Tuesday, 9 June 2015

The Daily Mail History Festival

The Daily Mail History

Festival

Daily Mail History Festival Images, HandBound Costumes at Daily Mail History festival, Living History HandBound Costumes, made to measure Historical Costumes, Where can I get a pair of Stays made,
Come and find us - we have a stall in one of the largest all-out History Celebration Festivals in the U.K - And it's a Two Week Countdown!

We're going to have on display a new Silk Robe a la FrDaily Mail History Festival Images, HandBound Costumes at Daily Mail History festival, Living History HandBound Costumes, made to measure Historical Costumes, Where can I get a pair of Stays made, ancais which has been based on an original stored at the V&A  - we've taken a mutlitude of notes, photo's, drawings and patterns to be able recreate this stunning dress (apart from the fly trim - fly trim along with Small Pox has disappeared off the planet!!!)
Where can I get a pair of 18th c stays or corset made?, Re-enactment Staymaker, HandBound Historical Costumes specialising in 18th century stays, 18th c corsetry, replica costumes and stays, museum studied clothing including stays and shifts, hand made period costumeWe've also been working on 2 new pairs of Stays which will be having their debut appearance in our collection especially for the market, a short but stunning little Sack with Echelle fronts and a brand new Yellow Robed Anglais based on a Paul Sandby Drawing. We will also be displaying a new Cotton 1780's Anglais based on one of Janet Arnold's dresses along with a Silk/Linen Quilted Petticoat. All of these items we hope will be appearing in our shop probably a stone's throw beyond the market (lets get that out of the way first!) and weWhere can I get a pair of 18th c stays or corset made?, Re-enactment Staymaker, HandBound Historical Costumes specialising in 18th century stays, 18th c corsetry, replica costumes and stays, museum studied clothing including stays and shifts, hand made period costume hope you like them.
Take a look at this amazing festival - there are speakers such as Dan Snow, Antonia Fraser, Ian Hislop (ahh we love this guy), Kate Mosse, The institutional David Starkey, Jon Snow and Neil Oliver to name but a few. Here is a link to the website  http://cvhf.org.uk/about-chalke-valley-history-festival/
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We'd loReproduction of Linen Chemise from Metropolitan Museum of Art c.1780 by HandBound Historical Costumes, Replica Period Clothing, Linen Undergarments, Georgian Underclothes and underpinnings, 18th century historical costumes made by HandBound Costumes, Metropolitan Museum of Art Chemise from the 1780s replicated by HandBound Costumes, The history of the shirt, what women wore in the 1700s, re-enactment costumes, theatre and film costumier, dress like the duchess, what did marie antionette wear?ve you to come and try a pair of Stays on, flick through our research and man-handle all the costumes you like. We'd be delighted to see you! Exclusively for the markets we attend we have built a range of Stays in virtually every size (and it will just keep on growing!) so that they are able to be tried on and experienced. For the Daily Mail History Festival we hope also to bring in a new 'Shift Corner' with our reproduction Shifts hanging on display for all to see along with their photos of the originals, examples of shifts visible in paintings and a choice of the variations of Linens we have for their making. We also hope to be bringing in the Accessorize of the 18th Century with Neckercheifs, Ruffles and Pockets along with our small range of fabrics that we have for sale.
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Friday, 5 June 2015

LACMA and the Stomacher-Style Stays

Caraco and Petticoat:

At The

Los Angeles Count Museum of Art

(LACMA)

We were just having a quick click through our 1770's folder, doing some research on a dress to study at the V&A when we whizzed passed this little beauty.
Dated c.1770's, this light and simple looking Caraco and matching Petticoat took us a little by surprise. LACMA has obviously dressed a mannequin for a photo shoot of this neat little ensemble - but look! they've dressed it with a finely laced (or stringed) CF detail pair of Stays. We've seen one exactly like this at the Edinburgh Collections Centre and have a few other versions in our Stays image file.
Caraco+Pett - c.1770 - LACMA - HAndBound
C.1770 - LACMA

The Sleeping Maid - McArdell - 1756, who wore fully boned stays article, 18th century stay research, HandBound historical Costumes, made to measure stays, bespoke georgian technique made stays, 18thc corsetry, where can I get a pair of stays made?This is obviously not conclusive proof that this type of decorated stays were meant (nor always meant) to be seen but it is another weight on the side of Purposeful Visibility - what a great little phrase.
I'm sure we've used this image before but there is the lovely 'Sleeping Maid' who, though it could be argued, could be wearing her stays visible out of necessity or for practical purposes, is also proudly displaying her pair of Stays.

Anyway, this is not supposed to be a long post - we're in the middle of preparing for The Daily Mail History Festival and we're busy sewing ribbons onto our new McCord Stays especially for the event. Lotsa lv, XXX

Tuesday, 19 May 2015

Techniques of Wearing Working Women's Clothing.

We wanted to gather a collection of images to study how everyday working women's costume was worn. We want to study how Apron's were wrapped, skirts were tucked and caps were mounted. There seems to be a lot of consistencies in some of the working women in painting and we'd like to see if we can plot them and see how consistent they really are.
Fishmongers-Nebot -1737 - HandBound
Fishmongers - Nebot - 1737. We seem to like our Fish Stalls! What we did like about this painting is our lady here in the lined Gown. Although there are hints to her being slightly wealthy, she does wear her skirts pinned back and with the contrast lining it means this causes a nice kind of decoration. We'd love to know how they pinned the skirts back - we can use our imagination but it would be nice to know for sure! She also wears a plain red pett and her gown's an Anglais with what looks like puff-pad detail around the sleeves and contrast Cuffs. She wears a pearl/beaded necklace and under cap tied on with ribbon and the obligatory Bergere hat.
- Also just a quick interesting note - this appears to be the first painting we've seen that verifies the fact that the ribbons over the cap were indeed tied at the back of the neck. It seems an interesting point but until this image we could only guess at this - it's nice to have proof!

