Horatio Nelson at the NPG and in Edinburgh

by Lemuel Francis Abbott, oil on canvas, 1797

I am not hugely enamored with military history, but one cannot study Jane Austen's era without knowing something of Nelson. For better or worse, my early impressions of the man were defined by the 1941 film That Hamilton Woman (it's amazing how many characters, both real and fictional, were first introduced to me as Laurence Olivier). Those of us who don't find military history fascinating sometimes cling to scandalous tidbits like Nelson's affair with Emma Hamilton, as they are far more engaging to our brains than battle maneuvers. So it was with some chagrin that I visited The Nelson Monument on top of Calton Hill only to discover the small but highly informative museum exhibit dedicated to him there made not a single mention of his notorious mistress. For my five pounds, I would have liked to have had that small bone tossed my way. Of course, I was paying to climb the tower and enjoy the view, which I would gladly do again.

I suppose the legitimate Nelson enthusiast must get rather bored of we dilettantes who want to delve again and again into the details of his great romance. I understand that his military career is legendary and of far greater lasting significance than the details of his love life. Yet when presenting the image of a man in his entirety - when seeking to understand his character and motivations - is not such information essential? Behold his portrait on display at the National Portrait Gallery in London: this is not the image of a glorified military emblem (as we saw George IV portray himself in the same room), but a surprisingly gentle and unassuming looking man, not formidable in the least despite the proudly display of his Star and Ribbon of the Bath and Naval Gold Medal. This portrait is based on one from a previous sitting for the same artist, though it was also taken from life, and it was commissioned for Lady Nelson. How I wished there were portraits of both she and Lady Hamilton nearby! Perhaps such a display would be a bit sensationalist, especially in a room of the gallery dedicated George IV, but I would have reveled in it, nonetheless. I find this portrait fascinating in its backstory. There is some madness in this tale, and that always sparks my imagination. This is from the NPG website:

Although Nelson only sat to him twice, Abbott subsequently copied the picture over forty times. The copies gradually declined in quality as the artist became mentally ill but this was no bar to their popularity. Many were purchased by Nelson's naval colleagues, his family and friends.  

In July 1798, Nelson's wife wrote to him: 'My dearest Husband - I am now writing opposite to your portrait, the likeness is great. I am well-satisfied with Abbott… it is my companion, my sincere friend in your absence…'.

Nelson supposedly began his affair with Lady Hamilton that September, so there's your scandal. Revel with me.

Please enjoy the views from the top of the monument. It was incredibly windy up there but totally worth the climb. One gets the feeling of being an admiral on his ship, looking out into the endless distance.

https://creativecommons.org/licenses/by-nc-nd/3.0/legalcode

The Nelson Monument, Calton Hill, Edinburgh

View of Hollyrood Castle from top of Nelson Monument

View of the rest of Calton Hill from Nelson Monument, including
the National Monument of Scotland and the City Observatory.

View of Arthur's Seat from Nelson Monument

View of Calton Hill, Edinburgh New Town, and the Firth of
Forth, estuary to the North Sea, from Nelson Monument.

Jane Austen's Portrait

I'm home! I had a fabulous time with family in Scotland then on my own in Bath at the Jane Austen Festival. I learned so much, and my current intention is to reinvigorate my blog by sharing my adventure with you. What better place to start than with the lady who made it all happen?

by Cassandra Austen, pencil and watercolor, circa 1810

I flew into London the day before the festival began and spent the night there, so I might have time to visit the National Portrait Gallery. I had missed this museum on my two previous visits because no one else in my traveling party was particularly interested. Other sights always took priority. As it turns out, it was a very good thing for me to go alone, because it allowed me to get lost in the collection for three, undisrupted hours. It was fabulous! Unsurprisingly, I was particularly excited by the many portraits of writers whose works have shaped my life and mind. I am putting together a virtual "scribblers tour" of the gallery for my next Austen Authors post (I'll crosspost here), but I want to use this forum to take a more in depth look at Jane alone.

