Journal Journey into the Year 1811: La Belle Assemblée, September

This month's La Belle Assemblée issue reports, as usual, a month ahead. I, on the other hand, am very late in posting. This fall's workload has been unusually heavy, and we all have come down with assorted bugs to the point that it's a wonder the washer is still working, so many extra loads of laundry have been degermified.

Please don't forget to read the London report from Ackerman's, and those from Weimar and Paris.

• Sabine in Weimar: Journal des Luxus und der Moden
• Alessandra in Paris: Journal des Dames et des Modes
• Maggie, in London: Ackermann's

This month there are no special fashion articles, just the normal plates with their explanations, plus some commentary on trends. They appear on pp. 156-157 of the July-December collection. Here they are below, followed by notes. Personally speaking, I find this month's plates especially pretty, rather than some of the over-the-top ensembles we've seen at other times this year. This month, too, is thematic: it's all about twists and pearls and beads: both plates make use of them and the general observations section mentions that beads are popular, as they have been at other times in 1811.

FASHIONS FOR OCTOBER, 1811.

EXPLANATION OF THE PRINTS OF FASHION.

No. 1. EVENING DRESS. A sea-green crape dress, vandykcd round the petticoat, and ornamented with large beads; a full drapery over the shoulders, and confined in to the back with a pearl band, ornamented round the neck and down the back with beads. A full turban fillet tapered, worn on the head. Pearl necklace, white kid gloves and shoes.

No. 2. BALL DRESS. A fancy dress of undressed white crape, worn over a satin slip; the waist of the dress in the boddice form, scolloped and bound with pink satin ribband; the bottom of the dress scolloped in a similar manner, and caught up with small bunches of artificial flowers, the centre bunch of an increased size. The hem of the petticoat trimmed twisted satin and beads. Short Spanish sleeves composed of satin and lace; the back and shoulders of the dress trimmed with vandyke lace; a bouquet of artificial flowers worn much on one side. The hair ornamented with a fillet of twisted satin and pearls, placed twice round the head, and left to fall in a tassel, finished with beads. Pearl necklaces and earrings. White kid gloves and shoes, with small pink and silver roses.

GENERAL OBSERVATIONS ON FASHION AND DRESS.

During the last month, we have observed several little elegant trifles, but nothing strikingly new, or decidedly prevailing. Whoever can display most taste in transforming a handkerchief into a mantle, or a shawl or veil into a becoming head-dress, is entitled to the palm of taste and elegance. Less seems to depend on the skill of the milliner than on the fancy of the individual; every lady is in some measure her own artist; thus her cap it not only adapted to her figure and features, but even to the air and humour she puts on for the day; she has nothing to do but to look well, and no matter in what. For the promenade, an elegant mantlet is formed with a square of yellow crape, bound with satin ribband of the same colour; it is turned over from the neck, so as to form a sort of cape, the corners ornamented with small elegant silk tassels. White satin spensers, with a white silk scarf thrown over them, are well adapted to the season, and have a fascinating appearance. Satin tippets lined, and edged with swansdown, or spensers, will be well suited to the latter end of the present month. The pelisse of lace or crape, if still retained, will shortly require the addition of a scarf in conformity to the season. Short pelisses of rich twilled sarsnet are much worn over a dress trimmed with a full cambric edging. Satin and lace Grecian or cottage caps, are the prevailing mode of head-dress. Feathers seem less worn for the promenade, and have consequently appeared in greater numbers in the drawing-room.

Morning Dresses are frequently made in the pelisse style, buttoned down the front with small raised buttons, and trimmed round the bottom, the collar, and down the front, with a full cambric frill, delicately plaited. This style of dress is very fashionably prevailing; it gives us that idea of neatness, delicacy, and innocence, always interesting in a female; neatness is most bewitching, not merely as a pleasing quality in itself, but as a certain indication of many others; a well regulated wardrobe is not unfrequcntly a mark of a well regulated mind; of a conduct marked with propriety, and "thoughts void of offence." It is a never failing sign of economy, and of all those qualities so requisite for the well arrangement of a family.

For dinner or borne dresses, Merino crapes, Opera nets, sarsnets, and cambrics are most in request. They have not varied at all in their make. The waists remain much shorter than at the commencement of the summer; they are made entirely plain, to fit the shape. Trains are considered fashionable, but it is a fashion which, except in full dress, is in a great measure superseded by convenience. Cloth dresses have already appeared, but these we cannot help considering as premature. Velvets are very numerous; in fact, there is scarcely any season at which velvet may not with propriety be worn, warm as it may appear, it has the sanction of custom, which no one ventures to arraign.

For full or evening dress, figured gauze, white satin, coloured crapes, short lace dresses, and gossamer nets are considered the most elegant. Fine India muslins, with satin bodies and short satin sleeves, with a loose lace sleeve, brooched with diamonds worn over, and satin slips, are likewise very elegant. Coloured satin bodies are not so much worn, but will probably be more approved at a more advanced season; they give an appearance of dress, and contribute to the variety of the drawing-room, very pleasing at a less genial season. It is imagined that soft India mull muslins, wrought in small sprigs, with coloured cruels, will be found in great request fur the end of autumn and winter; they may not be probably considered to belong to full dress. Silver turbans are a very prevailing head-dress; satin caps, blended with lace, and ornamented with the Highland plume, are also much approved. Pearl cords and tassels are extremely elegant; beads are more worn than during the last month. Crape dresses ornamented with coloured satin, fancifully displayed in sprigs and wreath patterns, or for full dress, in silver foil or spangles, are considered of the very first order of dress. The hair is worn curled in full round curls round the face; the hair behind turned loosely up without any twist, and left to fall in irregular ringlet curls in the neck; no ornament worn in the front of the hair; a full blown rose placed much on one side a-la-Phoebe, seems to have many admirers; as has a knot of white or coloured ribband, mixed negligently with the falling ringlets in the neck.

We have observed no very new devices in jewellery; pearl necklaces with a diamond clasp, without either locket or brooch are the most prevailing; necklaces in emeralds and amber, are considered very fashionable; the short sleeves have again introduced that elegant and becoming ornament the bracelet.

The prevailing colours for the season, are jonquille, violet, amber, celestial blue, autumnal yellow, and rose.

It is from good authority we announce the present assortment of superb India shawls, gold and silver muslins, the admired Angola and Arabian shawls, together with the choicest India muslins, and all the new articles for ladies' autumn dress, now on sale at the house of Millard, in the city, far exceeds even that of any former season; and, although we understand there is to be no sale this autumn at the India house for India muslins, yet the immense stock of that house will still afford a rich treat to the lovers of that truly valuable article, where they are regularly obtained by the piece, or demy, at the first price.