Our Next image is a Paul Sandby Image and one we have well used. Part of his sketches for a possible series on The Cries of London, this watercolour has been dated 1759 and is of a Black Cherry Seller. This laPaul Sandby - c.1759 - Cries of London - Black heart Cherriesdy is a little better dressed than some in the Cries of London and the general details include:
- Brown-ish Robe a l'Anglais with possible cuff detail. Gown pinned back.
- Striped pett.
- Light coloured pocket and blue apron, looks to be just tied around waist.
- Some kind of cap with possible lappets or is an undercap as this could just be a cloth and a ribbon tied round.
- Striped neck cloth.
- Looks to be wearing Stays
- Plain shoes
But Details specific to how she wears her clothing is:
- She is wearing the skirts of her gown pinned back - quite steeply so that much of her petticoat is revealed. Also she has no coloured lining.
- Her apron is blue and long and starts from under her gown by all appearance.
- The pocket is to the side in the place one would assume it to be
- Her neck cloth is not very full, lying quite flatly against her back and not really showing many signs of it being at her front.
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Mackeral Seller - P.sandby - 1759
The next image is one we've used over and over again through-out our research. It's not our fault; there's just so many important details contained within it, we have to keep using it as 'an example of...'.
For example, she has been one of the initial images for our plain pocket product and it was her that first made us notice the cross-over straps at her chest. But...lets start afresh here and give her details again:
- Plain light coloured petticoat - could be shift but it's very long and much heavier looking. Did think at one point it could be her Apron but the blue thing is in fact her apron.
- It's a fascinating way of wearing an apron. We've noticed this technique in other paintings - both with Aprons and with their skirts or petticoats. We don't know how they kept them up! We know it appears in this image as if it's her arm but in the next image; Wheatley's Cries of London, you can see that the lady painted there is doing this with her skirts also and it doesn't appear to be just a temporary thing - the lady in Wheatley's painting is concentrating on something else but her skirts are still wrapped round her.
- Back to our Mackeral Seller, her apron being tucked up in this manner reveals her pocket and you get the impression that this could be part of the reason - or atleast a useful side effect.
- Her cloak is worn off her shoulders and tied at her neck. We don' tknow what the cords are from - we are guessing her cloak as in other images it also appears to be the cloak but it could be to hold up the apron. It's certainly not from her basket which some images also show.
- Her shift sleeves are ragged and cuffless, displaying their width of cut.

Cries of London - Francis Wheatley - Mackrel Seller  - 1793 -HandBound Research, how working womens clotehs were worn, handbound costume research, handmade historical costume, Custom made period clothing, re-enactment research costuem, Bespoke and tailor amde historical costume, museum replica costumes, reproduction period clothingNext: Painted in 1793 - this series by Francis Wheatley: 'The Cries of London' shows women about 30 years later than those of Paul Sandby's images. Though 30 years have passed these images still contain a lot of similarities, not just in the general items of working women's clothing but in how they were worn also.
In this image you have 3 women. 2 of them we are mainly going to be looking at as the third looks to be a little better dressed and also has less seen of her. So: the Mackerel Seller. - The V&A who houses Paul Sandby's 'Mackerel Seller' detail how her smelliness and the offense she causes by her mere presence is shown by the dog retaliating to her (not shown in the image above) and by the horrified looks of the door she's near. This image however contains nothing of that. She looks well dressed, full of a sense of servant-hood and seems to be useful to the maid(?) who is looking at her products.
- She is wearing a rather short Anglais(?) gown in yellow that only hangs at the back to her lower knee level.
- Her brick-red coloured petticoat is ankle length but must also be the same garment that wraps so fully around her hips. How this is done we have no idea - it's either pulling up her skirts at the front to reveal her knees! or it's an extra, super full skirt (unlikely) or a way of pulling the skirt fullness to one side and wrapping it round - in short we don't know yet. We can't even figure out how it's kept up unless it's pinned (like the first image) or tucked through the pocket openings. How they didn't ease their way back out again is anyone's guess and how it didn't make the skirt tight is also an open question and how it wasn't annoying! is also one we've yet to investigate. However this style crops up time and time again so it must've been useful to the wearer and a way of controlling her flapping skirts while she worked.
- She wears a dark, possibly navy, handkerchief about her shoulders.
- No ruffles or seen shift ends at her sleeves.
- Her hair is worn natural and looks to be in a loose bun kind of way with a undercap being worn with Round Ears or a short lappet - we're not fully au fait with the difference yet! On top of this all is a plain ugly brown straw hat - you can clearly see the difference here between this hat which shouts 'working woman' to the neat Bergere hats with their crisp shallow crown and wide brim.
- She wears grey looking stockings and plain brown shoes.
- Yet her clothes seem in fairly good nick - there could be a little bit of ragging at the back of her gown skirts - it's hard to see but the rest of her is plain, simply dressed, working colours but clean and in good order.
The maid is wearing a plain blue gown - (both working ladies wear gowns cut to the shape of this later period but not in the full fashion of the 90s) - hers seems longer than our Mackerel Seller and is a lovely full looking Blue.
- Her Apron is either one that comes up to her chest and is pinned up with the neckerchief wrapped over the top or it's tied on at the waist with the neckerchief pinned across her chest and tucked into the waist line.
- She holds her apron up with one hand - done very naturally and like she's well used to doing it and carries a tray under her left arm.
- None of the ladies show any glimpse of white under their sleeves from the shift or ruffles so possibly reflecting this form of fashion.
- She wears a cap of the 90's and 80's style and it appears to be made of a soft, fine linen in the way that it hangs and looks a little limp.
- She also has a her hair finely visible - as if it's been scraped back loosely and strands have worked their way.

