laws banning sodomy. As a result, Paris became something of a “hot spot” for homosexual and transgender individuals. No laws existed to protect them, and the behavior was certainly not accepted, but Bishop Percy Jocelyn was still able to take up residence in Paris under his own name and was welcomed into French society. Indeed, the entire French Empire was something of a different, freer experience for homosexual people than it was anywhere else in the world.

Details about life as a homosexual woman during this time period are scarce. Romantic relationships between women were — and often still are — misconstrued as passionate friendships. In cases where such friendships were discovered to have a sexual nature to them, legal action was typically not pursued against the offenders. Even if it was, the laws were much more lenient in regards to lesbian behavior. Of course, women were much less able to secure any sort of financial stability for themselves without a husband, so most lesbians chose to marry and carry out their affairs in the most secretive of ways. Only a handful (that we know of) were able to get by without a husband.

 The Ladies of Llangollen were two such women — Eleanor Butler and Sarah Ponsonby, who had a romantic relationship for over 50 years. Defying their families, the two established an estate in Wales, called Plas Newydd, rather than enter into marriages with men they did not love. Though they incurred significant debt in order to have a staff, they survived on the generosity of friends until a fascinated Queen Charlotte convinced King George III to grant them a pension.

Plas Newydd became something of a haven for writers during the Regency era, especially since the couple living there could afford to keep it. Another, even more notable, lesbian of the time was Anne Lister, who was a guest at Plas Newydd on occasion and who kept an explicit diary (in code). She had secured a position amongst the landed gentry, having inherited a good amount of wealth and a manor in Yorkshire called Shibden Hall. Because of her position, she was able to survive securely without ever marrying a man.

Ann Lister (c) Calderdale Metropolitan Borough Council; Supplied by The Public Catalogue Foundation

 

Details on transgender individuals are even harder to find. This isn’t just because being transgender was such an unexplored concept at the time, but because there was a lot of cross-dressing that went on for other reasons even though it was highly illegal. There were frequently men who dressed in women’s clothing at molly houses, and these likely were male-to-female transgender folks. Beyond those, however, there were practical reasons. Were women living as men transgender, or simply trying to escape restrictive gender roles? It’s hardly a secret by now that some women entered military service pretending to be men. In 1812, two men dressed as women calling themselves “General Ludd’s wives” led an attack on a factory owner’s home — but this was most likely to obscure their identities rather than because they actually identified as women.

GAIL says: Thank you, Graham!! Fascinating info. We have come a long way from the days of the Regency, at least in some parts of the world, in how we see and treat our LGBT society members. Still a long way to go!

Blog readers, have you read any Regencies with LGBT characters? What do you think about including such historically accurate elements of the time period in stories about romance?

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I am in throes of getting bids for repairing bathrooms in my house. This is not my idea of fun! Getting contractors to come, let alone receiving bids from them after they’ve come, is a struggle. Do you think it was this way back in the Regency when people wanted to remodel or refurbish their homes? I wonder, because people did seem to do a lot of “improvements”.

One of the story threads in The Magnificent Marquess that I enjoyed writing was my hero’s on-going effort to recreate a slice of India through “improvements” to his grand Grosvenor Square residence (which of course fascinates my heroine). Eventually he is persuaded to hold a reception and invite most of London’s elite to come see it. There is no hint that he has any trouble hiring craftsmen and workers to carry out his plans. Nor do any actual accounts I have run across indicate that this was a problem during the Regency. I have the sense that people were more concerned with hiring the “best” builders and craftspeople –the best known, for the purposes of status, as well as the best in quality work.

I am occasionally amazed by the ambitious undertakings they often did…relocating entrances, even stairwells….but it helps to have an understanding of the role not only of changing tastes in home fashion and design, but economics, too.  For instance the tax on windows…or changing attitudes towards bathing & cleanliness (in the late Regency adding a room for bathing was one of the things people did).

(see article about shower baths @ Jane Austen’s World;   https://janeaustensworld.wordpress.com/2010/11/11/a-19th-century-regency-era-shower/

Prinny spent huge sums on improvements to the various royal residences and set a trend of course by doing so, since people emulated whatever the royals were doing. Between 1787 and 1815 he hired a series of architects to make improvements of his residence in Brighton, ending with John Nash to remake Henry Holland’s villa into the palatial and exotic Brighton Pavillion (1815-1822).   He also hired Nash to turn Carlton House, which after spending huge sums to have it built in 1786 the Prince Regent now found “antiquated, rundown, and decrepit”, into Carlton House Terrace (1827-1833). He wanted Nash to replace it by remaking Buckingham House into a new palace (begun 1825), although he ultimately did not live to see it finished, and Nash was dismissed from that project.

