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Category: Regency

A Map of the Rhine, 1832

I have the unfortunate habit of getting rather obsessed with minor points of  research – like travel. When I wrote my second novel, Castle of the Wolf, I spent at least a week if not more (probably more given that I have a fat folder full of notes and research material) reading up on travels on the Rhine. I pushed the date of the story back several years in order to make it feasible that my heroine would take one of the early steamships for traveling to the south of Germany. Indeed, I even unearthed timetables for the steamers that transported people up and down the Rhine.

And all of this for not even half a chapter. Wheee!

(On the left you can see a part of a map of the Rhine that was included in the third edition of Baedeker’s guide book Die Rheinreise from 1839. You can view the whole map here.)

In the late eighteenth and early nineteenth centuries, the ease with which people were able to travel was, of course, largely dependent on their income. Indeed, most people would have never traveled far from home: just as far as their feet could carry them. Hiking tours were apparently quite popular among students, and in the 1790s it was one such tour – a trip of the two friends Ludwig Tieck and Wilhelm Heinrich Wackenroder through southern Germany – that brought about the birth of German Romanticism.

In Britain meanwhile, the eastablishment of a network of turnpike roads in the 18th century improved travel considerably. Turnpike roads opened up the countryside and made the country estates of the aristocracy and the gentry more accessible. Various new forms of passenger transport came into being, with the fastest form of transport being the mail coach (they didn’t have to stop at toll gates, and horses were changed frequently), followed by stage coaches, which could carry up to 18 people. Moreover, several inns specialized in the renting of post coaches and horses to wealthier travelers. Yet the cost for carriages, horses, and toll fees made traveling still expensive.

Thus, perceptions of distances could vary widely as the following conversation between Lizzie and Mr. Darcy from Austen’s Pride and Prejudice shows (from Chapter 32; they’re at the Collinses’):

“It must be very agreeable to [Mrs. Collins] to be settled within so easy a distance of her own family and friends.”

“An easy distance do you call it? It is nearly fifty miles.”

“And what is fifty miles of good road? Little more than half a day’s journey. Yes, I call it a very easy distance.”

“I should never have considered the distance as one of the advantages of the match,” cried Elizabeth. “I should never have said Mrs. Collins was settled near her family.”

“It is a proof of your own attachment to Hertfordshire. Any thing beyond the very neighbourhood of Longbourn, I suppose, would appear far.”

As he spoke there was a sort of smile, which Elizabeth fancied she understood; he must be supposing her to be thinking of Jane and Netherfield, and she blushed as she answered,

“I do not mean to say that a woman may not be settled too near her family. The far and the near must be relative, and depend on many varying circumstances. Where there is fortune to make the expence of travelling unimportant, distance becomes no evil. But that is not the case here. Mr. and Mrs. Collins have a comfortable income, but not such a one as will allow of frequent journeys — and I am persuaded my friend would not call herself near her family under less than half the present distance.”

(Hmmm…. It might be time for another re-read of Pride & Prejudice.)

When I dug into travel in Roman times this weekend, I was quite surprised to find a number of parallels to Georgian and Regency England: not only do several of the major roads in Britain (and in other parts of Europe) still follow old Roman routes even today, but along the Roman roads you could also find a network of inns and way stations. Ideally, every 6 to 12 Roman miles you would have had a way station, where you could change horses, and every 25 Roman miles an inn where you could spend the night. 25 Roman miles, approximately 37 km or 23 modern miles, was probably meant to be the distance somebody walking on foot could cover in a day.

Many of these stations were meant to be used by traveling officials or by merchants transporting goods like fabrics or building material. They could change horses for free and could also spend the night at the inns for free. The costs had to be covered by the local towns and communities, which led to many tensions between the provinces and Rome.