The next image is by the same artist - Francis Wheatley and is from the same collection of paintings. this lady is entitled 'The Cherry Seller'. We've also used this in our Examples of Working Women in Stays as she seems rather evidently to be in Stays and Petticoats alone. So lets detail what she's wearing:
- She's in a white shift with rather full sleeves looking like they've been rolled up and tucked in (her left arm).
- She has a red-ish petticoat - not tucked up in anyway shape or form.
- She is aso wearing a blue apron, tied at the waist that has the left hand (her left) corner tucked into the tie.
- She has a white handkerchief round her shoulders and a white undercap on under her hat - which looks to be a little more floppy straw hat than a fashionable Milkmaid or Bergere Straw Hat.
- Her Stays are plain brown and don't have any visible straps.

(c) The National Trust for Scotland, Brodick Castle, Garden & Country Park; Supplied by The Public Catalogue Foundation
The next image is entitled 'The Sportsman's Refreshment' and was painted around 1775 by Francis Wheatley.
The yellow lady in front:
- Has the skirts of her dress pinned together at the front - this is really useful because it's probably similar to how they pinned it when it was done at the back. You can see the effect this pinning causes - this rucked up skirts around the hip area and making the yellow skirts sit almost at thigh height. This pinning also happens at waist level - covering over the CF point of the gown.
- She wears a pink petticoat - looks fairly heavy so could be quiltedor wool.
- She has plain sleeves, pulled up slightly over her elbow and no frill or glimpse of the shift.
- Her Neck cloth (apparantly ladies in the 18th century just referred to it as a Handkerchief until the 80's went it became the Fichu- Cunnington's) hangs at it's point at the back and is met together with something at the front of her gown just above the neckline. It then either sits slightly crossed over so that it covers the CF opening. It has a striped edge.
- She wears a Mob Cap with pinkish Ribbon and interestingly this sits completely over her hair - the ribbon alone must've held it on or else a hair pin or something.

 The lady in the background looking on and holding a plate of bread wears her neck cloth crossed over her chest and probably pinned into that position.
- She wears a floppy looking country hat with either an Undercap with lappets or a cap with lappets - don't ask us about the differences; we're too are still figuring that out!
- She wears a darkish looking green robe with a darkish looking green neck cloth and a little glimpse of her shift at the neckline.
Cherry seller - Wheatley - 1793
To be Continued....

Friday, 3 April 2015

Did Stays Make You Bulky?

The Bulkiness of Stays:

This is an intriguing topic - it began for us atleast, when we were sampling our very first pair of Stays. We'd already discovered 4 ways in which to make a bad pair of Stays and were just coming to the finalised product that was similar in feel, shape and weight as the original in the museum. (This is our Bath Stays, based on BATMC1.27.865 and currently found in the Online Shop).
We'd read somewhere that Stays were not always worn as tight as they could be and so while we tested out our new Stays we decided to see what it felt like and looked like to not have the Stays laced up fully. The result was Bulk - pure bulk! When they were laced up tightly there was indeed a feeling of slimness but not too the same degree in which the un-stayed body can be, but have them only a little looser and both the photographs and the spacial feel of the body was much bigger.
As we carried on with our research so we began to notice certain drawings in which the lady look slender around her neck and arms but the bulk of her torso seemed out of proportion.
In the back of our minds the thoughts stirred....
Examples:
This is not a declaration of fact - please let us be clear.  Consider it, instead, as us looking into it and laying down what we've found before you and seeing if you come to the same conclusion. You may not - but please join in the discussion and lets see if we can't get this century finally pinned down in our understanding!

