Rude Regency: Realism with Your Romance

Proof positive that even Jane Austen had to have known at least one dick joke.
artandopinion:

Exhibition Stare Case
circa 1800
Thomas Rowlandson
This print depicts visitors to the Royal Academy falling headlong down the stairs of Somerset House, which is now the Courtauld Institute of Art. The architect who designed the building, Sir William Chambers, claimed it ‘a momument to the taste and elegancy of His Majesty’s reign’.
Extract from the British Museum:

Rowlandson suggests that the architect was more interested in the visual effect of his staircase than in its practical utility. He also plays with two commonplace observations about exhibition audiences: that some female spectators came to be seen as much as to see and that some male spectators were more interested in living flesh than in painted nudes.

artandopinion:

Exhibition Stare Case

circa 1800

Thomas Rowlandson

This print depicts visitors to the Royal Academy falling headlong down the stairs of Somerset House, which is now the Courtauld Institute of Art. The architect who designed the building, Sir William Chambers, claimed it ‘a momument to the taste and elegancy of His Majesty’s reign’.

Extract from the British Museum:

Rowlandson suggests that the architect was more interested in the visual effect of his staircase than in its practical utility. He also plays with two commonplace observations about exhibition audiences: that some female spectators came to be seen as much as to see and that some male spectators were more interested in living flesh than in painted nudes.

weirdvintage:

The Lovers’ Strategy or Fashionable Grooming, 1770 by an anonymous artist—This etching is a satire on the ridiculous hairstyles of this period.  A Frenchwoman is kissed by her elderly husband, while little cherubs climb a ladder up her hair to deliver letters to her young lover.  (via)

weirdvintage:

The Lovers’ Strategy or Fashionable Grooming, 1770 by an anonymous artist—This etching is a satire on the ridiculous hairstyles of this period.  A Frenchwoman is kissed by her elderly husband, while little cherubs climb a ladder up her hair to deliver letters to her young lover.  (via)

(via weirdvintage)

weirdvintage:

"The Umbrella" by caricaturist George Cruikshank, c. 1820:  ”They make these here things sadly too small for good sized people!  I’ll be hang’d if I ain’t as wet as Muck!!" (via)

weirdvintage:

"The Umbrella" by caricaturist George Cruikshank, c. 1820:  ”They make these here things sadly too small for good sized people!  I’ll be hang’d if I ain’t as wet as Muck!!" (via)

(via weirdvintage)

heracliteanfire:

The Stranger’s Guide; or, the London Sharper Detected: being a Complete Exposure of all the Frauds of London, practised by Bawds, Bullies, Fortune-Tellers, Footpads, Gamblers, Gossips, Highwaymen, Housebreakers, Jilts, Kidnappers, Ring-Droppers, Pimps, Procuresses, Pickpockets, Quacks, Sharpers, Swindlers, Smugglers, Shop-lifters, Street-Robbers, Trappers, Waggon Hunters, Women of Pleasure, &c. &c. &c.  (via Spitalfields Life)

heracliteanfire:

The Stranger’s Guide; or, the London Sharper Detected: being a Complete Exposure of all the Frauds of London, practised by Bawds, Bullies, Fortune-Tellers, Footpads, Gamblers, Gossips, Highwaymen, Housebreakers, Jilts, Kidnappers, Ring-Droppers, Pimps, Procuresses, Pickpockets, Quacks, Sharpers, Swindlers, Smugglers, Shop-lifters, Street-Robbers, Trappers, Waggon Hunters, Women of Pleasure, &c. &c. &c.  (via Spitalfields Life)

(via do-you-have-a-flag)

theironduchess:

 The Spectator, No. 81, June 2. In the above article, Addison tells of his seeing an opera at Haymarket Theatre, where he makes a political discovery regarding beauty patches– spot the right side of the forehead for Tories; left side for Whigs.

Beauty patches are tiny pieces of silk, velvet, or taffetta adhesives, cut into a myriad of shapes and stuck onto the face of a aristocrat. They were the height of fashion in the late 18th century, worn by both men and women to either hide their imperfections or flaunt their pristine white beauty. (Picture: Une Dame à sa toilette by Francois Boucher

 Besides aesthetic purposes, patches were also worn to suggest a certain mood (or, in this case, to declare political allegiance) , with each placement having a name. Corner of the eyes was the passionate; middle of the cheek, the gallant; the nose, the impudent; near the lips, the coquette, and to masks scars or pimples, the concealer. A patch on the forehead signified dignity, around her lips, kissable.  A bethrothed young woman wishing to announce her new status sported a heart on her left cheek.  Upon her marriage she switched the heart to the right. 

The favored color was black, but green, purple, blue or red might be use to enhance a lady’s gown or her eyes.   Dark skinned women were seldom seen wearing patches because their foremost purpose was to show the striking comparison of black against pale white skin.

a great lady always had seven or eight [patches], and never went without her patch-box, so that she might put on more if she felt so inclined, or replace those that might happen to come off.The XVIIIth century: its institutions, customs, and costumes; France, 1700-1789 (p. 461)

 

(Text taken from http://lifetakeslemons.wordpress.com/2010/06/09/to-patch-or-not-to-patch/, with minor edits )

ladycashasatiger has also written an excellent post on this topic

graceohmalley:

19th century letter composition textbooks included examples of how to challenge someone to a duel, and how to snarkily decline a challenge.“A mere empty butterfly, as I must call you…”SICK BURN, REGENCY-ERA GENTLEMAN
SICK BURN

graceohmalley:

19th century letter composition textbooks included examples of how to challenge someone to a duel, and how to snarkily decline a challenge.

“A mere empty butterfly, as I must call you…”

SICK BURN, REGENCY-ERA GENTLEMAN

SICK BURN

aquaeyeshadow:

“Six Stages of Mending a Face”’ Thomas Rowlandson, 1792

“Dedicated with respect to the Right Hon. Lady Archer”

aquaeyeshadow:

“Six Stages of Mending a Face”’ Thomas Rowlandson, 1792

“Dedicated with respect to the Right Hon. Lady Archer”