The language of the fan

The sixteenth century English writer, Joseph Addison, stated: “Men have the sword, women have the fan and the fan is probably as effective a weapon!”

The Language of the Fan demonstrates the hidden language of the fan, an art that has been lost, but was once widely followed. Click here for a fascinating explanation.The Language of the Fan.

In Georgian England, women wore fans as a fashion accessory with almost every outfit that they owned. “There were daytime fans, white satin bridal fans and even mourning fans painted with grisaille, i.e. black, white and grey. Classical fans, brought from Italy, replaced the luscious rococo of the French. As well as drawing attention to beautiful and perfectly manicured hands, these items played a big part in delicate flirtations.”

Madame Devaucy, J.A.D. Ingres, 1807

When one thinks of a fashionably attired Regency lady, one also thinks of the lovely fan she most likely carried. These graceful objects were first used for cooling, but during the 19th century they became an indispensable fashion accessory. Flirtations were carried on with fans, which hid blushing cheeks or communicated a specific message. (Click on ‘The Language of the Fan’ post below)

In the eighteenth century, wealthy Georgian ladies, especially English ones, waved [fans] at masquerade balls, and wore them as a fashion accessory with almost every outfit that they owned. There were daytime fans, white satin bridal fans and even mourning fans painted with grisaille, i.e. black, white and grey. Classical fans, brought from Italy, replaced the luscious rococo of the French. As well as drawing attention to beautiful and perfectly manicured hands, these items played a big part in delicate flirtations. In fact, a whole ‘language of the fan’ had developed in England in Tudor times which became especially popular for middle and upper-class Victorian women who were courting. A folded fan placed against a lady’s chin told a gentleman that she found him attractive, for example, while snapping a fan shut was a curt dismissal! No wonder that the sixteenth century English writer, Joseph Addison, stated: “Men have the sword, women have the fan and the fan is probably as effective a weapon!”- Life in Italy, Handheld Fans

The following passage was written in the U.S. in mid-nineteenth century America. It describes an oppressively hot day in church in which so many ladies were fanning themselves that they created a significant breeze for others. “One old lady must have been thinking of a dancing-tune to which her feet kept time in the days of her youth, as her fan kept time with a regular hop, skip and jump, not at all like any psalm-tune I ever heard.” The author goes on to describe fans made of red and yellow, or resembling a great palm-leaf, or made of a peacock’s tail or turkey feathers, their delicate ivory or sandalwood sticks and guards creating clicking sounds.

Those two young ladies who sit where side glances cross very conveniently from the crimson-cushioned pew occupied by a single gentleman, have consecrated theirs to the most effectual display of their ruby lips and laughing dimples, and I am kind enough to hope it will not be “all in vain,” and, as I have hinted, really think fans are often put to a worse use. No insignificant thing is the little flutterer, whatever may be its form or fashion – how many smiles and frowns and titters it hides, to say nothing of the blushes that take shelter behind its graceful folds. Many an ague fit have they given me; yet on the whole, I am not sure that I would banish them; were they the authors of ten times as much mischief, for I think it would cause a flutter among ladies, that would be more deleterious.

Into what a consternation they would be thrown if suddenly deprived of this relief in all embarrassments; and it is a curious fact, that in all heathen as well as all Christian nations, it is a favorite shield of the gentle sex. In all histories of queens and courts and festivals, the fan is conspicuous, whether it be among the Princes of Christendom, in India or China, or in the Islands of the seas. The true reason is that it is so graceful an appendage, and so kind a helpmeet in a moment of timidity or an hour of idleness.” -Minnie Myrtle, The Ladies and Their Fans, New York Times, June 30, 1854

A Regency Lady gets Dressed

Progress of the Toilet, a series of engravings created in 1810 by James Gillray, a renowned and prolific British caricaturist, show three illustrations that depict a young lady being dressed by her maid. The details in these prints from an extensive print collection at the Yale University Library are striking and informative.

In the first plate, The Stays, Gillray depicts a young lady in her undergarments and wearing a cap, stockings, and slippers. On the floor sit a bowl and pitcher with water. Toiletries, pins, and jewelry are scattered on top of her dressing table. She inserts a busk between her breasts as her maid tightens her stays. Find a more detailed explanation about regency undergarments and regency fashions by clicking on the bolded words.

Elaborate powdered wigs of the previous century gave way to simpler hair styles, some cut quite short. In the illustration entitled The Wig, the maid prepares to place a short curly wig on her mistress’ head. Note that the mirror is now full length and that the side table looks different. Our young lady sits in a simple muslin day gown, with neck and arms covered, reading a book as her maid prepares her. A bonnet and an open robe or pelise (on chair) will complete her toilette. Find more regency hairstyles on this site.

In the third engraving, Dress Completed, we observe our young lady dressed for the evening and putting on evening gloves, which, typical of the day, are loose at the top. Her maid holds a shawl and fan, and her reticule hangs on a hook on the wall. The side table is no longer visible; her fashion plate book/magazine lies discarded on the floor. Our young lady’s slippers probably looked like this pair below. For a comprehensive view of footwear during this era, click here.