The first images is Paul Sandby's - Hairdresser - dated after 1745.Hairdressing a lady in the mid 18th century by Paul Sandby, example of a lady in stays, HandBound made to measure Historical costume, hand made Historical and period clothing, re-enactment costume, theatre and film costumiers,  custom made corsets, HandBound Corset and costume research
There's so much in this sketch, but, more than anything, what we find precious about Paul Sandby's work is the normal-ness of it - the amazing ability he had to make the subjects of his paintings so every-day. We realise it's labouring a point, but when you look at his sketches they somehow make it feel like the scene before you is ordinary for you too.
Painted as part of a group of sketches he made while in Edinburgh after the rebellion in 1745, these quick snatches of street scenes are fascinating. Here is a hairdresser dressing a lady's hair. She sits patiently in a beautiful floral Robe a l'Anglais with large-ish sleeves and possibly a folded up, loose cuff by the looks of things. We've used her because, contrary to her neck and arm her torso looks quite forbidding. It seems to be much larger than it should be. Just for interest and detail, she also wears a handkerchief about her neck and a long white apron - classic Undress or Day wear.Lady Maynard by Paul Sandby - c.1757, ladies costume from the 18th century, Undress for wealthy women in the mid 1700s, example of a lady in stays, HandBound made to measure Historical costume, hand made Historical and period clothing, re-enactment costume, theatre and film costumiers, custom made corsets, HandBound Corset and costume research,  After Rebellion in Edinburgh series of Sketches by Paul Sandby, Royal Collection of Art, Yale collection, Historical costume research, Goergian dress and fashionable shapes
- Lady Maynard 1757.
You are more than welcome to disagree with us entirely here but we find Lady Maynard a little bigger than expected in this next painting. Painted around 1757, this portrait of Lady Maynard could just be slightly sketched wrong, or her arms are hiding the neatness of the waist but when we first saw it we thought it was another possible example of either A) One not wearing her Stays laced in as tight as she might. Or B) Where her Stays make her look slightly bigger than reality.
It's also an image of a Lady wearing her Apron tucked up slightly to one side. We have noticed this in a few of the working women portraits but not in a wealthy woman's one. It's just for noting that's all.
The uselessness of this topic is that really there are no answers! How are we ever going to know if Lady Maynard in her Undress wore her Stays slightly looser? Or if this bulk that we imagine here was just a wrong move of a paint brush? Or even if women thought that Stays did make their shape bigger but as the use of them was so normal and the structure they gave to the body so essential, that it meant that this fact was simply accepted. Perhaps it could even be that this was a part of the development for slimmer stays in the later part of the 18th. The truth is - this is all pure conjecture - fun! But conjecture all the same.
Another image is again from Paul Sandby's Edinburgh sketches and is entitled 'Man on Grass' Evidently it is not the man we are interested but the women, beautifully painted in faded watercolour sitting just beyond him -like  a hazy day in the sunshine!
Edinburgh Sketches by Paul Sandby- c.1745 - HandBound
Looking at the ladies in the background!
We've only really included this image, not because it contains any direct proof, but more because it continues the image of this bulkier lady. No matter what size you are, wrapping yourself with closely sewn whalebone and layers of fabric is always going to add some sort of bulk to the body. We know the Stays can be pulled in to enhance the waist and they certainly control and place very firmly the bust in one place and one place alone but the overall effect is of a much more imposing shape than the natural body. This cannot be helped - it is the very definition of a pair of Stays.
The next image is even better for seeing the way the Stays hold the body - the lady is definitely not slim nor slender but in this image you can see very clearly what a pair of stays can do to a larger figure - especially if not worn tight. The pure fact is that you are pulling into a rigid shaped corset all the stomach and bust. Where as some clothes can disguise a larger shape, a corset can't - it solidifies it and contains it and holds it rigid and therefore the finished impression can be almost war-like.
Meat Mkt after 1745 - P.Sandby - HandBound
Meat market by Paul Sandby - after 1745
Copley - American artist of 18th century fashion, HandBound Costumes research into 18th c. fashion, Hand Made period and historical costume, Made to measure period clothing, Historical costumes speciallising in 18th century underwear, custom made corsetry and 18th century Stays, Theatre and Film costumiers,
1764 - sitter unknown
Isn't she splendid! Please just appreciate Paul Sandby's talent for capturing life and it's reality. You can see from the above image how broad she is around the waist.
- J.S.Copley - Sitter Unknown - 1764.
The following image shows the same effect, though American and therefore an image we tend to leave in the American section of our research, but it shows this solidity so very well. This is actually a very interesting dress. It appears to not be CF opening gown but has an open skirt front to the skirts of the gown - possibly a wrapped over front that secured down one side? - Similar to Tudor costume? Or a CB Closing gown?
The next image is a detail from C.Phillips painting 'The Tea Party at Lord Harrington's' and dated 1730. Both ladies look to our eye a little but larger than life in the torC.Phillips-Tea_Party-1730-HandBoundso department but in the case of the lady in the background this may just be the busyness of her robe. However, the lady in salmon-ish pink in the fore ground is a little more distinctive. Again, it could just be the artist's skill, but it does look like she's larger than her proportions suggest.
She also looks to be wearing a Lappet cap with the lappets folded up, which is nice to see!
It's much easier to excuse slim looking drawings as flights of fancy - that ideal delicate, small waisted girl - like our modern day fashion drawings, quickly sketched with super long legs and barely any waist to speak of. Infact we can sometimes find it hard not to draw slim women - adding a larger waist somehow takes more imagination! But these larger drawings would've certainly been unwanted had it not been a kind of realistic look, wouldn't they? And the Artist would've wanted to atleast not insult his subjects, even if he wasn't going for flattery? We've put question marks on these almost cried out pleas as we are well aware that our modern-day outlook could be clouding our view.

Saturday, 21 February 2015

Another Glimpse into the World of The Stomacher-Style Stays

The Stomacher Style Stays Debate:


The Stomacher-Style Stays Debate:

We think it's become clear that this topic needs more in-depth research.
So, please consider this little post as the new beginnings of our research!
Stays - 1700-60 - NT - HandBound
There seems to be two views on whether the decorated-front Stays that we find in our museums were actually worn to be seen. For example, the lady that helped us at our Study Session at the Edinburgh Collections Centre said that in her opinion they were not worn to be seen - like our modern day decorated Bra's with their lace covered colours and central bows - they were just private prettiness for the individual.
Trying to dress the mannequin with the Stays to be seen, certainly throws up MANY problems. It seems nigh-on impossible, infact,  if certain techniques weren't used - and there doesn't appear to be any evidence they were.  Some of the techniques that we had to adopt in order for our dress to work were 1) CF slits on the skirts for the front points to overlap over. And 2) A hook sewn on the Stays at the waist point on which would tie the various undergarments. (please see our 'Stomacher Style Stays Problem' post) This could lead us to the conclusion that perhaps they weren't worn to be seen.
However, we've just been re-reading the 'Handbook of English Costume in the 18th Century' by C.W Cunnington and P.Cunnington and we came across this little statement.

