Regency opera dresses

Opera dresses from The Mirror of the Graces (1811)

Here is the final post from The Mirror of the Graces depicting fashion at the beginning of the Regency. The other posts are: morning dresses, promenade dresses and evening dresses. This post looks at opera dresses.

Lady in pink

The fourth plate represents two females in opera or full dress. First figure attired in a round robe, with a demi-train of pink imperial gauze, worn over a white satin slip, ornamented round the bosom, back, and shoulders, with fine Vandyke lace: white satin short sleeves, and appliqued stomacher of white satin, rising above the robe in front of the bust, so as decorously to shade the bosom: a Pomeranian bonnet of white satin, or silver frosted velvet: two white ostrich feathers drooping towards the left side: a diamond or pearl neck-chain, with Carmelite cross: a silver cestus and clasp: a Chinese scarf of white or fawn-colour silk, with variegated ends, and narrow corresponding border: white satin or kid slippers, trimmed with silver fringe: white gloves of French kid, and fan of spangled crape.1

Vandyke lace

The lace is described as ‘Vandyke’, a term that was also used in the description of the morning gowns in The Mirror of the Graces which I looked at in a previous post. This means that the lace was edged in v-shaped points, the name coming from the Flemish painter, Sir Anthony Vandyke, who was known for his short pointed beard. 

Vandyke lace detail on a
dinner costume from  
La Belle Assemblée (1808)

Pomeranian bonnet

The bonnet is described as Pomeranian. Pomerania is an area in north east Europe bordering the Baltic Sea. As far as I can work out, in 1811, part was ruled by Prussia and part by Sweden. If anyone is an expert in European politics during the Regency, please feel free to correct me.

Carmelite fashion

The pendant worn by the first figure is described as a Carmelite cross. I wondered what the significance of Carmelite was and discovered the history of the Carmelite nuns. 

Carmelite derives its name from the Carmel mountain range in current day Israel. In the biblical story, it was on Mount Carmel that Elijah demonstrated that his God was the only true god and defeated the wicked prophets of Baal. This gave rise to various Carmelite Orders including the Discalced Carmelite nuns. Apparently discalced simply means that they went around with bare feet. 

The Discalced Carmelite nuns of Paris were guillotined in 1794, during the French Revolution, and became known as the Martyrs of Compiegne. I suspect that it was this tragic story that probably inspired the fashions based on the devotional clothes of the Carmelite nuns.

I have been unable to find out exactly what a Carmelite cross looked like, but have discovered a number of other references to Carmelite in the fashion descriptions of the period including several references to ‘Carmelite brown’, the colour of the Discalced Carmelites’ clothing. 

Grey satin hats trimmed with rose colour, which forms a beautiful union, or of a Carmelite brown velvet, are reckoned most elegant;2

The dresses of the Ladies B was so singular in their construction and design, that they will be found worthy of delineation, were it only on the score of novelty; they were styled the Carmelite, or Convent vest, and were formed of a gossamer satin, the colour a nun's brown.3

…it will therefore only be necessary here to specify such articles as are most worthy of distinction in this and every other style of fashionable decoration. The Carmelite, or Convent cloak, of coloured sarsnet;4

The Carmelite cloak, though much in esteem, is rivalled by the Rugen mantle, or Swedish wrap, which owes its origin to the exquisite taste, and invention of my dashing cousin.4

Mary wore a single row of fine brilliants, by way of necklace, from the centre of which was suspended a Carmelite cross, her earrings and bracelets to correspond.4

A silver cestus

The first time I Googled ‘cestus’ to find out what it was, I was told that it was an ancient battle glove a bit like a boxing glove. This didn’t sound right, so I looked again. Elsewhere in The Mirror of the Graces, it referred to “the cestus of Venus as the talisman of beauty”. By searching for ‘cestus of Venus’, I came up with a much more appropriate definition for cestus: a woman’s belt or girdle, particularly those worn by women of ancient Greece. 

Pale pink cestus or belt on an evening dress
from La Belle Assemblée (1812)

Lady in white

The second figure in this plate appears in a Grecian robe of white gossamer satin or sarsnet, ornamented at the bottom with a deep silver border in the Egyptian style, and confined up the front, and across each side the bosom with small turquoise snaps, and clasps to correspond: the hair in full curls in front, formed in helmet crown behind, and ornamented with a wreath of white roses: a large pilgrim’s or Carmelite pelerine of spotted ermine, lined with blue silk: blue kid slippers, with silver clasps: gloves of French kid, and fan of carved ivory, with blue and silver crape mount.1

More Carmelite fashion

A pelerine is a short or waist-length cloak or cape with long pointed ends hanging down in the front. Pictures of current-day Carmelite nuns show them wearing a shoulder cape or pelerine underneath their brown scapular or tabard-like garment. However, this picture of Mother Teresa of St Augustine suggests that they may have worn them over their scapulars.5 We can be sure of one thing though – they certainly wouldn’t have been made of spotted ermine!