Notes

Bodice and petticoat combination. This month's ball dress is not made in one piece, but two. Harking back to earlier jacket-and-petticoat styles from the later 18th century and earlier Regency, this dress has a separate "boddice", back-closing. Sure wish we could see the back closing. Had we reached the point of a back lacing? The fit makes me think so. A separate slip and over-petticoat are worn with it. It's unclear if the slip includes a bodice, but I would assume that it does not since the bodice may not be taken off. The separate combinations are more common than one might think and under-represented in today's recreations.

Fancy dress. The ball dress this month is described as a "fancy dress". Normally the term fancy dress means masquerade dress. That may be the case here: our model may represent the goddess Flora or spring. It's not entirely clear.

Hairstyles. Both plates this month show hairstyles clearly. Both hairstyles make use of twisted fabric and pearls for headdresses -- see tuban fillet, below, for more on that. Both hairstyles are constructed similarly. The hair is brushed towards the back of the head with no apparent partings, and braided into a coiled bun. Additional braids -- and false hair would be common -- are arranged either atop the bun, in the case of the ball dress, or swagged from the face to the bun in the case of the evening dress.

The hairstyles end up looking quite different.

The ball dress model wears her bun rather low, and her hair is smooth, something we don't always see. She sports just two sets of curl wisps to the side of her face. This style would be good for a woman whose hair was naturally quite straight.

The evening dress model wears her bun quite high so that the coiled fillet is accentuated. Her front hair was probably parted from side to side and then curled in tiny hanging ringlets with papillotes or a curling iron, for a softened Roman matron effect.

The observations section of the fashion column talks about a related but simple evening hairstyle:
"The hair is worn curled in full round curls round the face; the hair behind turned loosely up without any twist, and left to fall in irregular ringlet curls in the neck; no ornament worn in the front of the hair; a full blown rose placed much on one side a-la-Phoebe, seems to have many admirers; as has a knot of white or coloured ribband, mixed negligently with the falling ringlets in the neck."
Imagine the front curls from the evening dress model. Now, take the rest of the hair, pull it to the back loosely, bunch it, and without twisting it, push it up against the back of the head and jab a wide comb into the bunch to hold it in place. Allow the ends to curl back down over the comb and to the neck.

India muslins. Featured heavily this month. Clearly imported, as they had been for many years; note the advertising for particular shops carrying them in the last paragraph. My favorite mention -- "soft India mull muslins, wrought in small sprigs, with coloured cruels". By "cruels" the writer means crewel embroidery done with wool floss. Here would be a nice variation on the little white dress for evening: the sprigs would be in full color rather than in whitework. The designs would be variations of the pretty stylized florals so popular for over a century, by this point.

An example from the Deutsches Historisches Museum, of a dress that I believe is of India muslin. See how attenuated the sprigs and winding vines are. Widely spaced, small motifs are common at this juncture; they would become bolder as time passed until they turn into the full-and-fluffy Victorian styles.

From "La Fleche", a member of the Napoleon 1er forum.

Here is an example using the boteh pattern, the paisley design which appeared about now and is still popular.

Cotton dress with wool embroidery, 1810. Met: 11.60.226.

Pearls. The pearls used in this month's plates were in all likelihood faux pearls, perhaps glass filled with wax, the so-called Roman pearls written about in the Two Nerdy History Girls blog. Real sea pearls were fabulously expensive. In the evening dress plate the pearls outline portions of the dress, and even add weight to the vandykes at the dress hem.

Pearl necklace. The pearl necklace in the evening dress plate is clasped with a metal clasp rather than tied with ribbon as common earlier.

Turban fillet. For a change, just what you might imagine: a "fillet" is normally a narrow ribbon or wire wound round or encircling the head, while a turban is a, well, a turban. In this month's evening dress hairstyle, we have a length of fabric well gathered to make a narrow, round, gathered tube, wound round the head. The turban is wound with pearls for extra measure. Handsome and I hope that someone will take up this style for a ball before long! The ball dress plate uses a similar design; it encircles the head more like the fillets we remember from Medieval fairy tales, but ironically, the effect is more turban-like to my eyes than the evening dress example, yet isn't called a turban. Fashion, fashion.

+++++

That's it for September's journey. I sure hope to be able to get to October before long! So behind...

Journal Journey into the Year 1811: La Belle Assemblée, June

This month's June La Belle Assemblée issue reports, as usual, a month ahead. Let's see what the month brings! Yes, I am very late in publishing. We've been on vacation twice and to family reunion and all sorts of summer events, and with the boys out of school for summer, when I am not at work, both hands are full with all kinds of summertime activities, like learning to ride bicycles, making pie, collecting "gems"...

Please don't forget to read the London report from Ackerman's, and those from Weimar and Paris.

• Sabine in Weimar: Journal des Luxus und der Moden
• Alessandra in Paris: Journal des Dames et des Modes
• Maggie, in London: Ackermann's

The June issue contains (p. 321-324), besides the usual fashion plate descriptions and the general observations section, a special article about a formal party, a Fete hosted by the Prince of Wales, complete with descriptions of the event, Carlton House where it was hosted, and the dress of prominent ladies attending.

The overwhelmingly grand party for 2,000, supposedly held to celebrate King George III's birthday, lasted from nine in the evening until after sunup the next day, and advertised the new Regent's power and, as you'll read, revealed his taste for grandeur, show, and novelty. The Belle Assemblee article conveniently neglects to mention the politics behind the celebration. While exiled Bourbon royalty were welcomed and feted, Queen Charlotte flatly refused to attend, King George was far too sick to go, and none of the Princesses were allowed to go. The Prince Regent didn't invite his estranged wife, and favored his new paramour Lady Hertford over his old one, Mrs. Fitzherbert, who also didn't attend. The party was well-known in its day and didn't do much for the popularity of the Regent.

It's interesting reading and makes most of today's parties look bland by comparison, but when you know of the emotional currents underlying the occasion, you would mostly likely have preferred to be one of the guests who supped in the gardens, had you been invited, and sniffed the fresher night air, compared to the probably over-scented and certainly overheated atmosphere within.

Please pay attention to the fact that all the ladies were wearing ostrich feathers. At times the Court was requested to wear a specific type of dress, and this may have been one of those occasions: white and silver were the primary dress colors of the evening, and clear-colored gems...diamonds...ubiquitous in jewelry and studding the dresses. Embroidery was almost universal, spangles, and especially concave ones, too. Concave spangles were called out in the text. Visual themes? If they lady was Irish, her dress might include shamrock designs. Leaves, chains, tassels, and the Prince's three ostrich feathers, a reference to the traditional heraldic badge of the Prince of Wales.

Heraldic badge of the Prince of Wales. Wikipedia.

If what you read intrigues you, learn a lot more about fete -- including the marble-banked river and why the party was delayed several times in "A Regency Bicentennial: The Grand Carlton House Banquet", on The Regency Redingote blog, and "The Prince Regent's Fete", by Rachel Knowles, published in the Regency History blog. Also, The Lothians blog has a multiple-post tour of the house.

Here are the articles, transcribed below, with a few comments and thoughts in a Notes section beneath the transcription.