But what perhaps surprised me most was the fact that maps were already available in Roman times: they listed all the towns along the chosen route and also gave the distances between towns. Here is a snippet from one such map, the Tabula Peutingeriana from 250 (from a facsimile from 1887/88; the whole map can be found here):

a part of the Tabula Peutingeriana

The Metropolitan Museum of Art in New York has been running a lovely costume exhibit (“Death Becomes Her”, which closes tomorrow) covering mourning fashions roughly 1820-1920. I was invited to see it with a friend who knows how much I love costume history, and we recently spent seven hours at the museum, viewing many things in addition to the costume exhibit. We took a lot of photos –some will turn up in future blogposts! It was exciting to see two real examples of mourning gowns, from 1820 and 1824, that were worn at the end of our period. Don’t you love museums?

Met Museum-Widow & Child Mourning DressesThe Regency era technically ended on January 29, 1820, when the old mad King George III died and Prinny succeeded to the throne. One reason his Coronation wasn’t held until the following year had to do with mourning customs –it wasn’t seemly for the royal family or the bereaved country to hold a grand celebration too soon after the death of the old monarch.

Mourning customs followed by the upper classes at the personal level were even more de rigueur when it came to royal mourning, and the British had seen quite a lot of that by 1820. In November, 1817, Prinny’s only child, Princess Charlotte, died after giving birth to a stillborn baby. The old king’s Queen Consort, Charlotte, died in 1818. Prinny’s brother, the Duke of Kent, died just six days before their father, on January 23, 1820, so there was double mourning then. (The duke had won the race to produce the new heir to the throne with the birth of his daughter, Victoria, only eight months earlier.)

Met Museum-1820 Mourning dressIt’s not known if this 1820 dress exhibited at the Met was worn for the decreed royal mourning or for a personal loss, or both, but its sheer overlay on the bodice and sheer sleeves were very fashionable. Compare the 1818  illustration below.

My friend and I also loved this 1824 Scottish gown (below) embellished with ribbon trim and large scroll appliqués around the hem. But you can see clearly how the fashionable lady’s silhouette was changing from the slim columnar shape favored in the earlier years of the Regency!

Met Museum-1824 Scottish mourning gownWearing black for mourning dates as far back as the ancient Romans. As social mourning customs evolved, they dictated all levels of behavior –not only what you could and couldn’t do, but also what you were expected to wear, right down to the types of fabrics, for several distinct stages of mourning.

Widows were expected to mourn for at least two years, one of full mourning and one of the lighter half-mourning. Socializing was proscribed for at least six months to a year. Widowed men were not subject to the same expectations! The rules were less severe for the losses of other family members: a year to mourn parents and children, six months for siblings and grandparents, three months for aunts and uncles, and six weeks for cousins. Servants, and anyone in uniform, such as the military, wore black armbands. Door knockers were swathed in black to serve notice when a household was in mourning.

Met Museum-1818 Regency Illustration

1818 Mourning Eveningwear

Naturally, the Regency fashionable were guided in all this by such venerable tomes as Ackermann’s Repository. (Research tip: you can find issues online by searching www.archive.org.) The February issue for 1820 features a number of examples of mourning dress, for after all, one needed to carry the mourning through all occasions in the course of a day. How do you like this walking dress, or these two versions of evening gowns?

Ackermann's Mourning 1820- Walking Dress

Ackermann's Mourning 1820 - Evening Dress

Ackermann's Mourning 1820- Evening Dress-2

 

 

 

 

 

 

 

The rules for public mourning were announced by the Lord Chamberlain’s office, and could vary. Prinny, now the uncrowned George IV, “in consideration of the interests of trade” declared a “shortened” period of public mourning for his father, essentially three months. The first stage lasted until March 19, just over six weeks of wearing bombazine and crape. The so-called “first change” or second mourning called for “plain black silk” with “French grey bombasine” for undress, until April, and then colored ribbons and flowers could be added to the black silk, or white with black trimmings could also then be allowed. Ackermann’s noted that in addition to French gray bombazine, pelisses made of gray levantine (trimmed with black velvet), and some “high dresses of poplin” (trimmed with black gauze or net) as well as gros de Naples and corded silk had been seen. Mourning was to end on April 30.