Mother Teresa of St Augustine, a Carmelite nun,
 from Life of the Venerable Mother Teresa
of St Augustine (1879)

Rachel Knowles writes clean/Christian Regency era romance and historical non-fiction. She has been sharing her research on this blog since 2011. Rachel lives in the beautiful Georgian seaside town of Weymouth, Dorset, on the south coast of England, with her husband, Andrew.

Find out more about Rachel's books and sign up for her newsletter here.

If you have enjoyed this blog and want to encourage me and help me to keep making my research freely available, please buy me a virtual cup of coffee by clicking the button below.

Notes
(1) From The Mirror of the Graces; or the English lady's costume (1811) by a lady of distinction.
(2) From La Belle Assemblée (Dec 1814)
(3) From La Belle Assemblée (Aug 1807)
(4) From La Belle Assemblée (Sept 1807)
(5) Mother Teresa of St Augustine was the assumed name of Princess Louise of France (1737-1787), youngest child of Louis XV. She joined the Carmelite convent at Saint-Denis in 1770.

Sources used include:
A lady of distinction, The Mirror of the Graces; or the English lady's costume (1811)
Bell, John, La Belle Assemblée (1806-1837)
Life of the Venerable Mother Teresa of St Augustine: Louise of France, daughter of Louis XV, Carmelite nun of the convent of St Denis (1879) (in French)

Did Regency ladies ever get sunburnt?

Seaside walking dress
La Belle Assemblée (Aug 1810)

Where I live in Weymouth, Dorset, we have enjoyed another day of gloriously hot sunny weather. Fortunately, I have avoided getting sunburnt, but my daughter has not been so lucky, and has a few sore red patches of skin which the sun cream missed.

Weymouth has been a popular seaside resort for more than 250 years and was visited many times by George III and his family. 

 

You can read more about George III in Weymouth here.

It made me wonder whether Regency ladies ever 'caught the sun' and what they would do about it if they did. Was it even possible to get sunburnt, given that ladies wore outfits like the seaside walking dress above when they were beside the sea?

Weymouth Beach (July 2019)

‘Good for taking off sunburnings’

I came across the following recipe for fard in The Mirror of the Graces, which says that it is ‘good for taking off sunburnings’1:

This appears to answer both my questions: ladies did occasionally get sunburnt and they may have used home-made fard to treat it.

An effective after-sun treatment?

I thought that fard sounded quite pleasant until I discovered that spermaceti was a white waxy substance chiefly found in the head cavities of the sperm whale which was widely used in the production of candles, ointments and cosmetics at the time!

A pipkin is a small earthenware or metal cooking pot with three feet and a handle which is used for cooking over direct heat, such as an open fire. Essential equipment if you wanted to make your own cosmetics in the Regency period.

Almonds, honey and whale wax. I wonder whether it was effective.

A full description of the fashionable seaside walking dress shown above

A gown of white French cambric, or pale pink muslin, with long sleeves, and antique cuffs of thin white muslin, trimmed with Mechlen edging; made high in the neck, without a collar, and formed in points at the centre of the bosom, with three rows of letting-in lace; confined down the front of the dress with small buttons; and hemmed round the bottom with three rows of deep Mechlen lace; made rather short, and worn over trowsers of white French cambric, which are trimmed the same as the bottom of the dress. A cap composed of lace and light green silk trimming, tied under the chin, with a bunch of natural flowers in front. Hair in full ringlet curls, divided in the front of the forehead. A figured short scarf of pale buff, with deep pale-green border, and rich silk tassels; worn according to fancy or convenience; with gloves of pale buff kid; and sandals of pale yellow, or white Morocco, complete this truly simple but becoming dress.2

Rachel Knowles writes clean/Christian Regency era romance and historical non-fiction. She has been sharing her research on this blog since 2011. Rachel lives in the beautiful Georgian seaside town of Weymouth, Dorset, on the south coast of England, with her husband, Andrew.

Find out more about Rachel's books and sign up for her newsletter here.

If you have enjoyed this blog and want to encourage me and help me to keep making my research freely available, please buy me a virtual cup of coffee by clicking the button below.

 

Notes
1. A lady of distinction, The Mirror of the Graces; or the English lady's costume (1811)
2. Bell, John, La Belle Assemblée (July 1810)

Sources used include;
A lady of distinction, The Mirror of the Graces; or the English lady's costume (1811)
Bell, John, La Belle Assemblée (John Bell, 1810, London)

Regency evening dresses

Evening dresses from The Mirror of the Graces (1811)

The third plate from The Mirror of the Graces; or the English lady's costume is of two evening dresses.