" The Corset:
This laced behind and with a plain or embroidered front acted as a stomacher.
'The Stays were white silk covered with a lacing through which a handkerchief was passed,' 1739 Mrs Delaney's Autobiography."

We wonder if they tried dressing a mannequin as they described the Stays being worn here though....

I know that many Historians now find faults with some of the Cunningtons findings in this more modern-day light, but it is their gathering of costumes and research that bulks out the collection  stored in the  Gallery of English Costume in Manchester. They weren't just stating their facts from some holed-up office having never seen a garment, but were avidly collecting and researching and making sense of what they found as they could understand it.
When we made our Philadelphia Stays, we also sampled along side it a Robe a
Robe a l'Anglais dresses, HandBound Bepsoke historical costume, made-to-measure Eighteenth Century Clothing, re-enactment gowns, everyday 1700's costume, how to wear georgian clothing, duchess of devonshire costume, dress like antionettel'Anglais with Robings designed to come to the edge of the stays. In doing this we un-earthed a whole MASSIVE amount of problems. We emailed some of the museums to find out how they dealt with the problems (see our Post ' The Stomacher Stays Problem'). It was the Manchester Galleries that contacted us back and said that they didn't know how they were worn and had the same problems when dressing one of the stays in their collection.

The quote that the Cunnington's use to support their statement that they were used as 'Stomachers' is an important one. Mrs Delaney here writes that the white silk stays were covered with a lacing through which a neck cloth (in those days referred to as a Handkerchief) was tucked. This act of tucking the handkerchief through the lacing is physically impossible if the Stays weren't displaying this CF lacing to the outside world.
Buckles for her Stays:
This tiny insert into their book about Stays acting as Stomachers has also re-opened for us what we were always confused about. There was an item of jewellery called ' a buckle for the Stays'. (Never 'Stays Buckle' but 'Buckle for the Stays', which seems a mouthful but there you are!) It seems to have been a buckle that went over the front of the stays, between the robings of the dress, and was used to tuck the handkerchief in to if there was no CF lacing. At first we just asked 'How did it clip on' but then we began to wonder how it was even seen and used if the Stays were never seen. We can show you no photos for this as we have never seen one!

So, consider this the start of more research...

Thursday, 22 January 2015

The Beautiful Mrs Graham by Maxtone Graham

The Beautiful Mrs Graham:

The Cathcart Circle
By Maxtone Graham
The Beautiful Mrs Graham - Maxtone Graham - 1927
Front cover

Mrs Cathcart Graham - Gainsborough - 1777 - HandBound
Gainsborough's portrait of Mrs Graham - 1777
This book is awesome! Truly. We read it in the hope of gleaning any information and comments about clothing but the ladies of the Cathcart Circle don't seem to be too obsessed with what dresses they wore. It was, however, an absolute goldmine in socially historical facts.
It is, essentially, a collection of family letters dating from the mid 18th century and with the author filling in the general background as the years progress. The letters come thick and fast and are just such an amazing read when you consider that most of them were simply written between 3 sisters.  As a reader it would've been nice to know where the author gets the background information from - whether there was a diary also found with the letters or a family accounts  but apart from that the letters pretty much lie in consecutive order and follow the story of 9 siblings.
Catherine II- by Erichsen - 1778-79 -HandBound
Catherine The Great - Vigilius Erichsen - 1778-79

It starts off with Lady Cathcart, the mother or these 9 and her ambassador-of-a-husband Lord Cathcart, during their time in Russia - which is awesome enough. Seeing a glimpse of Catherine the Great and her court is fascinating. The first scanned-in page here describes a social function that they were invited to, fairly early on in their appointment to Russia. It's incredible. Firstly, they're having a meal where the food arrives through the table, and what's more; they start having fun with it and asking for ridiculous things. Please read this glimpse of a real event in 1768 as it's kind of unbelievable.
Some of the main names in Catherine the Greats reign are mentioned on these pages and although every thing reads lovely and splendid there is an undercurrent hint of what was going on in Catherine's court. The author mentions that letters were possibly checked and that there was a great sense of spying in Catherine the Greats court that made being honest in letters less likely. We know none of this through the actual letters.
It also has a couple of letters that Lady Cathcart wrote to her daughters when she suspected she was dying. The author also includes in this section a letter that the 9th Lord Cathcart wrote to all Lady Cathcarts friends after her death and it starts with a quote from another letter she wrote. We are so tempted to steal this quote, it's as if it is from the very pages of Shakespeare and is pure beauty. She must've been quite a lady and quite a believer.
"Foolish Eyes! must you be swimming in tears because of those Things? Is not the Day of our Death as natural as that of our Birth?...I mix these very few tears with yours, dear kind fellow creatures; we shall meet again; I trust in happiness through the merits of a crucifed Saviour. Weep not long, but ever remember me with the Balm of Friendship."
These words take on specialness when your remember that this was a lady writing to her friends in real life and not a stage production.
Cathcart Circle - HandBound Research
Page 10 - A Meal with Catherine the Great in Russia - 1768.