Other famous properties improved around this time included Syon House, the showpiece of Robert Adam’s designs from the 1760’s. The 3rd Duke of Northumberland had the entire house refaced in Bath stone and added a porte cochere in the 1820’s. Wikipedia notes that “This remodelling is thought to have been done by the architect Thomas Cady, who had worked on previous estates belonging to the Percy family.The website for Syon House also notes “Domestic imperatives were addressed with a new range of kitchens and the construction of the Oak Passage,” but I’m not sure of the date –that may have been post-Regency, as new technologies became available.

The prominent architect Jeffry Wyatt did most of his work remodeling and making additions and improvements to existing properties, including such great houses as Longleat in Wiltshire, Wollaton Hall in Nottinghamshire and Chatsworth in Derbyshire. According to writer Derek Linstrum, (Linstrum, Derek. “Wyatville (formerly Wyatt), Jeffry (1766-1840).” The Oxford Dictionary of National Biography. Online ed.), this was to be expected in an era when such work “had become almost an obsession” because of the desire “to answer new demands for comfort and convenience, or to express an advancement in the aristocratic hierarchy.”  (See more about Wyatt below.)

The “Survey of London” is one of my favorite sources for checking out what people did to their houses, whether they were living in them or simply owned and rented them out.

http://www.british-history.ac.uk/survey-london/vol40/pt2/pp117-166

While this example for No. 4 Grosvenor Square predates the Regency, I love the details, including the builder Henry Flitcroft’s conclusion at the end of his report to the Earl of Malden. We can all only hope our projects will be “pursued with all proper dispatch”!!

‘The Works at your House in Grosvenor Square go on very well, and as fast as the Nature of them will permit, the Steps are made down to the Lower offices by your Lordshipp’s dressing room, and I have had 3 useless Doorways, and 7 blanks or holow places in ye Lower Story walld up Solid, which is a great strengthening to the Lower part of the House, the Bricklayers are Now at Work upon the Blanks and useless doorways which your Lordshipp Ordered to be walled up on the Hall floor, which will add much strength to ye House, the Plaisterers are got to Work on ye Celing, (fn. 2) ye Doorway of the Front is altering, and when that is done I shall order the wall of the Back stair case to be underpinned. When that is done I hope to be able to report the House secure. ‘The fitting up ye Dining Room (which will be a very good one) and the Hall etc. will be pursued with all proper dispatch, and hope to have done the Whole in about two Months time …’. (fn. 74)

The exterior improvements at No. 88 Brook Street (formerly No. 33) are very typical to bring an older house into the current fashion during the Regency, with the longer “French” windows and ironwork: “In 1822–4 C. R. Cockerell made alterations for the lessee Henry Trail costing £3,384. (fn. 99) It must have been at about that period—and therefore just possibly at his hands—that the first-floor windows were lengthened and a continuous iron balcony and projecting Ionic porch added.”  The same treatment can be seen in this photo of No. 36 Brook Street. 

The story for No. 39 (formerly No. 50) Brook Street is especially interesting because the home’s resident was Sir Jeffry Wyatville, originally known as Jeffry Wyatt (1766-1840), one of the prominent architects working during the Regency. According to a biography at http://www.victorianweb.org/victorian/art/architecture/wyattville/index.html, Wyatt was a member of a well-known dynasty of successful, prominent architects. At the time he was apprenticed to his uncle James Wyatt, the latter was considered “the most fashionable of London architects” and in 1796 was Surveyor-General and Comptroller of the Office of Works. Jeffry, however, followed his own more modern path to success, forming a partnership with John Armstrong, a prominent carpenter and building contractor, whose workshops and timber yard were located on the triangular site at the corner of Brook’s Mews and Avery Row, behind No. 39 (then 50) Brook Street. According to writer Kenneth Allinson, “This was the kind of move which some architects, like John Soane, looked down on; but it demonstrated that “the age of professionalism had arrived” (Allinson, Kenneth. Architects and Architecture of London: A Celebration of the Significant Architects Who Have Contributed to the Fabric of the Capital. Oxford: Architectural Press, 2008 p.131).