FASHIONS FOR July, 1811.

EXPLANATION OF THE PRINTS OF FASHION.

No. 1. -- OPERA DRESS.

A blue satin robe, worn over a slip of white satin, let in at the bosom and sleeves (which are short) with silver Moravian net work. A tunic of Egyptian brown sarsnet or crape, confined on the shoulders with diamond studs, and trimmed round the bottom with silver net, separated in small divisions by spangled open work balls. A chaplet wreath of green foil, placed twice round the hair, which is disposed in long irregular ringlets. Earrings of silver open work, studded with brilliants, resembling in form the bell of a child's coral. Shoes of brown satin, bound and sandalled with silver braiding. Long gloves of kid.

No. 2 -- WALKING DRESS.

A round robe of white jacconot muslin, with a boddice of violet sarsnet, trimmed with rich silk Brandenburgs of Austrian green, a half pelissed of fine transparent muslin, with Bishop's sleeves, fancifully tied with green ribband. A Hymen hat of purple brocaded ribband and lace, ornamented with a green military plume; a Chinese parasol of purple sarsnet, shot with green; gloves and shoes of York tan.

GENERAL OBSERVATIONS

ON

FASHION AND DRESS.

Our observations for the present month will be necessarily much curtailed to leave room for the insertion of the splendid and elegant dresses worn at the Fete given by the Prince Regent, at Carlton-House, to which every thing else must appear very subordinate.

Muslin pelisses, lined with pink, blue, or yellow sarsnet, are still very prevailing, as are spensers of like colours; lace scarfs alone seem to have the preference, either in black or white lace: mantlets are by no means considered as inelegant. Satin tippets, trimmed with lace, are very becoming to a light figure. White satin spensers, mantles, and pelisses are in a high degree of estimation Small caps fromed of brocaded ribband, finished with a long rosette in front, edged with lace pearl, or in the long Mango shape, intersected with white gymp, with a cord and tassels suspended from one side; and caps in every fanciful intermixture of satin or ribband, ornamented with ostrich feathers; they are made flat on the head, raised from the forehead, and in the long Grecian shape.

Flowers were not at all worn at the Prince's Fete, cords and tassels terminated the draperis, and gave an air of graceful negligence to the figure: feathers were universal, much of the Spanish costume prevalined; the sleeves were worn very short, the bosoms very low, the backs rather high, trains of a moderate length. The tunic in crape or lace, embroidered in silver was displayed upon almost every female of rank and taste; this form of dress will of course descend to the morning habit, and will doubtless relieve the stomacher of much of that formal appearance which at present distinguishes it, and the effect will be extremely graceful. All lace worn on this magnficent occasion was of the manufacture of this country, a noble example, which we hope will be universally followed in all ranks of life, Honiton lace, as most resembling Brussel's point, held the preference. 

The ornaments in jewellery were either of diamonfs, pearls, rubies, sapphires, or emeralds.

The prevailing colors, pink, blue, yellow and buff.

THE PRINCE REGENT'S FETE.

Carlton House from Pall Mall. What you mainly see here is a sort of columned screen in the front of the house.

This Palace of Enchantment was opened on Wednesday night, June 19, to the numerous personages of distinction who had been honoured with cards of invitation. Soon after nine o'clock the company began to arrive, and although the utmost order and regularity were observed, with was between twelve and one o'clock before the whole assemblage was formed, 

George IV as Prince Regent. A print after an original work of Hoppner.
From the National Portrait Gallery.

The illustrious Family of the House of Bourbon entered through the gardens about ten, when they were ushered into the Council Chamber, where the Prince Regent was, sitting under a crimson canopy of state, surrounded by the Officers of his Household, who, on their approach, immediately rose to receive them. The French Sovereign was introduced by the Earl of Moira as Comte de Lille, and her Royal Highness the Duchess d'Angouleme by the Duchess of York, and the French Princes by Lord Dundas. They were received not only with the utmost respect, but with every mark of affectionate regard. The amiable daughter of Louis the XVIth naturally attracted his chief attention, the exhilarating effect of which was clearly discernable on her woe-worn, but interesting countenance. From this grand ceremonial the illustrious strangers retired into the sky-blue satin room that adjoined; the expensive suite of curtains of which were the same colour, lined with white silk, massily embroidered with gold fringe, leaves, and tassels, and beautifully decorate with fleur-de-lis -- a marked and delicate compliment to the illustrious visitors. 

The Prince Regent now passed through into the Grand Saloon, which was most brilliantly illuminated, and is confessedly, in every respect, the finest room in Europe. Here his Royal Highness now paid his respects to the Noblesse, &c. crowded and assembled in the most graceful and truly fascinating manner. -- The company were for some time naturally lost in amazement at the coup d'oeil, which the views through two distinct suits of apartments so magically presented. It would be a difficult task to describe, in terms adequate, the effect produced by the profusion of magnificent objects, which, at every glance, conveyed an exalted idea of princely state, national grandeur, and the fine arts, cherished in a state of perfection. The partments were decorated with splendour perfectly new. The Palace was a scene of enchantment, and every elegant female, clad in the attire of her native country, appeared the Armida. 

Conservatory exterior: it's attached to the left side of Carlton House.

Interior of the Conservatory. Imagine it all illuminated and the sides banked with citrus trees and banks of flowers.

The Conservatory was one of the most distinguished objects in the splendid arrangement. The building, of Gothic order, appeared to be the most perfect and beautiful specimen of that style, executed in modern time. It presented, at one glance, the fine effect of a lofty aisle in an ancient cathedral. Between the pillars, candelabras were suspended twelve feet above the ground, each presented four brilliant patent burners, which spread a breadth of light not easy to describe. The interior struck the beholder with astonishment. The grand table extended the whole length of the Conservatory, and across Carlton House, to the length of two hundred feet-- Two feet of space was allotted for each guest in the original calculation. 

Gillray's take on the Prince Regent's fete decor: admiring the table-top canal. The public were invited to view the party decorations after it all was over.

Along the centre of the table, about six inches above the surface, a canal of pure water continued flowing from a silver fountain, beautifully constructed at the head of the table. Its faintly waving, artificial banks, were covered with a green moss and aquatic flowers; gold and silver-coloured fish, were, by a mechanical invention, made to swim and sport through the bubbling current, which produced a pleasing murmur, where it fell, and forming a cascade at the outlet. 

At the head of the table, above the fountain, sat his Royal Highness the Prince Regent, on a throne of crimson velvet, trimmed with gold. The throne commanded a view of the company. The most particular friends of the Prince were arranged on each side. They were atended by sixty serviteurs; seven waited on the Prince, besides six of the King's, and six of the Queen's footmen, in their state liveries, with one man in a complete suit of ancient armour. At the back of the throne appear Aureola tables, covered with crimson drapery, constructed to exhibit, with the greatest effect, a profusion of the most exquisitely wrought silver gilt plate, consisting of fountains, tripods, epergnes, dishes, and other ornaments. Above the whole of this superb display appeared a royal crown and his Majesty's cypher, G.R. splendidly illumined. 