Gainsborough - 1781- George III - HandBound
George III - Gainsborough - 1781
The 9 siblings of Lord and Lady Cathcart are:
- Jane born 20th may 1754. Married 4th Duke of Atholl. Died 1790. Had 5 sons and 4 daughters.
- William, born 17th Sept 1755. 10th Lord and 1st earl Cathcart. Married Elizabeth Elliot. Died 16th Jun 1843. Had 6 sons and 4 daughters.
- Mary (our 'Beautiful Mrs Graham') Born 1st March 1757. Married Thomas Graham. Died 26th June 1792. Had no children.
- Louisa, born 1st July 1758. Married 7th Lord Stormont in 1776 and then Hon. Robert Greville in 1797. Died 1843. had 4 sons and 1 duaghter with Lord Stormont and 1 son and 2 daughters with Hom. Greville.
- Charles Allan, born 28th Dec 1759. Unmarried and died at sea 10th June 1788.
- John, born 23rd April 1761. Died at 10 months.
- Archibald Hamilton, bonr 25th July 1764. Married Frances Hanrietta. Died 1841. Had 1 son and 7 daughters.
- A son still born - 7th June 1768.
- Catherine Charlotte, 8th July 1770. Died Unmarried 20th Oct 1794.

The lives of these siblings cover glimpses into the English Court of George III, his wife and his illness. It includes the British politicians and some of the court life surrounding these notable figures. When the 3rd sister goes to France we see a window into the court of Marie Antionette and King Louis XVI. It has two brothers serve in the American Independant War, experience India, give accounts of  being at sea and talk of the French Revolution. It contains letters from the Duchess of Devonshire, snippets from Robert Burns and other notable people. Each page kept me totally entranced.

It also stamped all over some of our ideas that we had built up from reading other books. Lisa Picard in her fabulous books - particularly Dr Johnson's London, suggests that' Supper' isn't a thing that happened in the 18th century. The main and only meal being 'Nooning' or 'lunch'. We've also researched this in other areas and the general idea is that this main midday feast began to become more fashionable at say 2:oo, then 5:00 and then 8:00 with the Victorians, which then opened up space for lunch to happen again. What's mentioned in these letters here doesn't always correlate with this idea. Can we just say; that we're not disagreeing with Lisa Picard, who we think is wonderful and who obviously came across this idea of nooning in contemporary historical documents. It's simply that it's not what we read in these pages. Firstly the word 'Supper' is used and secondly it is used in connection with an evening meal. Also, the balls had 'Suppers' included in them. This book also tramped all over our idea (again mostly from probably mis-understanding Lisa Picard)  that Christmas wasn't an idea that was celebrated back in the 18th century; that it was Michaelmas that they celebrated and that it was a root of our version of Christmas. Again; this doesn't seem to tie in with these letters. Christmas is mentioned several times and one particular letter by Jane Cathcart (known only ever as the Duchess in these letters once she was married) describes guests having problems travelling to them through the snow. She also mentions some of the decorations. It also has bits that surprised me: they are willing to talk about cheapness - p.176-177, a wonderful moment where they get stopped in their coach by 'footpads', Lady Louisa Stormonts arranged marriage and her letters from the time - Talk about humilty! It's quite something to read someone going through the process of an arranaged marriage and see what she writes to her very close sisters - it's not at all what you'd think.