The exhibit at the Met offered a lot of fascinating details about the fabrics used for mourning clothes. For instance, crape was favored, they said, because while it satisfied the first stage requirement of having no sheen, its fine weave and flexibility made it very suitable to be pleated or crimped or shaped into purely decorative ornaments that allowed the wearer to be fashionable while still following the rules of mourning.

Met Museum-2 Ladies -1840s-2While styles changed radically over the course of the 19th century, I noticed the same fabrics continued in use throughout. I have to include this picture of two dresses from the 1840’s, just for Susanna. Note the model’s “spaniel curls”!

I also have to include this photo (below) of two gorgeous sequin-covered 1902 evening gowns worn by Queen Alexandra (Victoria’s daughter-in-law) in half-mourning colors after Victoria’s death –they are mauve and purple–for Elena, because they are 100% sparkly!!

Met Museum-1902 Queen Alexndra Eve GownsHowever, advances of the Industrial Revolution: fabrics more available and less expensive, improved black dyes, and the boom in ready-made clothes after the invention of the sewing machine, served to support and spread the observance of mourning customs to the middle classes and beyond (more than Queen Victoria’s long mourning for Prince Albert). The “mourning trade” became big business after the Regency, with entire warehouses catering to the need for mourning attire. No doubt they had a vested interest in encouraging the fashion for public display, but if you went too far, you could be criticized for being ostentatious or, worse, insincere in your grief!

TPE orig coverMy heroine in The Persistent Earl is a widow. While I didn’t know as much about mourning customs and dress when I wrote that book as I do now, I tried to keep Daphne dressed appropriately in half-mourning colors. You may imagine my shock when I first saw the cover Signet gave that 1995 book –the heroine is depicted in a lovely, bright gold satin gown! When readers have asked me what scene in the story it represents, I’ve cheerfully told them it’s from AFTER the story ends. 🙂

Today, the complex social rules of mourning that held sway during the Regency and flourished during the 19th century are mostly obsolete. People follow the customs dictated by their religions, but mourning is generally a private affair. Governments may order flags at half-staff for the death of important public figures, but there are no society-wide expectations or judgment laid down. Attitudes about mourning have changed. Do you think that is for the best? Are we better off sucking it up and trying to function as normally as we can manage instead of wallowing in our sorrows and making a public show of our grief? Or was there a kernel of common sense that we’ve lost underlying these old rules, that gave the grieving some recognition and respect, a bit of protection, structure, and time to recover? Please comment, for I’d really like to know what you think!

“She’d worn that color, or gray in its place, for three years now. And unrelenting black for a year before that. It had been a bit of a badge, she realized, a uniform of sorts. One never had to worry about who one was when one’s clothing proclaimed it so loudly.”
Julia Quinn, When He Was Wicked

Everyone, please give a warm welcome to Rose Lerner, who’s here to talk about her latest release, True Pretenses, and give away a copy to one lucky commenter!

True Pretenses

Never steal a heart unless you can afford to lose your own.

Through sheer force of will, Ash Cohen raised himself and his younger brother from the London slums to become the best of confidence men. He’s heartbroken to learn Rafe wants out of the life, but determined to grant his brother his wish.

It seems simple: find a lonely, wealthy woman. If he can get her to fall in love with Rafe, his brother will be set. There’s just one problem—Ash can’t take his eyes off her.

Heiress Lydia Reeve is immediately drawn to the kind, unassuming stranger who asks to tour her family’s portrait gallery. And if she married, she could use the money from her dowry for her philanthropic schemes. The attraction seems mutual and oh so serendipitous—until she realizes Ash is determined to matchmake for his younger brother.

When Lydia’s passionate kiss puts Rafe’s future at risk, Ash is forced to reveal a terrible family secret. Rafe disappears, and Lydia asks Ash to marry her instead. Leaving Ash to wonder—did he choose the perfect woman for his brother, or for himself?

Warning: Contains secrets and pies.

And now here’s Rose:

True Pretenses is your second book in a village-set series. Did you find writing it easier or harder than a stand-alone?