It is almost unnecessary to add, that his Royal HIghness gave all the grandeur and honour of this brilliant Fete to his Royal Parent. The lesser wax lights in silver, placed on the table, were corespondent with the whole mass of elegance. The sides of the COnservatory were hung with vareigated lamps, The arches were also splendidly illuminated with lamps springing from the pillars. Down the centre from the roof were suspended several beautiful chandeliers and lustres, and the whole raised in the minds of the spectators the most exalted ideas of the Prince's taste and liberality.

At three o'clock supper was announced by the striking up of three bands of grand martial music stationed in the gardens. The supper was the most superb in spectacle arrangement that perhaps ever was exhibited in this country. The state table of the Prince Regent was ranged along the Conservatory, the west end of which (being the head) was hung semi-circularly with a crimson silk ground, covered with transparent muslin, drawn into a variety of apertures, for the splendid display of numerous gold vases, urns, massy salvers, &c. embossed by admirable workmanship, and the whole surmounted by the most superb ancient urn, captured in the reign of Elizabeth from the Spanish Admiral, who commanded what was so presumptuously styled with "Invincable Armada"; the service of this table was in gold. 

Adjjoining to this were tables running through the Library and whole lower suite of rooms, the candelabras in which were so arranged, that the Regent could distinctly see, and be seen, from one end to the other. Along those tables the Royal Family of England, and that of the Bourbons, and the Noblesse were seated comfortable to their respective ranks. On the right hand of the Prince Regent was placed the Duchess of York. A limpid stream of water ran through the centre of the Regent's table during supper. From the Library, and room beyond, branched out two great lines of tables under canvas far into the gardens, each in the shape of a cross, all richly served with silver plate, and covered with every delicacy which the season could possibly afford. 

The Library and Council-room displayed the greatest state. The latter was appropriated to dancing, and the floors chalked in a beautiful style. In the centre appeared G. R. III. with the crown, supporters, and blazonry. The external decorations were equally grand and pleasing. The aisle opposite the grand Conservatory was furnished with large mirrors, girandoles, and candelabras. It formed a superb promenade, rendered delightful by garlands and festoons of roses, pinks carnations, and the finest flowers of every species. Orange-trees, fruits, and flowers bloomed along the banks, growing in a state of nature. 

Four handsome marquees were pitched on the lawn of Carlton-House, with a chevaux de frize to guide the company in their promenades. Bands were stationed in the tents. In the course of the night, a brilliant discharge of fire-works took place, which gratified an immense body of spectators. 

-- Dancing commenced about twelve o'clock, in the Grand Council Chamber, in two sets, which were divided by a crimson cordon. The first couple were Earl Percy and Lady Jane Montague, daughter of the Duchess of Manchester; they led off with the dance called "Miss Johnstone,: next followed:--
Lord Maitland.........Duchess of Bedford
Earl of Tryconel.......Lady Catherine Herries
Earl of Digby..........Countess of Jersey
Marq. of Worcester..Lady Charles Somerset
Lord Palmerston......Lady Frances Pratt
Lord E. Somerset.....Lady Charles Fitroy
Lord C. Somerset.....Miss Metcalfe
Earl of Kinnoul........Hon. Miss Onslow
Lord Mark Kerr.......Lady ELizabeth Clive
Earl Gower............Miss Glynne
Lord Milsington.......Miss Fawkener
Earl of Rother........Miss Thomson
Mr. Lloyd.............Lady C. Cholmondeley

The Prince Regent, and the Royal Dukes of York, Clarence, Kent, Cumberland, Cambridge, and Sussex, were present at this period and appeared highly gratified to see so enlivening a scene. "Strike, up, musicians, my old and favourite Scottish tune," exclaimed the Prince. Mr. Gow took the hint, and "A'll gang nae mair to yon Town," was admirably played, and equally well danced by the above. --The Prince Regent and his illustriuous guests rose from table at half pst four, and returned to the gold saloon in the same order that they descended. All the rooms were soon refilled: when dancing was renewed,and th sun being well up, the blended lights of day and night gave the whole scene new features. 

The Royal Dukes assisted the Prince Regent in doing the honours of the table. It was really the most interesting sight imaginable, to see at least 500 persons, the greater proportion ladies, in one continued line, the latter dressed in white satin, silks, or muslin, embroidered or spangled with silver, having each a plume of ostrich feathers, waving on their heads, and reflected in the serpentine brook before them; it was really a silver flood, and these were its tributary streams. 

The alle-vert was rendered particularly grateful by the freshness of the air, and the odour of the grund; it was a happy retreat to all who in the course of the night could gain access thereto: here were many supper tables, and the chairs appeared from one view to be arched over with a garland of roses; and indeed the whole area appeared in profile, like an avenue of rose-trees. The Ball-room, after supper, was surrounded by a gradation of conversation stools, for the accommodation of those who chose to be calm spectators of the scene. His Royal Highness the Prince Regent, during the night, passed from one room to the other without any attendants or ceremony, conversing in the most affable manner with his numerous guests. Upon no previous occasion, and at no court in Europe, was ever the experiment made to set down 2000 of the principal Nobility and Gentry of a kingdom to a regular supper, as was the case at this Fete.

DRESS.--

All that art, taste and expense could command, for personal decoration, had been in requisition for this night. The Prince Regent wore a Field Marshal's uniform, (as did the Duke of York), with his hair in a queue, the cordon blue, and a superb brilliant star, a diamond loop and button in his hat and feather. The Duke of Clarence wore his professional uniform; the Dukes of Cumberland, Sussex, Kent, Cambridge, and Gloucester, that of their respective regiments. All wore the several insignia of the Order of the Garter. The Comte de Lille wore a plain carmelite brown coat, with white buttons without any order; the Duke d'Angouleme a pearl oloured; and the Duke de Berry a chocolate, with the ribbon of the order of St. Esprit. 

The dresses of the Ladies were of the most superb description, as will be seen by the following specimen:--
DUCHESS OF YORK. -- A patent net dress richly embroidered in silver, highly covered with a shower of spangles; the body, sleeves, and belt, covered with diamonds; head-dress diamonds and a plume of ostrich feathers; a beautiful necklace.

Frederica, Duchess of York and Albany (1767–1820), by Hutchinson. 1802.

DUCHESS OF ANGOULEME. -- A patent net dress richly embroidered in silver lama, over a white satin train; body and sleeves trimmed with real pearl, the largest we ever noticed in this country; head-dress a plume of ostrich feathers, and bandeau of large pearls; bracelet and necklace of pearl.