Ornamented with Mechlin lace

The first figure in a round robe of white crape, ornamented at the feet with a flounce of Mechlin lace: an horizontal striped front, composed of alternate lace and needlework: short sleeve to correspond: the robe extended over a slip of gossamer satin, either white, blossom-colour, or blue: the hair in curls confined, and ornamented with a bandeau and rose-diadem of pearls, diamonds, or coloured gems; ear-rings, neck-chain and bracelets to correspond: French watch and chain, with a cluster of small variegated emblematic seals: ivory fan, with mount of silver frosted crape: white satin slippers, with silver clasps or rosettes: and white gloves of French kid.1

Mechlin lace

Mechlin lace originated in Flanders and was traditionally made by hand using a system of bobbins to organise the threads being woven together.

It is a very fine lace with a transparent appearance, particularly known for its floral patterns and outlined designs. It was particularly suitable for trimming garments, such as the evening dress described above. It was sometimes used for gathered trimmings called quillings.
 

Mechlin lace2

Velvet elegance

The second figure in this plate appears in a robe of green vellum gauze, or Venetian velvet: the bosom and sleeves ornamented with alternate folds of white satin, and finished at the feet en suite: a full long sleeve of white crape: belt of white satin, confined with a large rose clasp of carved mother-of-pearl, with Maltese or convent cross, suspended in front of the bosom: a Grecian scarf of silver tissue, or white French silk, the ends gathered into a globe tassel of silver: the hair in irregular curls and ringlets, twisted on one side the head in the eastern style, and ornamented with rolls of silver frosted crape or gauze, finished on the left side with a silver rose: Grecian sandal-slippers appliqued with silver embroidery in front of the foot: gloves of white kid, and fan of carved ivory.3

Folding fans

Folding fans were popular fashion accessories throughout the Georgian period and were made all over Europe as well as being imported from the Far East by the East India Company.

A folding fan consists of sticks which are joined at the base by a rivet which forms a pivot for the fan to be opened or closed. These sticks are then covered with a pleated leaf which is painted or printed with a design. The outer sticks are called guards and together with the rest of the sticks, they are called montures.

During the Georgian period, the montures were made from materials such as ivory, mother of pearl and tortoiseshell, and were often carved and decorated with precious metals and stones.

The smaller brisé fan was particularly fashionable during the late Georgian and Regency periods. The brisé fan has wider sticks that overlap when open and are joined at the top by a ribbon or thread creating an effect similar to the pleated leaf of the folding fan.

Carved ivory fan4

Read more about Regency fashion from the The Mirror of the Graces - Regency promenade dresses and Regency morning gowns.

Rachel Knowles writes clean/Christian Regency era romance and historical non-fiction. She has been sharing her research on this blog since 2011. Rachel lives in the beautiful Georgian seaside town of Weymouth, Dorset, on the south coast of England, with her husband, Andrew.

Find out more about Rachel's books and sign up for her newsletter here.

If you have enjoyed this blog and want to encourage me and help me to keep making my research freely available, please buy me a virtual cup of coffee by clicking the button below.

Notes

1. A lady of distinction, The Mirror of the Graces; or the English lady's costume (1811).
2. Picture of Mechlin lace by Carolus and used under a Creative Commons License.
A lady of distinction, The Mirror of the Graces; or the English lady's costume (1811).
3. Picture of carved ivory fan from the Museum of Liverpool by Reptonix under a Creative Commons license.
   

Sources used include:
A lady of distinction, The Mirror of the Graces; or the English lady's costume (1811)
A lace lover's diary website
Candice Hern's website - Regency brisé fans 
The fan museum website

Regency promenade dresses

Promenade dresses from The Mirror of the Graces (1811)

The second plate from The Mirror of the Graces; or the English lady's costume is of two carriage or promenade dresses and is accompanied by a full description.

A long purple pelisse à la militaire

“The second plate represents two figures in carriage or promenade costumes. The most prominent appears in a long pelisse, à la militaire, which is composed of purple or grey twill sarsnet, or of grass green velvet: an arched collar trimmed with Spanish braiding: the front of the bust ornamented with three rows of silk frogs the colour of the pelisse: arched military cuffs to correspond. The coat confined in the centre of the throat, and at the bottom of the waist, with a brooch and clasps of mother-of-pearl set in gold: a convent mob cap of Paris-net confined under the chin, and ornamented in front with a full flower blended with the curls of the hair; its colours tastefully contrasted with that of the pelisse: half boots or Roman shoes, of purple or buff kid: gloves, a pale lemon colour."

A frog is a decorative braiding used to embellish a garment at the same time as fastening it closed by means of a button and loop.