Definitely easier. Having an established world meant there were so many things I didn’t have to stop and think about. I already had a map of Lively St. Lemeston, for example (you can see it on my Lively St. Lemeston Pinterest board).

However, the two books were pretty loosely linked (if you’ve read Sweet Disorder, the heroine of True Pretenses is the daughter of Nick’s mom’s political archnemesis Lord Wheatcroft). So as far as writing characters and plot was concerned, it didn’t make too much difference.



What was your inspiration for this book?

I was watching Mark Ruffalo movies after The Avengers came out. One of them was a movie called “The Brothers Bloom” in which he and Adrien Brody are good-looking Jewish con artist brothers. The ending of the movie upset me so much that I had to fix it.

The basic set-up of the movie is that Adrien Brody wants to go straight, so Mark Ruffalo tries to set him up with Rachel Weisz, an endearingly eccentric heiress. Something that I realized while turning it over in my mind was that Mark Ruffalo set his brother up with someone exactly like him. Now, this is not an uncommon plotline, but usually it’s leading to either (A) “I set you up with a mini-me because I’m in love with you myself” or (B) “I arbitrarily decided you would be perfect with this person and pressured you into dating them and then HORRIBLY BETRAYED YOU by falling in love with them myself” (cf. Dan/Blair on Gossip Girl. Blair, Serena would have been FINE with you guys dating if you hadn’t gone ON AND ON about how she and Dan should get back together first, and tricked them into going on a weird Valentine’s Day date, and planted old people in the restaurant to talk about how great marrying your high school sweetheart is, and and and).

I went with option (B) for obvious reasons. Delicious angst! BUT with a happy ending, UNLIKE “The Brothers Bloom”. (Seriously, I love the movie, watch it, but BE WARNED.)



Did you learn anything that surprised you in your research? (I’m particularly interested in how you researched your hero’s background, since he’s not your typical Regency hero on several levels.)

I was surprised by how many Jews were involved in the Regency criminal world! Apparently most London fences were Ashkenazi Jews, for example, who had immigrated from the Netherlands and still had the connections to offload hot items there.

The word “swindler”, which my hero Ash uses to describe himself (“confidence man” is first attested in 1849, and in the US), entered the English language in the 1760s probably as a borrowing from Yiddish. (See a summary of the debate here. When it first came into use, the word had a much narrower meaning in bankruptcy fraud.)

I almost hesitate to share that because I don’t want to contribute to anti-Semitic stereotypes, but on the other hand, I don’t think that erasing Jewish criminals in favor of imagining an all-Englishborn all-Gentile underworld is any better.

Some books that were helpful to me in building Ash’s backstory were The Jews of Georgian England by Todd Endelman, The Regency Underworld by Donald Low (especially the chapter “Nurseries of Crime” about child criminals), The Big Con by David Maurer (a very entertaining history of American con artists that provided the blueprint for most modern heist stories and requires no background knowledge to enjoy), and A Vocabulary of the Flash Language (1819) by James Hardy Vaux, which not only teaches slang terms, but indirectly demonstrates a lot about London criminal culture and practice. 



What was the most difficult part of the book to write?

Ash and Lydia are both very different from me! They don’t like reading fiction, they live in the moment, they get a thrill from taking risks, in their hearts they don’t really care about the rules, they aren’t cranky and enjoy crowds. There were a lot of times where I was writing them and thinking Ugh I would hate this SO MUCH but I guess it doesn’t really bother Ash. 



Read any good books lately?

I feel like I’ve read ONLY good books lately! I think as I get older I get better and better at knowing my own taste and avoiding books I won’t enjoy. A few standouts: A Bollywood Affair by Sonali Dev, Jeannie Lin’s new steampunk Gunpowder Alchemy, and Secrets of a Scandalous Heiress by Theresa Romain (yay for a Bath setting!).



What do you do when you’re not writing or reading?

Apart from working at my day job (cooking), mostly watching TV with my BFF. Fiction is my jam, and TV is fiction you can enjoy in real time with someone else! At the moment we’re obsessed with Leverage and enjoying The 100, Selfie, Forever, Brooklyn Nine-Nine, and an embarrassing number of others.