Marie Thérèse Charlotte of France while Duchess of Angoulême

DOWAGER DUCHESS OF RUTLAND. -- A white satin dress, with superb Roman scroll border, formed with concave and Algerine spangles; body richly embroidered in waves of real silver spangles; Spanish sleeves, with diamond armlets, fastened with silver tags, studded with diamonds; a most beautiful and splendid drapery of crape, embroidered in waves of silver spangles, with a border of singular beauty, composed of foil stones and silver bullion, forming vine leaves, grapes, and silver shells, each corner ornamented with the Prince's featers, beautifully embroidered. Head-dress diamonds and ostrich feathers.


MARCHIONESS OF SLIGO. -- A dress of white satin, with a superb border of brilliant embroidery round the train; a robe richly embroidered in silver shamrock, round which was an elegant and brilliant border to correspond with the dress; biamond stomacher, bracelets, necklace, and brooches. Head-dress diamonds and ostrich feathers.

Louisa Catherine, Marchioness of Sligo, British Museum

COUNTESS OF CAVAN. -- A dress of white silver tissue, with superb border of prominent silver jonquil, body and sleeves splendidly ornamented with diamonds. Head-dress diamonds and ostrich feathers.

VISCOUNTESS DUDLEY AND WARD. -- A dress of emerald green, with a superb border richly embroidered in silver, a tunic of lace, with the ground-work of silver spangles, and an elegant and brilliant border, with raised roses of floss silk, foil stones, and concave spangles, with had a most beautiful effect; body and sleeves trimmed with Honiton point, continued with silver tags, and ornamented with diamonds. Head-dress diamonds and ostrich feathers.

COUNTESS OF FAUCONBERG. -- A dress of white satin, with an elegant border of embroidered silver; a tunic of white crape, with a superb Roman scroll border, entwined with silver plumes, the ground-work waves of silver spangles, body and sleeves profusely ornamented with diamonds. Head-dress diamonds and ostrich feathers.

COUNTESS OF CLARE. -- A white satin dress, with a border richly embroidered; a superb body, ornamented round the bottom with diamond stars, and sleeves fastened up with diamond brooches and armlets; the drapery richly spangled in silver shamrock, with a beautiful and simple border to corespond; at each corner was embroidered the Prince's feathers. Head-dress diamonds and ostrich feathers.

COUNTESS SELKIRK. -- A white satin round dress, with beautiful silver embroidery at the bottom, waist, and sleeves; and evening promrose and silver tissue robe and drapery, trimmed with rich scolloped fringe, rope, and tassels. Head-dress a very full flume of white feathers, and superb coronet of diamonds; diamond earrings and necklace, &c.

COUNTESS OF MORNINGTON. -- A white and silver tissue robe, lined with green, made in the Court style, with ruffles.

LADY GLYNNE. -- A dress of silver satin, richly embroidered round the train with concave spangles and silver fringe, a superb tunic of lace splendidly embroidered in clouds of spangles; the border whichwas new and elegant, was beautifully embroidered in silver and concave spangles, with links of brilliant chains which had the appearance of diamonds; body spangled, and ornamented with amethysts; Spanish sleeves fastened with silver tags studded with diamonds; and armlets and necklace of amethysts and diamonds. Head-dress diamonds and feathers.

LADY FRANCES OSBORNE. -- A dress of white satin, richly embroidered with a border of silver; a tunic of white crape with superb noubelle border, embroidered in silver, and richly covered with leaves of embroidered silver, confined by splendid chains and tassels. Head-dress diamonds and ostrich feathers.

LADY WINNINGTON. -- A rich dress of white satin, superbly embroidered in silver, with a lace tunic splendidly embroidered with silver spangles, and encircled by a border of elegant white floss silk roses and silver-embossed leaves, confined by brilliant silver chains. Head-dress a superb plume of ostrich feathers and diamonds.

LADY DALRYMPLE. -- A dress of white satin, with handsome embroidered border in silver; a tunic of fine lace, richly embroidered and interspersed with stars of silver, with a superb border embroidered in bright and dead silver, and rosette of white floss silk. The tunic confined with brilliant silver chains.

LADE CATHERINE FORRESTER. -- A dress of white satin, with a beautiful border of silver spangles, a superb drapery of white crape, embroidered with silver leaves, with a magnificent border of silver leaves and grapes, the corners ornamented with clusters of grapes, from whence were suspended brilliant tassels. Head-dress diamonds and feathers.

LADY AMELIA SPENCER. -- An elegant dress of white satin, with a brilliant embroidered border of silver tulips, of singular beauty, and over which was worn a splendid but simple drapery of fine transparent lace, superbly embroidered with a border of white silk roses, with leaves of silver laurel, and fastened in front with brilliant silver chains and tassels; the body and sleeves studded and profusely ornamented with diamonds. Head-dress diamonds and ostrich feathers.

LADY MARIA WALPOLE. -- A white satin dress, with a Grecian silver border and stomacher; a short crape tunic, superbly embroidered with real silver.

Journal Journey into the Year 1811: La Belle Assemblée, Part 2 of August

The second half of the La Belle Assemblée August issue is finally ready for you, on September first. Oh well, better late than never.

Please don't forget to read the London report from Ackerman's, and those from Weimar and Paris.

• Sabine in Weimar: Journal des Luxus und der Moden
• Alessandra in Paris: Journal des Dames et des Modes
• Maggie, in London: Ackermann's

As you may recall from the last post, the August issue contains just two pages of fashion news (p. 101-102), and only one plate, despite the title reading "prints" in the plural. Today we focus on fashion news.

Real advice, really useful advice, this month, for once. Some months the author goes into diatribes about the usual issues: too much novelty, vanity, blah, blah. I wonder if women then yawned or giggled reading them as much as we do? Or did they feel chastened, or a little of both?

GENERAL OBSERVATIONS on FASHION AND DRESS.

Portrait of a Lady. Charles Pierre Coir, ca. 1810. Found on Pinterest;
pinner found on ricardo.ch, but original source page is gone.

This is not the season for fashion or novelty in dress; splendour and gaiety are under an eclipse, and we have only to enumerate the several modes and articles of dress most in request among our fashionable fair. For the promenade satin spencers are becoming very numerous, and on account of unusual chilliness of the atmosphere during the last month, pale colours have given way to dyes of a more glowing and luxuriant hue and texture; they are made in the wrap form, with collars, and rather short in the waist; as the season advances it is imagined that rich silk Brandenburg trimmings will receive an added portion of fashionable approbation; what appeared heavy and superfluous in summer, will confessedly add much to the comfort and elegance of the winter costume.

Pelisses, mantles, tippets in satin, or sarsnet trimmed with lace, and French cloaks, are all in equal estimation; the light transparent shawl and scarf will soon be most appropriately displayed, over a spenser or tippet of white or coloured satin; it is essential to that idea of delicacy, always so interesting when connected with the female person, that the autumnal winds should not be suffered to sport too lightly with it.

Morning dresses have undergone no variation, except that in addition to buttoning down the front, they are frilled entirely round with narrow cambric; some we have observed unconfined before, and to these we give the preference, as more graceful, and setting off the figure to more advantage. The Roman sandal is a very proper appendage to this style of dress.

