A wonderful article on the (im)practicalities of underwear, from the Regency period through to the modern day likes of the Wonderbra. Kindly reproduced here with permission from its author, Laurie Viera Rigler, who is also the author of the popular Jane Austen Addict novels. *** It may be the third millennium, but not much has changed* since the days of getting laced into a corset so stiff that one could barely lean over, let alone breathe. It’s no wonder ladies had to carry around smelling salts, or “vinaigrettes,” as they were called in Jane Austen’s day. Those Mr. Darcy types may have been swoon-worthy, but it was likely more a lack of oxygen than romantic flutterings that caused ladies to faint. It wasn’t only ladies who were wearing corsets or “stays.” The Prince Regent was a favorite target of cartoonists for trying to mask his size with a corset. Today, we call these instruments of torture “shapewear.” Sounds friendly and appealing, doesn’t it? After all, who doesn’t want to have a shape? The promise and the reality of shapewear, however, can be two very different things. If you’ve ever had a shapewear nightmare of your own, you will love Melissa McCarthy’s story. But here’s where we can really explore the WHY of shapewear–and ROFL in the process. This is about three guys who decide to test out a girlfriend’s Spanx just for a laugh, and get more than they bargained for. Brilliant. If sheer discomfort isn’t enough to inspire you to choose jiggles (more…)
What’s the Jane Austen News this week?
Pride and Prejudice is the Bishops’ Pick
A television channel owned by Italy’s conference of bishops and endorsed by the Pope is to broadcast BBC shows for the first time. Among the nine period dramas it has chosen to show are the BBC’s 1995 Pride and Prejudice adaptation, which considering the fact that it has that wet shirt scene in it, which has left women weak at the knees for years, it might not be quite the safe and genteel choice they think it is.
Usually TV2000, the name of the Roman Catholic station which is also known as “the Italian Church’s TV”, shows in a typical day’s schedule broadcasts of Holy Mass and the Holy Rosary from Lourdes, with occasional showings of Doris Day films.
Other programmes the channel has signed up for are adaptations of Jane Eyre, Great Expectations, Elizabeth Gaskell’s North and South, The Paradise, and Gerald Durrell’s My Family and Other Animals.
They’ve also asked for the 2008 version of Sense and Sensibility. However this adaptation was criticised after its original airing by the Jane Austen Society for “sexing up the story” by opening with a scene in which John Willoughby seduces a 15-year-old girl. Hopefully this won’t take away the bishops’ seal of approval from Jane Austen adaptations, which was also given to (through their purchase of) a 2009 version of Emma, starring Romola Garai, and a BBC feature film, Miss Austen Regrets, which charts the author’s later years.
Winning Illustrator Chosen
Darya Shnykina has been selected as the winner of The Folio Society’s 2017 competition to see who will illustrate The Folio Society edition of Mansfield Park. Darya, who is a student of the Moscow State University of Printing Arts, was one of 23 illustrators who were selected for the longlist of finalists. This year the entrants were asked to submit three illustrations and a binding design for Mansfield Park by Jane Austen. The new edition, featuring illustrations by the winner, will be published by The Folio Society in October 2017.
Darya was presented with the prestigious commission, worth £5,000, by eminent historian Lucy Worsley during a ceremony at House of Illustration on Thursday 23 February. The rest of the shortlist, who each receive a £500 prize, are; Natasa Ilincic (Italy), Katie Ponder (UK), Meizhen Xu (Germany), Alexandru Savescu (Romania) and Pedro Silmon (UK). The winner of the first ever Visitors’ Choice Award, which saw over 1,500 people voting, was Katie Ponder.
Darya did the perfect cover: fitting in beautifully with the rest of the series, charming to look at, clever with the layering, and bold. But we were equally charmed by her illustrations for inside which managed to suggest character and some of the powerful feelings in the novel, like anger and disappointment.
Considered the first artificial pigment, Prussian Blue was created in the 1700’s, ironically, by an artist seeking to create a new source for red paint. It rapidly gained popularity as first an artist’s medium, and later as a color fast dye. It is the traditional “blue” in blueprints and is used as an antidote for certain kinds of heavy metal poisoning
Prussian blue was probably synthesized for the first time by the paint maker Diesbach in Berlin around the year 1706. Most historical sources do not mention a first name of Diesbach. Only Berger refers to him as Johann Jacob Diesbach. It was named “Preußisch blau” and “Berlinisch Blau” in 1709 by its first trader. The pigment replaced the expensive Lapis lazuli and was an important topic in the letters exchanged between Johann Leonhard Frisch and the president of the Royal Academy of Sciences, Gottfried Wilhelm Leibniz, between 1708 and 1716. It is first mentioned in a letter written by Frisch to Leibniz, from March 31, 1708. Not later than 1708, Frisch began to promote and sell the pigment across Europe. By August 1709, the pigment had been termed “Preussisch blau”; by November 1709, the German name “Berlinisch Blau” had been used for the first time by Frisch. Frisch himself is the author of the first known publication of Prussian blue in the paper Notitia Coerulei Berolinensis nuper inventi in 1710, as can be deduced from his letters. Diesbach had been working for Frisch since about 1701.
In 1731, Georg Ernst Stahl published an account of the first synthesis of Prussian blue. The story involves not only Diesbach but also Johann Konrad Dippel. Diesbach was attempting to create a red lake pigment from cochineal but obtained the blue instead as a result of the contaminated potash he was using. He borrowed the potash from Dippel, who had used it to produce his “animal oil”. No other known historical source mentions Dippel in this context. It is therefore difficult to judge the reliability of this story today. In 1724, the recipe was finally published by John Woodward.
Bucks, Beaus and Dandies
Though not specifically mentioned by Jane Austen, it does not take much reading up on the Regency to come across descriptive terms for generalizing a young man’s London habits. Bucks, Beaus and Dandies (and Corinthians) make their appearance throughout fiction set in this era. It can be hard to decipher just which character qualities are inherent to which, now obscure, terms such as Beaus and Dandies. The following definitions, excerpted from Jennifer Kloester’s 2005 book, Georgette Heyer’s Regency World, give a more complete picture. Heyer, herself, was known for her meticulous research and knowledge of the era and is considered one of the foremost experts in the field. This book is based on her own catalog of facts and historical insights.