In The Mirror of Graces, 1811, a Lady of Distinction write, “Perhaps it is necessary to remind my readers that custom regulates the veiling or unveling the figure, according to different periods in the day. In the morning the arms and bosom must be completely covered to the throat and wrists. From the dinner-hour to the termination of the day, the arms, to a graceful height above the elbow, may be bare; and the neck and shoulders unveiled as far as delicacy will allow.”

Fashionable London adresses

Grosvenor Street, near Park Lane (right)

Grosvenor Square (Left)

“One’s address was a symbol of status. Maria obtained ‘one of the best houses in Wimpole Street’; the Johan Dashwoods (Sense and Sensibility) were well situated in Harley Street; while the Bingleys (Pride and Prejudice) found equally upper-crust accommodations in Mr. Hurst’s house in Grosvenor Street. By contrast, the Gardiners, who were in trade, lived in Gracechurch Street, in the commercial district of London and within sight of Mr. Gardiner’s warehouse.” From: Jane Austen’s Town and Country Style by Susan Watkins.Wimpole Street

“The Georgian period in London coincided very neatly with the Palladian Revival in architecture and art. Lord Burlington, in his 1715 design of Burlington House in Piccadilly, played a major role in popularizing this classical style which became the norm for much of the century. A few years later, in 1725, Lord Burlington was at it again, with his remodeling of Chiswick House, then a country retreat but now part of the greater London sprawl.

At the same time Grosvenor Square was laid out in Mayfair, part of the Grosvenor family’s development of that aristocratic district. More London squares followed, notably at Berkeley Square (design by William Kent). Kent was also responsible for building the Treasury Building(1733), and the Horse Guards (1745).”

Cred

The London Fog

Just wanted to note that apparently there was a constant fog lingering over London in the winters of the Regency Era, a result of fossil coals as fuel.

Mr. Simond’s, an American in Regency London, writes, March 5 1810:

“The inhabitants of London, such as they are seen in the streets, have, as well as the outside of their houses a sort of dingy, smoky look; not dirty absolutely–for you generally perceive clean linen–but the outside garments are of a dull, dark cast, and harmonize with mud and smoke. Prepossessed with a high opinion of English corpulency.”

Early 19th Century London

“The huge size of London meant that is was also the largest single market for basic consumer goods, which stimulated the production of shoes, clothing, furniture, bread, beer and the other necessities of life. London breweries were amongst the most capital intensive concerns in the land. The cattle driven to the market at Smithfield supplied hides for the tanners at Bermondsley who produced leather to be used in shoes, saddles, coaches, book bindings.” P. 35, London – World City, 1800-1840, Edited by Celina Fox, 1992, Yale University Press, New haven & London, in Association with The Museum of London. “By the turn of the nineteenth century London had almost ten thousand acres of market gardens serving the hungry metropolis. The gardens were richly fertilized with the dung from the streets and stables from London – each acre had sixty cartloads of manure spread over and dug into it each year. This contrasts with regular farming land about London which, during this period, was only manured once every three or four years. (During September to October.) As well as dung, the market gardeners made copious use of marl, dug up from Enfield chase to the north of the city. A by-product of marl production were thousands of fossilised dinosaur bones, to be sent down to the newly developed British Museum (although many, no doubt, were crushed for the market gardens as well). Manure and/or marl was ploughed in by a clumsy swing plough, and harrowed once ploughed over. Working the gardens began soon after Christmas. Once the weather was favourable, the market gardeners began by sowing the borders with radishes, spinach, onions as well many seed crops.” In An American in Regency England, 1810-1811, Louis Simond writes: “The streets have all common sewers, which drain the filth of every house. The drains preclude the awkward process by which necessaries are emptied at Paris, poisoning the air of whole streets during the night, with effluvia, hurtful and sometimes fatal to the inhabitants. Rich houses have what are called water-closets; a cistern in the upper story, filled with rain-water, communicates by a pipe and cock to a vessel of earthenware, which it constantly washes.”

How clean was Regency London?

A dance: Cotillion

In The Mirror of Graces (1811), A Lady of Distinction writes

“The utmost in dancing to which a gentlewoman ought to aspire, is an agile and graceful movement of her feet, an harmonious motion with her arms, and a corresponding easy carriage of her whole body. But, when she has gained this proficiency, should she find herself so unusually mistress of the art as to be able, in any way, to rival her professors by whom she has been taught, she must ever hold in mind, that the same style of dancing is not equally proper for all kinds of dances.

For instance, the English country-dance and the French cotillion require totally different movements.”

TheEncyclopedia Britannica describes the cotillion as:

“late 18th-century and 19th-century French court dance, popular also in England. A precursor of the quadrille, the cotillion was danced by four couples standing in a square set. The first and third, then the second and fourth, couples executed various series of geometric figures.”

In The Gentleman & Lady’s Companion, Printed by J. Trumbull, 1798, the author describes the cotillion as thus:

“Balance all eight, then half round, the same back again, 1st and 2d couple (opposite) take your partners with both hands, chasse with her to your side with five steps, back again to your places, balance with the opposite couples, then cross hands half round, back again with four hands round, a gentleman with a lady opposite balance in the middle, and set, the other gentleman with the opposite lady do the same, right and left quite round until to your places. The 3d and 4th couples do the same figures.”

Maps of London

The maps are links.