Dinner or home dresses are mostly made in cambric, muslin, Opera nets, figured gauze, and Merino crapes; low in the neck, fitting the shape with great exactness, either entirely plain, or with a simple gymp trimming, with short sleeves and short French train.

Evening dresses of white satin, velvet, fine muslin, sarsnet, crape, or gauze, with white satin boddices, and short lace sleeves and small trains, trimmed with lace or beads, worn over white or coloured satin slips; the glove is worn very short of white kid, as is also the slipper. Small aprons in lace, crape, or muslin, ornamented with ribband, are much worn. Lace and sarsnet tippets are still a necessary appendage to dress. Feathers are very generally worn, beads are a little on the decline, silver flowers and ornaments prevail. The dresses continue to be worn much off the shoulders, the sleeves not extravagantly short; the bottom of the dresses are frequently trimmed with lace; above which, when in muslin, is a rich worked border. Bouquets of natural flowers in the centre of the bosom, and short Grecian waists must not be omitted mentioning.

Some difference prevails in the mode of wearing the hair; it is no longer closely braided and twisted up behind, but carelessly festened up by a comb; the ends curled and left to fall negligently in the neck; and curled before in thick round curls.

In respect to jewellery, gold chains are in great estimation, as is a plain string of large pearls, long enough to encircle the throat with ease, confined by a brilliant clasp. A profusion of rings are worn, and brooches in every device. Emeralds are a favorite species of ornament, and garnets are extremely becoming to the complexion; watches are very numerous, rather smaller than last summer.

Roman sandals and Kemble slippers of coloured jean, with satin and kid for dress, are all the varieties worth remark in this order of dress. The prevailing colours for the season are jonquille, pink, blue, violet, and amber.

Notes

Colors. Jonquille, pink, blue, violet, and amber. Amber is new this month. Pink, blue, and violet never go out of fashion, nor jonquille, either.

Frills. Frills and texture are back, and they will remain an important feature through most of the rest of the Regency period. The early Regency liked flat, two-dimensional bands of applied "work", embroidery, what have you, and we see this a great deal in evening dresses in 1811. Draping of the dress fabric supplied the texture. As dresses narrow, draping moves to added fabrics, whether in added drapery, as in the April issue, for instance, or in frills.

Hair. Note the thick round curls in front. We will see these over and over and over as the years pass, big, thick sets of ringlets to each side of the face. The portrait above shows the effect clearly.

Kemble slippers. No, not Fanny Kemble slippers. That Fanny was born in 1809. Could the John Philip Kemble, sister to Sarah Siddons, a well-known actor of the period, been the inspiration for this name?

Layering. It was not enough to wear a spencer alone. One layered it with a shawl or scarf or tippet on top. The month's fashion plate demonstrates the principle. The model is wearing a dress, then an open-fronted coat, and has layered a light, delicate shawl on top. In this case the coat has a special ribbon or tie that loops up the scarf. A little contrived, but it shows that the layered look was a deliberate draping effect. We've had lots of draping all year long, and this is just another way to drape.

Roman sandals. High fashion items, sandals, always a bit outre. Here Roman-style sandals are the thing. "Roman" has usually meant that the straps continued up the legs, as worn by Roman soldiers.

Here's an example from the Metropolitan Museum of Art, which makes me smile. Pink straps? The perfect way to feminize a very masculine cut. This pair is in silk and leather.

For more about sandals, try the Dreamstress' account.

 Sandals, circa 1806-15, E. Pattison (British, 1800–1850)
Metropolitan Museum of art, No. 2001.576ab.

Sandals, circa 1806-15, E. Pattison (British, 1800–1850)
Metropolitan Museum of art, No. 2001.576ab.

Spensers. A hot item once again as the weather cooled in England. Wrap-front spensers go in and out of fashion during the Regency period. The image, "Portrait of a Lady", above, may be barely wrapped or not wrapped at all, but gives a nice idea of the rich coloring and the lace plus opaque fabric effects that were so popular. This example is "rather short in the waist", as described in the magazine, so you can see how attenuated it looks.

Trains. Still here, in home, dinner, and full-dress occasions. I had long read that trains went away after 1805, but not so. However, trains will disappear shortly, and dresses start to stand out stiffly.

I leave you today with a small boy at his father's desk, watching U. of Kentucky sports clips on the computer.

Journal Journey into the Year 1811: La Belle Assemblée, May

This month's May La Belle Assemblée issue reports a month ahead, on summery June fashions in England.

Or summery to a degree. Our darling dear in her walking dress is wearing full-length, lined sleeves and a high ruff around her collar, along with a "Persian mantle" -- fashion chat for a long shawl -- over the pelisse. Little white muslin summer dress with elbow-length or short sleeves this is not. It bears reminding that during these years Europe was a little colder than normal, and we can imagine that an English June might be a little on the cool and damp side.

As we are entering the halcyon days, the time of the beach novel, the silly season, watch out, because there's a bit in here about spices used in a really unusual way. Tell me whether you believe it or not. 

Please don't forget to read the London report from Ackerman's, and those from Weimar and Paris.

• Sabine in Weimar: Journal des Luxus und der Moden
• Alessandra in Paris: Journal des Dames et des Modes
• Maggie, in London: Ackermann's
• 
  

The May issue contains two articles, from pages 268 to 269. Here are the articles, transcribed below, with a few comments and thoughts in a Notes section beneath the transcription.

FASHIONS FOR JUNE, 1811.

EXPLANATION OF THE PRINTS OF FASHION.

No. 1. -- WALKING DRESS.

A pelisse of pale pink sarsnet, lined with white, and ornamented with rich silk Brandenburg trimmings of correspondent pink, or pale brown; a high standing ruff round the throat; a Persian mantle of pale blue, or white, thrown over the dress. A basket hat of straw, ornamented with a demi-wreath of half blown roses. Shoes of blue kid; gloves of York tan.

No. 2. -- PARISIAN BALL DRESS.

A frock of white crape, ornamented with white satin in a leaf pattern, the bottom of the dress trimmed with pale French roses and a plaiting of green and rose-colored ribband mixed; short bell sleeves; Persian fringed sash; long white kid gloves; stockings much embroidered; the hair plaited, and twisted with a double row of pearls.

GENERAL OBSERVATIONS ON FASHION AND DRESS.

Nothing can be a stronger proof that there is a way of setting off native beauty with ease and innocence, which will charm without the danger of turned outward ornaments into folly and extravagance, than the present mode of dress affords; never were ladies so simply attired, so divested of all the unnecessary trappings of finery, as at the present day, -- and when did they appear half so lovely, so attractive? Fashion is always aiming at perfection, but never finds it, or never stops where it should, otherwise this would be the precise point, when ease and elegance, nature and propriety, are all combined to contribute to the grace and loveliness of the female person.