What’s next for you?

The third Lively St. Lemeston book comes out in January 2016! It’s called Listen to the Moon and it’s about Toogood (Nick’s impassive valet) and Sukey (Phoebe’s snarky maid) from Sweet Disorder. I’m writing it now and I can’t wait to share it with everyone!

———-

Thanks for visiting today, Rose!

If you’d like a chance to win a copy of True Pretenses, comment and tell us who your favorite fictional criminal is.

Also, note that the first Lively St Lemeston book, Sweet Disorder, is on sale for $0.99 at all retailers through tomorrow, January 20. And last but not least, Rose is giving away a con artist gift basket on her blog.

Freedom to Love, my newest historical romance–and my first full-length release in over two years!–comes out tomorrow. It has what I think is an unusual and somewhat risky setting for a Regency–most of the story takes place in America in the immediate aftermath of the Battle of New Orleans.

FTL cover

I specifically asked for this release week because Thursday is the 200th anniversary of the battle. Even though all the story action is after the fighting ends–the first scene is the hero waking up on the battlefield, wounded and dazed–I did a fair amount of research just to know what he’d gone through before the story started. Most of that research involved books that have long since been returned to the University of Washington library (my day job employer and go-to source for dry academic tomes, access to 200-year-old newspapers, and the like), but here are five things I learned about the War of 1812 and the Battle of New Orleans that I didn’t know going in.

1) I’d always been told that the British were so confident of victory and eager to get at the wealth and famously beautiful women of New Orleans that on the eve of battle their sentries’ sign and countersign were “beauty” and “booty.” Turns out that isn’t true–while the British knew they outnumbered the Americans and with some justification believed their regiments to be of superior quality, they also knew they were attacking a well-fortified position across open ground. Also, no matter how much they were looking forward to the pleasures and treasures of New Orleans, “beauty” and “booty” sound far too much alike to be an effective sign/countersign, and the British commander, Sir Edward Pakenham, was an upstanding, upright gentleman who would’ve been unlikely to approve its use.

2) Andrew Jackson employed slave-catchers to try to prevent American slaves from escaping to the British (who promised–and delivered–emancipation to any who came to them). However, he also accepted the city’s free black militia into his cobbled-together army over the objections of many officers and civilian officials. This would not be the first or last time Jackson proved himself a pragmatist above all, IMHO.

3) British soldiers too severely wounded to join the retreat were cared for by Ursuline nuns–though my plot required a different fate for my hero, Henry Farlow.

4) Back in elementary and high school, we were taught that the main cause of the war was the British navy’s impressment of American sailors. While that was certainly a cause, the reality, as it often is, was More Complicated Than That. In fact, it was so complicated that I’ll simply recommend that anyone interested read Robin Reilly’s The British at the Gates.

5) Wellington was offered command of British forces in America after Napoleon’s initial abdication, but he politely refused, preferring a diplomatic role as ambassador to France and at the Congress of Vienna. It’s intriguing to imagine how different history might’ve looked if he’d accepted. He might not have been back in time for Waterloo, for starters. While I think Napoleon would’ve ultimately been defeated regardless, the 19th century would’ve looked different if, say, the Russian army rather than the Anglo-Dutch and Prussian forces claimed credit for his downfall. Also, there is simply no way Wellington would’ve attacked Jackson’s fortifications from such a position of weakness. Even Pakenham knew it was a bad idea, but he was pretty much goaded into it by the naval commander, Admiral Cochrane. Since Wellington was as stubborn and confident as anyone living at that time not named Napoleon, he would’ve stood up to the pressure. And if the Battle of New Orleans hadn’t been fought, or it was fought at a different place or time as a British victory…let’s just say we’d almost certainly have a different face on our twenty dollar bills.

Freedom to Love

Louisiana, 1815

Thérèse Bondurant trusted her parents to provide for her and her young half-sister, though they never wed due to laws against mixed-race marriage. But when both die of a fever, Thérèse learns her only inheritance is debt—and her father’s promise that somewhere on his plantation lies a buried treasure. To save her own life—as well as that of her sister—she’ll need to find it before her white cousins take possession of the land.