Wyatt went on to serve “an extraordinarily distinguished clientele”, including seventeen Earls and “a grand total of four sovereigns.” Wyatt won the commission to “restore, alter and extend Windsor Castle against stiff competition from Sir John Soane, John Nash and Robert Smirke”, and in 1828 he was knighted for his work.

In 1802 Jeffry Wyatt obtained sole possession of No. 39 Brook Street. He was granted a sixty-three-year lease of the house on payment of a fine of £2,556 and, “after reroofing it and carrying out various repairs costing nearly £1,000, he lived there until his death in 1840.”

However, in 1821 “Wyatt was dismayed to find that ‘owing to the vicinity of the great common sewer [i.e. the Tyburn Brook, flowing beneath Avery Row] the water has evidently found its way to the foundation of my house, and it is now absolutely splitting into two pieces’. He calculated the cost of repairs at £3,000 and asked for a longer leasehold term as compensation.

Wyatt did undertake a thorough repair and reconstruction, for the ratebooks record that the house was empty for three quarters of 1821 and half of 1822 and was being ‘rebuilt’. The work comprised complete refronting as well as alterations to the interior. At the same time a large new wing was built extending back at right angles from the house. This contained a drawing office on the ground floor with a gallery above for the reception of clients (fig. 11). In 1823 he reported that these works had cost more than £5,000 and again asked for some amendment of the lease in his favour. Eventually in 1827 a new lease which included the workshops and timber yard at the corner of Brook’s Mews and Avery Row was granted to 1887 at an increased annual rent.”

The most distinctive feature of the rebuilt front (Plate 22a in vol. XXXIX) is the domed, curved corner bow, which originally contained an ingenious circular entrance hall. (The storefront shown in the photo was added in 1927.)   The shallow lead dome surmounting the bow is a feature which Wyatt had adopted from the repertoire of his uncle, builder/architect Samuel Wyatt, whilst the stuccoed façade, framed with panelled pilasters, is another distinctive feature of Jeffry Wyatt’s classical work, to be seen at Chatsworth, for instance. Though the original early eighteenth-century staircase, with three alternating patterns of twisted balusters per step and carved step-ends, was retained (Plate 4a, fig. 12), the top of the well was remodelled and given a glazed lantern, the Carolean-style frieze here being derived from Windsor Castle, and evidently a conscious attempt to conform to the ‘antique’ appearance of the staircase. The rear rooms on the ground and first floors have ceilings of exceedingly shallow segmental form. The new gallery at the rear (Plate 4c), approached through high double doors, has a less shallow segmental ceiling, originally toplit, and square alcoves half way down each side, one of which contained a patent stove (now replaced by a chimneypiece). (plate references are in the Survey of London)

Given the extensive work needed on this one, all I can think is how fortunate it was that the leaseholder was a great architect!! And it makes me feel a little better about the extensive work one of my bathrooms is going to need, LOL.

How do you feel about renovating? Chore or pleasure? Have you had good experiences or bad? If you lived during the Regency, would you have been one of those who followed the “obsession” to update your home?

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 Do you read holiday romances? I do. I read them, and re-read them when the season comes around, and keep adding them to my collection. Addicted much? I admit it. But I have questions for you.

1) Since these stories often center around Christmas activities, do you read them even if you are not of the Christian faith?

2) Does the historical context of the period make the “religious” parts of these stories, if there is some, acceptable if you don’t like “inspirational” romances?

3) Do you read them at any other time of year??

You may wonder why I am asking all these questions! I have been working on my first “holiday romance” –a Regency set in the countryside over the 12 days of Christmastide, starting on Christmas Eve day and ending on Twelfth Night. But my major medical issues and those of my husband are interfering with my ability to get it done when I had hoped, and I am considering releasing it AFTER Christmas. So here’s my biggest question:

would you buy a holiday romance after the holidays?

Book sales usually decline during December, when folks are too busy, and they tend to pick up afterwards –I guess people have time to read again once they get through the press of getting ready and celebrating!! But I would love to know if you think it would be lame to release a holiday story after Christmas, say for Twelfth Night (January 6) instead?

LOL, that’s if I can even make that deadline. But I’m considering it. My poor characters really want their story to get out there, and not have to wait until next year!! I would love to know what you think.

THE LORD OF MISRULE: On a snowy Christmas Eve day, a vicar’s daughter runs into the Devil himself, or is he just the Lord of Misrule? In a season of miracles and magic, can love bind two unlikely hearts in the days leading to Twelfth Night?