We scarcely ever remember that in any season white was so universally prevailing as at the present; it is not exclusively confined to the under garb, for we have observed several pelisses, mantles, cloaks, tippets, and spensers innumerable in white sarsnet, trimmed with broad Mechlin lace; and for the higher order of the promenade nothing can be more elegantly bewitching, though scarcely more attractive, than the pelisse of a dark but bright green sarsnet unconfined, and negligently flowng back so as to display a high dress vying with the lily in whiteness, and worn with a cottage bonnet oif white chip, tied with white. Small sarsnet cloaks sloped to a point in front, and trimmed with broad black lace, are very prevailing, as are lace cloaks of a like form, with a small tippel of sarsnet worn underneath. Short sarsnet pelisses trimmed with lace, or long pelisses of the most transparent muslin lined with pale pink or blue sarsnet, spencers in muslin lined are likewise very general. Crape mantlets reaching only to the point of hte elbow, bound and trimmed with satin ribband, with satin turban caps ornamented with a long white willow feather, are elegantly appropriate for the evening select promenade. Within these few days gipsy hats have appeared, they are extremely becoming to a light airy figure: the slouched riding hats, with pointed rims in front, are much worn, but becoming too general, they have among a few select fashionables given place to the gipsy bonnets with dome crowns; but nothing can supersede the cottage bonnet, either in straw, chip, or satin, ornamented with a white ostrich feather; so long and so universally prevailing have they been, that a foreigner might suppose them a national bonnet.

Morning dresses are universally of white plain or stripe jacconots, made in the pelisse form, buttoned from the throat to the feet, with small raised buttons; the sleeve is gathered and set in to the cuff, clasped at the wrist with small gold snaps; the collar is ornamented with crimped ribband, crossed so as to form a diamond in the middle, and at the edges vandykes.

Dinner, or home dresses, are mostly of soft mull or cambric muslins, made square and rather high on the bosom, the backs plain, and sleeves short, trimmed with lace or ribband, and worn with small crape or embroidered muslin aprons, fancifully relieved with ribband; figured gauze, Opera nets, and sarsnets, are still worn by many elegant people; cambrics printed in small chintz patterns, trimmed with green ribband, and worn with a muslin apron trimmed with the same, have a most fascinating appearance, particularly when worn in the country; if we had not observed it on a lady of undoubted fashion, we might not have been led to suppose so, yet how bewitching this modest, this apparently unassuming mode of dress is, every one will be more or less able to determine; such are the recreations often of fanciful elegance.

For full, or evening dresses, crapes blended with satin, white sarsnet, and white figured gauzes, are the most approved; coloured bodies of sarsnet or satin, are likewise a pleasing relief to a petticoat of white crape or India muslin: the bosoms of the dresses are worn low and square, trimmed with broad Mechlin lace, set on rather full, or large white beads; the sleeves are made short, terminated with satin of a correspondent colour with the dress, cut bias, and laid in an easy fold; the bands are of the same, confined to the waist by a pin where least observed. Black and white lace dresses are too elegantly appropriated to have suffered any diminution of favour; lace or sarsnet tippets are still a requisite appendage to full dress. The head-dress is made flat to the head in the long Grecian form, with small raised fronts, and one or two ostrich feathers; beads are still a prevailing ornament placed much over the temples, and tassels suspended from one side; lace handkerchiefs are worn placed at the back of the head, and merely large enough to pin at the ear. Artificial flowers belong to a second order of dress, from whence too they are likely soon to be banished, not bearing the contrast of nature; flowers of stamped or camped satin and lace are now a more approved ornament for hats or caps. Feathers in every rank of dress are most esteemed by fashionable people. Crimped satin and ribbands are at present the rage, but nevertheless considered as less genteel than those of plain satin or sarsnet. Shot silks, except pale colours shot with white, have fallen quite into disrepute. Small trains are worn except for dancing. Short sleeves are universal. The waists maintain their length behind, but are something shorter in front. Some young ladies have appeared with their shoulders absolutely bared; if this be intended to charm, we would ask them if they are sensible of how much greater attraction they lose sight when they depart from that modesty (a breach of which no fashion or custom can sanction) which alone gives lustre to beauty in women; it is of itself so beautiful that it has a charm to hearts insensible of all others; an innocent modesty, a native simplicity of look, eclipses all the glaring splendours of art or dress; but how can such a look coincide with such a dress? In a word, it is a wantonness scarcely to be tolerated in an Indian slave market, much less in a Christian woman. Such exposures remind us of cheap fruit stripped of their husks, or rinds, in order to prove an incitement to purchasers.

The hair is now worn strained back from the side of the face, twisted behind, and brought round the head on one side and confined in full round curls, the front hair is curled in thick flat curls. Ornamental combs are not much worn; pearl wreaths are considered as remarkably elegant; many ladies have nothing on their heads.

In jewellery but little variation is observable at this season, rustic ornaments as usual prevail; necklaces and crosses of coral, amber, Indian spices, &c., worn long, prevail; pearls, diamonds, &c., in necklaces or any fancy devices, innumerable.

The prevailing colours for the season are yellow, deep green, blue, pink, lilac, and amber.

Notes

Ball dress. The ball dress in this month's plate, spelled "Parisien" in the French manner on the plate itself but in English in the text, has a dramatically low-cut vee back. The back neckline appears to nearly reach the back waist, and if it doesn't, really it still would appear to, courtesy the satin trim. We don't know for sure, of course, but it would not be surprising at all if the satin leaf shapes were simply cut in pairs out of a single layer of satin, and the edges perhaps painted with gum arabic to retard fraying, and tacked to the dress at the join between the two leaves. Can you imagine the leaves fluttering, the satin glimmering in candlelight, with every move of the dress? It's the epitome of summery dress, and it would be stunning too in a dress of light green, with darker Regency green leaves, blush or yellow roses and a matching sash. I do not know if the "Persian fringed sash" is Persian because of the fringe, Persian because anything Eastern is hot in 1811, or because the sash is of silk Persian, a light silk often used for linings. 

Ball headdress.

Ball headdress. The double row of pearls twisted on at the front hairline echoes the bumps created by the braided hair. What the text does not say is that the back hair is not only braided in multiple braids, one following the curve of the chignon, and several others crossing over the chignon, but that there are curled puffs added above the comb that holds the chignon and braids in place. The puffs could be the curled ends of the hair and braids pinned into puffs, but could also be achieved with little puffs of false hair pinned into place. Some of the braids could be false as well. The short front hair is allowed to curl in tiny, short curls, and the hair at the neck ditto. The comb is metal, perhaps pinchbeck or vermeil, and topped, typically, with pearls to match the pearls worn in the hair. The hair pearls were probably false glass pearls...sea pearls were incredibly expensive, and the comb pearls as well. This is an effective and elegant headdress, one of the prettier I've seen in 1811. It is funny that the general observations sections claims that decorative combs are not much worn, when the fashion plate is showing one. Beware of depending solely on either text or image when doing your research.