British officer Henry Farlow, dazed from a wound received in battle outside New Orleans, stumbles onto Thérèse’s property out of necessity. But he stays because he’s become captivated by her intelligence and beauty. It’s thanks to Thérèse’s tender care that he regains his strength just in time to fend off her cousin, inadvertently killing the would-be rapist in the process.

Though he risks being labeled a deserter, it’s much more than a sense of duty that compels Henry to see the sisters to safety—far away from the scene of the crime. And Thérèse realizes she has come to rely on Henry for so much more than protection. On their journey to freedom in England, they must navigate a territory that’s just as foreign to them both—love.

Freedom to Love is available wherever ebooks are sold, including Amazon, Barnes & Noble, Kobo, iBooks, Google Play, All Romance Ebooks, and Carina Press.

Frederick playing viola da gamba by Philippe Mercier

Frederick playing viola da gamba by Philippe Mercier

We often see young ladies at the pianoforte in our books, but musical men appear so infrequently as to make one think that music was strictly for the ladies.  Today, let’s take a look at men making music.

To begin, there were musical male members of the Royal Family, and they had a tradition of performing in private: George III’s father, Frederick, Prince of Wales was a noted viola da gamba player.  On the left is a painting of him playing the instrument with his sisters at Kew Palace.

George III's transverse flute

George III was a noted flutist, having received instruction from Carl Friedrich Weidemann, and  was also an harpsichord player. The image to the right is a picture of his transverse flute , now in the Royal Collection.

William Wollaston and his Flute by Gainsborough

William Wollaston and his flute

If you look at Gainsborough portraits, (a little early for our period proper, but still relevant) you will find many men of the gentry class of England in the 18th century, pictured with their musical instruments: for example the portrait of William Woolaston shows him pictured with his flute;he was a landowner in Suffolk (he owned Finborough Hall and also became a local Member of Parliament).

Glee clubs were also very popular during the 18th century and early 19th century, with both the aristocracy and the gentry, not to mention the lower orders. George IV was a member of the Noblemen and Gentleman’s catch club, which was originally formed in 1761 at the Thatched House Tavern in St James’s Street ,London. These glee and catch clubs tended to be men only institutions, and were very social occasions with simple food /porter etc. served to the participants.

Rev. John Chafy Playing the Violoncello in a Landscape circa 1750-2 by Thomas Gainsborough 1727-1788

Rev. John Chafy Playing the Violoncello in a Landscape circa 1750-2 by Thomas Gainsborough 1727-1788

In 1811, Jane Austen writes to her sister:  Eliza is walking out by herself. She has plenty of business on her hands just now, for the day of the party is settled, and drawing near. Above 80 people are invited for next Tuesday evening, and there is to be some very good music — five professionals, three of them glee singers, besides amateurs. Fanny will listen to this. One of the hirelings is a Capital on the harp, from which I expect great pleasure. The foundation of the party was a dinner to Henry Egerton and Henry Walter, but the latter leaves town the day before. I am sorry, as I wished her prejudice to be done away, but should have been more sorry if there had been no invitation.

Henry Austen’s apothecary, Charles Haden, was also an accomplished amateur musician. But he did not appear to wish to “perform to strangers” according to this letter from Jane Austen in 1815: But you seem to be under a mistake as to Mr. H. You call him an apothecary. He is no apothecary; he has never been an apothecary; there is not an apothecary in this neighbourhood — the only inconvenience of the situation perhaps — but so it is; we have not a medical man within reach. He is a Haden, nothing but a Haden, a sort of wonderful nondescript creature on two legs, something between a man and an angel, but without the least spice of an apothecary. He is, perhaps, the only person not an apothecary hereabouts. He has never sung to us. He will not sing without a pianoforte accompaniment.

Just a few examples of Georgian and Regency musical men. It would be fun to find more of them in what we read. I’d love to hear more examples.

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