A frog fastening on a cloak

Pocket-less fashions

"The ridicule, when used, should be composed of the same materials as the coat, fixed into a gold lion snap. It is necessary, however, to observe, that this article (though exceedingly convenient, since fashion has excluded the use of the pocket) is considerably on the decline with females of a superior order; but as we hear of no substitute, it can never be completely banished till the fashion of the pocket is revived."

Ridicule for evening wear
 from La Belle Assemblée (Jan 1812)

The necessity of the ridicule

A ridicule or reticule was a lady’s purse. It was designed to carry around personal items that used to be kept in a pocket underneath a lady’s skirts.

A pocket was a flat bag, tied around the waist, completely separate from the dress, and reached by means of a slit in the side seam of the skirt. Pockets fell out of favour in the early 19th century when fashions became more streamlined and it was no longer possible to hide a bulky bag under your skirts.

Ridicules came into fashion enabling ladies to carry around their belongings without spoiling the line of their dresses. The above description suggests that ridicules were on their way out, but in this instance, convenience seems to have outweighed the fashionable notions of “superior” ladies and ridicules remained in fashion.

 A cardinal cloak with high plaited ruff à la Queen Mary

"The second figure in the plate appears in a round robe of plain Indian muslin, of a walking length, ornamented at the feet with needlework; a stomacher front, and Spanish cuff of the same: a cardinal cloak of coloured twill sarsnet, or green Merino cloth, with high plaited ruff à la Queen Mary: the cloak trimmed at the bottom with deep lace, or entirely round with fur: a helmet cap of white satin, blended with lace, confined under the chin with two narrow plaitings of net, and ornamented in front with a small cluster of Persian roses in moss: a cameo brooch confines the dress in front of the bosom, or at the throat; and a clasp of the same embraces the bottom of the waist: the gloves are Limerick or French kid.”

Limerick gloves

Limerick gloves were named after County Limerick in Ireland where they were first made and were a popular daytime accessory during the Regency period. Although often referred to as 'chicken skin' gloves, they were actually made from the skins of unborn calves. They were usually cream or yellow in colour and were renowned for their superior quality and thinness.

Read about Regency morning gowns in The Mirror of the Graces.

Sources used include:
A lady of distinction, The Mirror of the Graces; or the English lady's costume (1811)
Candice Hern's fashion glossary

Photograph by Rachel Knowles

Morning gowns in The Mirror of the Graces at the start of the Regency

Morning dresses from The Mirror of the Graces (1811)

By a lady of distinction

I recently discovered The Mirror of the Graces; or the English lady's costume by "a lady of distinction who has witnessed and attentively studied what is esteemed truly graceful and elegant amongst the most refined Nations of Europe." It was published in 1811, at the start of the Regency period.

Morning or domestic dresses

The above plate is one of four included in the Mirror:

The description reads:

The first plate represents two ladies in morning or domestic habits. The sitting figure is arrayed in a Flemish jacket and petticoat, of cerulean blue muslin, poplin or Chinese silk, laced up the front of the bust with white silk cord; and the jacket trimmed in narrow vandykes to correspond. An antique frill and cuffs of white lace: a Parisian mob cap of thread lace and beading, ornamented with an appropriate flower in front: half boots of amber colour or buff kid: gloves, a pale tan-colour: an occasional scarf of mohair or Cashmire.

The erect figure is represented in a round high dress of white muslin, ornamented at the feet with a coloured border of laurel leaves, in tambour or embroidery: a square falling collar, trimmed with lace, and Spanish cuffs to correspond: a large emerald or gold brooch confining the dress in the centre of the throat: a rich Turkish cord and tassel ornament the bottom of the waist, and fall in irregular lengths on the left side of the figure. The hair, in dishevelled curls in front, twisted in an Indian knot behind, and confined with bands of twisted silk or muslin, corresponding with the colour of the cord and tassel which embrace the bottom of the waist: Roman shoes, and gloves of the same shade.1

A vandyke is a v-shaped point that is part of a decorative border or edging. Its name derives from the Flemish painter, Sir Anthony Vandyke, who sported a short pointed beard.

Rachel Knowles writes clean/Christian Regency era romance and historical non-fiction. She has been sharing her research on this blog since 2011. Rachel lives in the beautiful Georgian seaside town of Weymouth, Dorset, on the south coast of England, with her husband, Andrew.

Find out more about Rachel's books and sign up for her newsletter here.

If you have enjoyed this blog and want to encourage me and help me to keep making my research freely available, please buy me a virtual cup of coffee by clicking the button below.

 

Note
(1) A lady of distinction, The Mirror of the Graces; or the English lady's costume (1811)

Read more from The Mirror of the Graces - Regency promenade dresses

Source
A lady of distinction, The Mirror of the Graces; or the English lady's costume (1811)