Basket hat. I suppose the basket moniker is due to the plaited openings in the side of what looks like a capote-style hat with a turned-up brim. To be perfectly honest with you, it really does look like the poor thing is wearing a basket, and I cannot pretend to like it. A simpler hat in felted wool would have been a better fit with the military trimming, to my mind, anyhow.

Beads. Still a thing. Now it's beads at the temples, strung like a diadem.

Bell sleeves.

Bell sleeves. If you look closely, these are not the boufy-poufy, stand-up-at-the-top-of-the-armscye sleeves of the later Regency, but sleeves that rise just a little at the shoulder (look at the lady's right arm -- there is some stiffness at the seam), but then bell out and fold under so the cuff, and there must be a cuff to hold that fold, is hidden.

Brandenburg trimmings. These are military-style trimmings, made in what is probably a silk cord, trimmed with silk-covered beads. Note that they could be brown or pink. The pink would have blended into the dress and looked rather quieter. Also note the belt, with pendant cords or ribbons, with beads dangling. Here are more echoes of the vandyking and pointed-edged draperies we have seen in earlier months.

Advertisement in Ackermann's for cambric.

Cambric. A fabric the was originally made of linen, but later made in cotton as well. Normally, but not always, woven in a plain (tabby) weave. Could be woven very tightly and of very fine threads. The Tradesman: Or Commercial Magazine, Volume 8, p. 187 says that fine cambric is used to make artificial flowers, and the more "imperceptible" the weave, the better the result mimics nature. In sales advertisements, cambric is often classed with lawn, which we know as another fine woven, but rather limp, fabric. It is also advertised along with lace. Since lace was expensive, especially before the advent of reams of manufactured lace, the fact that cambric was sold in the same shop and classed with it, puts good cambric in the category of a finer fabric. See for instance The Repository of Arts, Literature, Fashions, Manufactures..., (Ackermann's) Volume 5, 1818,  p. 314. (See also jacconots/jaconet, below.)

Colors. For this season we see summer colors: "colours for the season are yellow, deep green, blue, pink, lilac, and amber". However, if you plan to create a evening dress for spring 1811 -- what are the chances? -- and wish to use shot silk, it had better be white shot with a color.

Gold snaps. In reference to the closure on the cuffs of a morning dress. "(T)he sleeve is gathered and set in to the cuff, clasped at the wrist with small gold snaps". Snap closures, so far as I know, were invented early in the 20th century. I have never seen an extant dress with a closure of any sort of snap-like function. A mystery awaiting a solution!

Home dresses. "(C)ambrics printed in small chintz patterns, trimmed with green ribband, and worn with a muslin aprin trimmed with the same". Here is an example of a dress made in the small sprigged patterns we often associate with the Regency. However, what we moderns don't always conjure up is the addition of a muslin apron as an accessory. Neither did the author, who commented that if he hadn't seen a reliably fashionable lady wearing such an "unassuming" ensemble -- read normally worn for work and labor -- he wouldn't have thought it fashionable. Simple muslin aprons worn with little printed dresses were workaday fashion but could be considered chic when worn as country dress. We might have guessed as much, but it's good to see it in print.

Indian spice necklace. Yes, it's true, they existed. I take this extended quotation from The Gentleman's Magazine, 1802, p. 916, in an article titled "The Dress of the Ladies Medicinally Considered". It is the only other article, by the way, that I can locate which mentions this sort of necklace, though they seem to have had a rather long run for a fad, since they're mentioned in 1811.

But yet, Mr. Urban, the dear creatures do sometimes adopt such whims as one cannot help criticizing on a little; and a fashion has just come to my knowledge, which seems singular enough to merit a place in your miscellaneous annals of the times. This, Sir, is a species of NECKLACE made of common black pepper, or, as it is called in the language of the kitchen--all-spice. I really don't joke--you may see them in every shop; the all-spice is first boiled, then strung with beads alternately, and when cold the all-spice becomes hard as before--and necklaces of this composition at present adorn the fair necks, and are pendant from the fair bosoms, of our fair ladies.

Now, in the name of wonder, Mr. Urban, who invented this? or why, out of all the substances in the creation, animal, vegetable, or mineral, should all-spice be chosen for a purpose hiterto executed by diamonds, by pearls, and by artificial beads of a thousand beautiful hues? I have in vain questioned all the females of my acquaintance as to the origin and uses of this West Indian produce, taken from our broths and our soups to exalt female beauty; but I can get no answer, no rational account, why all-spice is preferred, or why grey pease would not have been full as becoming, and more patriotic as growing in our own lands...."

Why boil the berries? I suspect to allow a needle or awl to be pushed through to make the stringing hole. Would the berries have smelled nicely? Surely the women questioned would have told their listener if that were the case. It's a mystery and I am tempted to try out the experiment, and boil some of my allspice berries, and string them with some beads.

Jacconots (jaconet). A kind of muslin, relatively heavy compared to light fabrics like lawn. The Encyclopaedia Perthensis (1816), p. 160, categorizes it this way:

However, note that the encyclopedia ranks cambrics as heavier than lawn...while another source classes it with lawn. I suspect that there are several grades of the cambrics, and probably of jaconet, too.

Necklaces. Coral and amber are considered summery and "rustic". Interesting. So are "Indian spices". This makes me wonder if necklaces were strung with nutmegs? Still, I cannot help but wonder if I have misread or misunderstood the text...but no, it's true. See "Indian spice necklace". It's fascinating. By the way, the spice used is apparently from the Caribbean, the West Indies.

Persian mantle. What makes the mantle Persian? Methinks it's probably just to decorate the idea of the shawl, and no more, but the heavy gold fringe, which appears to be composed of gold-colored beads, does have an Eastern feel. Note that the beads play off the beads on the pelisse trim. The entire outfit is closely coordinated.

Tippets. Still in fashion...

Waistline. For evening dresses, waistlines are somewhat higher in front than in back. What a change from some years before, when the front was lower than the back. It's a fallacy to assume that the high waistline was at the same height all around. It makes putting on a sash rather a trick.

White. The author's chatter about how prevalent the color white is in 1811 strikes me as a little silly, since white had been so common a color for dress for the last thirty years, from when the Chemise a la Reine made its entrance before the French Revolution. However, if you choose not to skip the section after the first phrase, you realize that the author is focusing on white outerwear...you know, shawls and spencers and so on. Yes, this is different, for for the last age or so, and I am exaggerating, women had been wearing little white dresses with bright Eastern or faux-Eastern shawls, or contrasting spencers in silk or cotton or wool or lace, with colored boas and so on. Now the outerwear is white too. 

More than that, the layering effects we have seen in drapery this year are carried into peekaboo color effects, in which thin white fabrics on top allow colored linings to show. We've seen this is dresses, now it's popular in pelisses and spencers, too. This is a fashion sandbox in which costumers and reenactors haven't played much, and I wish they would try it out as a variation.