In her 1983 book, Period Design & Furnishing, Judith and Martin Miller present a wonderful overview of historical furniture design along with stunning photographs of both extant homes as well as contemporary recreations. This book is fascinating, not only to the Janeite hoping to better understand the nuances of fashion during the eras Jane lived through (Georgian, Regency, Empire and Biedermeier) but also to the author seeking to set her stage, the miniature artist attempting to capture a moment in time and the home decorator feathering her nest in a style reminiscent of days gone by.
Quoting from the chapter, Regency, Empire and Biedermeier, we find a lovely description of Regency taste and how it differentiated from the preceding Georgian Era:
“Life in the English Regency period, which in its broadest sense stretched from the late 1790s until the late 1830s, was more intimate and informal than previously. Rooms, often with a bay window, were smaller and had lower ceilings, and the arrangement of furniture was much more casual. Instead of being ranged around the room, pieces were grouped close to the fireplace. Family and friends would gather around a circular table to talk or play cards. Interiors were better lit than before: the new, efficient oil lamps enabled several people to share a table fore reading or writing.
Regency rooms were on the whole light and graceful with fairly plain walls in a clear pale color. There would be a narrow frieze, and the ceiling was usually plain or decorated with a small central garland with a chandelier hanging from it. Fabric was used in abundance– swathed and draped over valances and sometimes festooned between the legs of chairs. Continue reading Simplifying Regency Style
Thomas Hope (30 August 1769 – 3 February 1830/1831), was a Dutch and British merchant banker, author, philosopher and art collector, best known for his novel Anastasius a work which many experts considered a rival to the writings of Lord Byron. His sons included Henry Thomas Hope and Alexander Beresford Hope. Hope in oriental dress; colour print after the portrait of 1798 by William Beechey. The eldest son of Jan Hope, Thomas was descended from a branch of an old Scottish family who for several generations were merchant bankers known as the Hopes of Amsterdam, or Hope & Co. He inherited from his mother a love of the arts, which the efforts of his father and grandfather made possible by acquiring an enormous wealth. His father spent his final years turning his summer home Groenendaal Park in Heemstede into a grand park of sculpture open to the public. After he fled to London with his brothers to avoid the French occupation of the Netherlands from 1795–1810, he never returned. The Hope Dionysus is a statue of Dionysus, the god of wine, wearing a panther skin and casually stretching his left arm over a smaller figure of a woman, in a Neo Attic or archaic pose. This statue, 821⁄4 in. (2.1 m) high, dates to between 27 BC and 68 AD. It was once owned by the 18th Century English antiquities collector Thomas Hope (hence the name), and later belonged to a descendant of Benjamin Franklin, before being acquired by the (more…)
Ackermann’s Repository of Arts was an illustrated, British periodical published from 1809-1829 by Rudolph Ackermann. Although commonly called Ackermann’s Repository, or, simply Ackermann’s, the formal title of the journal was Repository of arts, literature, commerce, manufactures, fashions, and politics, and it did, indeed cover all of these fields. In its day, it had great influence on English taste in fashion, architecture, and literature. Along with articles on current events, stories and helpful tips, the magazine was famous for its studies of women’s fashion and architecture, including home furnishings. The following plates are from 1816. These beautiful illustrations give a good example of society interior decorating from the era when Jane Austen was writing Persuasion. No doubt it is the style of opulence to which Sir Walter and Elizabeth Elliot would like to become accustomed to. Glancing through the pages gives the modern reader a delightful context in which to set the staging of their favorite scenes. Furniture Plate 2: Chimney Piece of Mona Marble. (Series 2,Vol 1: Jan – June 1816) Furniture Plate 8: Drawing Room Window Curtains (Series 2,Vol 1: Jan – June 1816) Furniture Plate 14: French Sofa Bed (Series 2,Vol 1: Jan – June 1816) Furniture Plate 20: A French Bed (Series 2,Vol 1: Jan – June 1816) Furniture Plate 26: Grecian Furniture (Series 2,Vol 1: Jan – June 1816) Furniture Plate 32: Dining Room (Series 2,Vol 1: Jan – June 1816) Furniture Plate 8: Dining Room (Series 2 Vol 2 was July – Dec 1816) Furniture (more…)