In the pages below is Lady Stormant's letter to her sister, the Duchess of Atholl, describing her first experiences of the French Court at Fontainebleau and the countryside retreat there.
Ann Buck in her book 'Dress in Eighteenth Century England' used quotes from various letters to show the difference between the English and French cultures and how the English Court's tradition of moving out of London and to the country was a horror to the French ladies. 'A French Lady told me she thought the English women not so happy as the French...' Mrs Montagu writes in 1776,  'I smiled and said I was not sure of that. She gave it as one reason that they were obliged to spend part of the year in the country. I combated her opinion, but found it impossible to make her comprehend the pleasure of a morning or evening walk...' (A.Buck, page 50). Therefore, I was quite surprised to read how the french court took leave of Versailles to go to a place in the country, hunt, race and take picnics. In the clip below you do not have all the letters that appertain to this Countryside retreat but you have Lady Stormont's first encounter of this place.
Cathcart Circle - HandBound Bibliography
Interesting Glimpse into the French court of Louis 16th and Marie Antoinette.
Mrs Graham - Gainsborough - 1775 - HandBound
The Beautiful Mrs Graham - Gainsborough - 1775
Lady Stormant, the 3rd youngest sister and who spent a lot of time in Paris as an Ambassador's wife, writes often about French fashions and what her sisters should wear if they came over. She writes in one letter in the prospect of Mary Graham (a.k.a The Beautiful Mrs Graham) visiting 'If you have a new black (they were in mourning at the time) silk sacque, very handsome, bring it, if not don't for hoops and everything are different here from what we wear...I am trying to recollect your gowns. I think you have a pretty spring silk which was in a court dress and a trimming, which would make a very handsome sacque."  I've highlighted this quote as it creates an interesting idea that though Lords and Ladies, their dresses weren't necessarily worn and discarded in the same manner as we picture and in the same manner as we do today.  Perhaps it's easy to assume a snobbery in dress about re-wearing items or always having to have dresses new for all of the Nobility and the fashionable but this quote, atleast hints to that not necessarily being the case.
Gainsborough - 1781- Queen Charlotte - HandBound
Queen Charlotte - Gainsborough - 1781
The Duchess of Atholl ( Mrs Graham's older sister) was  a high figure in society. William the older brother, married an American lady, Elizabeth Elliot, known as Lady Cathcart in the letters. Lady Cathcart became very closed to the queen and when Small Pox broke out near where they lived, Queen Charlotte took her aside at Court and virtually demanded that they took possesion of Frogmore House to escape the illness. Her roles in court were Governess and Lady of the Bedchamber in 1795 to the Queen and Lady-in-Waiting in 1801 and 'finally Mistress of the Robes'.
Catherine Cathcart, a younger sister of Mary, Louisa and Jane, also became 'Maid of Honour' to Queen Charlotte who was her Godmother.
Quotes from the Letters about Fashion:
- p.53: "We dined today at Coventry, where we bought ribbons, some of which I send you; I don't know whether you will think them very pretty, but it was the manufacture of the place and the newest they had. You will want variety at the Races and they may happen to suit some of your gowns. "
- P.54: "I will also endeavour to send you a pair of Riding Gloves, which are made of fawn skin; we got them at Woodstock, where they are famous for making them." ( These two quotes are especially interesting to us after reading Dress in 18th Century England by A.Buck as she mentions quite deeply the various places of trade in the U.K)
- P.69: "My Habit is pretty, something like yours in colour with little buttons like those on Graham's green riding-dress, in the last fashion."
- P.69: " Mr Greville has given me abundance of charming and very long feathers from Paris, but I hvae not yet that the courage to wear the longest of them, for Papa is generally in the carriage and I cannot sit down without removing the cushion, which would not please him."
- "Lady B. has given me a dress for my birthday of blue satin which must be trimmed. Mixed colours are all the fashion. Puce and couleur des cheveaux de la Reine are the most fashionable."
- P.74-75: "Everybody was in mourning and a great many in white polonaises. Miss D. Wrottesley I suppose not being provided with one, thought black would do as well. It was one of those that are loose behind (we are intrigued by what this means!) and was tied up with two little knots of white ribbon, which had a very singular effect; it was laced with narrow white ribbon which with her dancing amde her a most visible figure."
- P.82: QUOTE OF THE MONTH! "He told me I should never appear at Paris without rouge."
There were many more quotes and wonderful information within this book but we shall leave that pleasure to you, to be able to dig inside this book and find each page a total surprise as we did!
A List of Portraits that we could find of some of the People mentioned in this book!
Comtess d'Artois - Gautier d'agoty-1775-HandBound custom made period costumes, HandBound Historical Costumes, Made to measure Historical Garments, 18th century Clothing, Replica costumes adn Reproductions from Museums and Paintings, Re-enactment clothing, Georgian Costume, 18th century Costume Research, Bespoke Replica costumes, Royalty in the 18thc, Key figures in 18th century European Nobility,
Comtess d'Artoise - 1775 - d'Agoty
- Comtesse D'Artios. She is mentioned fairly frequently in Lady Stormont's letters as a close friend to Antionette. There is only one bit where Louisa comments on her character and it's when she first meets her and says: "I went to Madame with the same ceremonies, Monsieur also coming in, they are both very agreeable, then I went to Madame d'Artois, who is not so much so. Mons. d'Artois was a little embarrassed, and she not a little." Whenever Lady Stormont mentions her again it is literally to say she was there and what she was doing, there appears to be no other description of her character.
Marie Antionette - Vigee le Brun - 1778 - HandBound, HandBound Historical Costumes, Made to measure Historical Garments, 18th century Clothing, Replica costumes adn Reproductions from Museums and Paintings, Re-enactment clothing, Georgian Costume, 18th century Costume Research, Bespoke Replica costumes, Royalty in the 18thc, Key figures in 18th century European Nobility
M.Antionette - Le Brun - 1778

- Obviously Marie Antionette is mentioned very often and Lady Stormont says some very nice things about her. "The Queen was very talkative and agreeable though she was frightened too. She is a most agreeable figure, I think something like Lady Granby, and is vastly pleasing. The king came in, as soon as they had been to tell him. We all got up and he talked to me a little while and then went away. We sat down as before for a moment, then the Queen got up and we made our exit with three curtesies backwards, kicking away the bas de robes with one foot, as the Actresses do, which is absolutely necessary so as not to fall."
HandBound Historical Costumes, Made to measure Historical Garments, 18th century Clothing, Replica costumes adn Reproductions from Museums and Paintings, Re-enactment clothing, Georgian Costume, 18th century Costume Research, Bespoke Replica costumes, Royalty in the 18thc, Key figures in 18th century European Nobility
Louis XVI - Duplessis - no date

- The King doesn't get many mentions, its all pretty much the same as the above text. Here's another account of her experience at court where, again Lady Stormont gets to sit on a Tabouret which apparantly was a great honour and they watched the King and Queen and the Comte and Comtesse d'Artios eat. It is also another example of supper in the evening, being after 9 at night. "They all went to supper, and supped in publick. I had a Tabouret there to see them sup. If I had been them, I should have been embarassed to eat before so many people, but they were not at all. It was a small room. there was a large horse-shoe table, the King and Queen sat in the middle, Madame, and Madame la Comtesse d'Artois on one side and le Comte d'Artois on the other. I sat just behind Monsieur, who talked a great deal with me and is very agreeable. The King also and M.d'Artois were very civil. I was too far off to be spoken to by the Queen, but she was very gracious when I came near, and desired me to sit down, and made me a very smiling courtesy when I went away. She is a very agreeable Queen and when she chuses can look very dignified."
Louise d'Epinay -Liotard - 1759 - HandBound Costumes. HandBound Historical Costumes, Made to measure Historical Garments, 18th century Clothing, Replica costumes adn Reproductions from Museums and Paintings, Re-enactment clothing, Georgian Costume, 18th century Costume Research, Bespoke Replica costumes, Royalty in the 18thc, Key figures in 18th century European Nobility
Mdm d'Epinay by Liotard - 1759