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STC26400 Village choir (see also 12274) by Webster, Thomas (1800-86); Victoria & Albert Museum, London, UK; The Stapleton Collection; English, out of copyright

One of my weekly joys is singing with my church choir. Our church is small, and so is our choir, often only six or eight people, just as I imagine a small rural parish church choir in Regency times might have been. But did you know that music in the country parish churches of Regency England was very different from what you find in churches today? I fell down this fascinating rabbit hole while doing research for my not-going–to-be finished-for-Christmas-after-all holiday story, The Lord of Misrule.

Since the heroine of LOM is a vicar’s daughter, I’ve done a lot of church-related research for that story, and am now familiar with the reforms that came with the Victorian era and the Oxford Movement in the Anglican Church. Many of those Victorian era changes have lasted into our times, and they can be a roadblock when one tries to recreate an earlier time. In a country parish church of the Regency era, it would  be rare or unlikely for you to find an organ, or hymnals, or even a choir in exactly the same sense we hear today.

“West Gallery Music” evolved in response to the need for guided singing in local church services, where there were few organs, and no trained musicians or choirs to lead the music. During the Reformation of the 16th century, organs in churches were destroyed as part of the rejection of Catholicism. Under Cromwell, English churches continued to suffer abuse, and organs were not replaced. Organs did not become popular in churches again until the middle of the 19th century!

In country Anglican churches 1700-1850, and in non-conformist churches even later, to 1860, the joyful and vibrant traditions of the West Gallery music reigned. A relatively modern term, the name comes from the galleries where the choirs sat. During the Georgian era, population was expanding and in the villages, church attendance was a major part of life. Galleries were added to the interiors of the small churches to provide additional seating, or at least open seating not owned privately, as most pews were. These were sometimes built along the sides, but the west end was usually the province of the choir.

Essentially, these untrained choirs consisted of a band with instruments and singers, and while their music could sometimes feature complex harmonies, most of the time the pieces (psalms most commonly, but also anthems and even Christmas carols), were simple, for many in the choir could not read music –even if they could read words. Instruments included whatever strings, woodwinds, or brasses might be available among the village folks or that the church was able and willing to purchase. Each instrument might anchor a section of voices, the treble parts and bass parts, for instance. The bands that played Sunday mornings also were called into service for village festivals and assemblies or any other special occasions.

Women were not allowed to sing in standard Anglican church choirs. The practice of fulfilling the high range voices with boys and young men led to the formation of many “boy choirs” who sang in the cathedrals and large city churches. However, the painting of “A Village Choir” by Thomas Webster (shown at the top) dates from 1840 and definitely shows women participating. Is it because the choir depicted sings in a non-conformist (non-Anglican) church? Or because it is from a later date? (maybe both?) I have not been able to confirm if women would have been singing in a Regency choir, at least on a regular basis. One argument made against it was simply that it would be improper for young women to be isolated away from the rest of the congregation with all the choir men up in the gallery!! By the 1850’s the West Gallery music was starting to decline, falling into disfavor because it was not considered “solemn” enough, and the trend to restore churches back to their “original” state was beginning to gain traction. Galleries were torn down and removed. Much of the music was lost or destroyed. However, in the 1980’s, a revival of this musical form started in Britain, and has spread into the U.S. and Australia. Local “quires” have sprung up, devoted to performing this unique music. Britain’s West Gallery Association provides a sort of loose central organization and resources. If you’d like to learn more about these groups, and/or the music and history, here are some good website and article links:

http://www.wgma.org.uk/Articles/intro.htm   (West Gallery Association site with a good overview)

http://www.rodingmusic.co.uk/info/wginfo.htm

http://www.immanuelsground.com/wgmusic.htm

https://en.wikipedia.org/wiki/West_gallery_music

I am disappointed and also offer apologies that I won’t be able to offer The Lord of Misrule to my readers for Christmas!! It was rolling along quite well, but a double whammy of health issues for myself and for my husband has slowed me down too much to make it feasible. I will keep folks posted about when it will actually be finished and available!

In the meantime, had you run across the West Gallery music tradition? My heroine in LOM (along with her married friend) actually gets drafted to sing in the choir to substitute for a missing choir member, but normally women would not be allowed, in that village and that church. I always say that research is imperfect at best, and a writer can make anything happen as long as it seems logical and believable.

Best wishes to everyone for the holidays, and Happy New Year! (Sending these now since I won’t be blogging again until January –and we are anticipating making some changes here at Risky Regencies, so who knows?? Thank you for visiting us here and for reading.

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