- Madame d'Epinay is also mentioned in Lady Stormont's letters to her sister Mary. Having described meeting some of the Original Salonieres, such as Madame de la Tallien and Madame du Deffand, she now decribed going that same evening to see Madame d'Epinay "who is a great favourite of Lord Stormonts and in the same stile as those I have mentioned. She has some illness that confines her entirely, and the physicians have told her she can never expect to go out of her house again. She is between 40 and 50, looks much younger and rather pretty." This portrait here was painted 17 years earlier than the quote given above that was written in 1776 from Paris.
David Garrick the actor in the 18th century, handBound Costume research, HandBound Historical Costumes, Made to measure Historical Garments, 18th century Clothing, Replica costumes adn Reproductions from Museums and Paintings, Re-enactment clothing, Georgian Costume, 18th century Costume Research, Bespoke Replica costumes, Royalty in the 18thc, Key figures in 18th century European Nobility, studying letters from the 18th century
David Garrick - Gainsborough - 1770

- David Garrick is another celebrity mentioned on these pages. Described in the Duchess of Devonshire's letter to Mary Graham she says: "Mr Garrick is just going to read to us two Acts of Macbeth; I have just got a little moment before he begins to write to you in. " She follows this statement later in the letter with: "I do assure you I have no terms to express the horror of Mr Garrick reading Macbeth. I have not recovered it yet. It is the finest and most dreadful thing I ever saw or heard, for his action and countenance is as expressive and terrible as his voice. It froze my blood, as I heard him and I have scarcely got rid of the dreadful idea yet. My sister's nerves were very much shaken by it. She has been nervous and low all to-day."
Gainsborough-Duchess-of-Devonshire -handBound costumes
Georgiana Duchess of Devonshire by Gainsborough - have yet to find a date.

- As mentioned above there is also a few mentions of the infamous Duchess of Devonshire. but in the two letter extracts mentioned in the book, she sounds quite genuine and, as they would say back then: agreeable. Charles, the younger brother writes here "I have seen the Dutchess of Devonshire, she looks vastly well. All that party wear Fox ribbands and laurels. The prints have amde infamous caricatures of her." With his own political life in full swing, he writes in 1784 of not wanting to be 'intimate with people I have named' as it "would put me in their power more that I wish. I hope I have not offended the Duchess of Devonshire by not going to any political meetings there; if I have, I will plainly tell her my reasons."
Before Mary Graham died, she was visited by Mrs Nugent who wrote a letter describing the conversation they had had. Here Mrs Graham also mentions the Duchess of Devonshire, and I quote (remember this is Mrs Nugent writing) "She resumed the conversation giving the greatest character of the Duchess of Devonshire, 'clever, safe, benevolent'. Then 'Tell her to thank Lady Spencer for all her kindness to me."
Madame Necker in the late 18th century painted by Duplessis,  handBound Costume research, HandBound Historical Costumes, Made to measure Historical Garments, 18th century Clothing, Replica costumes adn Reproductions from Museums and Paintings, Re-enactment clothing, Georgian Costume, 18th century Costume Research, Bespoke Replica costumes, Royalty in the 18thc, Key figures in 18th century European Nobility, studying letters from the 18th century
Mdm necker - Duplessis - no date

- Madame Necker is another that is often mentioned in the French Society, where her and her husband were part of the Diplomatic circles. Although described as a little boring by Mdm du Deffand they were still obviously a close part of society there in Paris. Lady Stormont writes in 1776 "I supped at St Ouen Saturday; this place belongs to Monsieur and Madame Necker whom the Duchess (Jane Cathcart, the older sister) knows. They are a good sort of people and very civil to us. Madame is a sensible woman, reckoned very clever, in short what is generally called a Bel Esprit, that talks of the Voltaires and Rousseaus, and disputes on this and t'other subject. However, I must say in that stile she is very agreeable, for she does not always talk fine."
Gainsborough - 1784 - William Pitt - Handbound historical Costumes and research, handBound Costume research, HandBound Historical Costumes, Made to measure Historical Garments, 18th century Clothing, Replica costumes adn Reproductions from Museums and Paintings, Re-enactment clothing, Georgian Costume, 18th century Costume Research, Bespoke Replica costumes, Royalty in the 18thc, Key figures in 18th century European Nobility, studying letters from the 18th century
William Pitt - Gainsborough - 1784

- William Pitt the Younger. Charles, when not off with the Armed Forces, began to shape for himself a political career. It is in his letters that the most in-depth perception of the British Parliament are painted. We know from what the author writes as part of his background that William Pitt appointed him to go to China to open intercourse with that nation. He writes in 1787 "I am very sorry that it is impossible for me to come down to Scotland. You write to me plump about China. I have been instructed not to mention where I am going, but in conversing with you we will suppose that I am going to China - a supposition which should my particular friends put to me I would disavow...". There is also the political side, and Mr Pitts' involvement, in the illness of George III and the Regent's accession into power. Lady Stormont writes in 1788 to Mrs Graham that "Mr Pitt is soliciting addresses to the Regent from all the towns in England to keep him in power. Pray mention without quoting me, that 'you will soon see address for Mr Pitt's continuing Minister, as the letters to that purpose are writing with all Expedition. I fear my brother is too much influenced by living with those people, he does not feel this, but I am sure it is so. There is not the least amendment (in the Kings mental condition) or appearance of it, but it is treason in any person to speak the truth. Dr. Willis, a determined Pittite, is not deceived himself, but he assists Mr Pitt in the deception of the rest of the world."