by James Andrews, watercolor, 1869

published by Richard Bentley, stipple engraving, 1870

Let's be clear up front: the portrait of Jane Austen by Cassandra Austen is easily the most unsatisfying likenesses displayed in the entire gallery. It's really awful, and that is precisely what makes it so intriguing. As the plaque inserted beneath the glass box which contains the portrait so accurately states: "Few English novelists have commanded such popular affection and critical respect as Jane Austen." And this is the best we can do for her portrait? For over a century, artists have used this sketch as the premise for more "satisfying" renditions of Austen. It is this legacy which helps authenticate the portrait: James Edward Austen-Leigh used it as the basis for the watercolor he commissioned in 1869 for use as the frontispiece to his biography, A Memoir of Jane Austen. Painted by James Andrews, it is his watercolor from which the varied engravings of her image are derived. However, there is still dispute over the portraits authenticity. As Claudia Johnson notes in Jane Austen's Cults and Cultures, there is no recorded mention of Cassandra's portrait prior to 1869. The NPG's website states:

This frank sketch by her sister and closest confidante Cassandra is the only reasonably certain portrait from life. Even so, Jane's relatives were not entirely convinced by it: 'there is a look which I recognise as hers', her niece wrote, 'though the general resemblance is not strong, yet as it represents a pleasing countenance it is so far a truth.'

So is this Jane? If so, she appears almost surly in it, as if she can little spare the patience to sit for her sister. Austen-Leigh's biography, which he wrote was conceived "in a spirit of censorship as well as communication," clearly tried to remold his literary aunt into something acceptable to the family's Victorian sensibilities. He gave the public an image of a demure spinster, which does not mesh well with the acerbic nature of the novelist's voice. For this reason I much prefer Cassandra's drawing, even with all its deficiencies, than the prettied up version. I can more easily imagine Jane as an unwilling sitter than a wallflower.  

by Ozias Humphry, oil on canvas, 1788 

There is another portrait: one that fulfills all the expectations that Cassandra sketch so sadly disappoints. The Rice Portrait is the subject of hot debate. I admit: I am biased in its favor, and not just because it would be absolutely glorious were it her! First there is the fact the National Portrait Gallery, in its early days, attempted to acquire the portrait, at the time describing it as a portrait of Austen. It was only after the purchase fell through that the gallery cast dispersions on its authenticity. Next is the fact that while the portrait was long believed to be the work of Johan Zoffany, high definition images of the portrait have recently revealed the signature of Ozias Humphry (who had a history of painting portraits of the Austen family) as well as a date: 1788. The date is important for a variety of reasons but primarily because scholars had previously argued that the portrait, based on the clothing, had to have been painted in the early 19th century, when Jane would have been too old to be the sitter. Elite art historians and scholars are still reluctant to validate the portrait, maybe because it would place such a priceless object in private hands? I watch the debate eagerly for resolution, but there seems to be none in near sight. For more information, please visit www.janeaustenriceportrait.com.

by Cassandra Austen, watercolor, 1804

The only image we have of Austen that is positively, indisputably her is only of her back. As beautiful as Cassandra's other portrait is homely, it is perhaps my favorite of them all. How appropriate that we cannot see her disputed face! The author remains enigmatic, which is just as it should be. After all, every reader of Jane Austen has their own Jane. We hear her narrative voice. She speaks to us with an intimacy few other writers capture. We each have our own vision of who she is, from proper gentlewoman to devilish wit. Perhaps if we were certain what she looked like, our imaginations would not be so free to view her in the guise we choose. 

(Note: I have not discussed the "Byrne Portrait" in this post as I have yet to hear anyone but Paula Byrne insist on it's authenticity. Still, it offer another interesting possibility. I suggest this article for the full details: http://www.jasna.org/persuasions/printed/number34/kaplan-d.pdf)

Downton Abbey Costume Collection at Winterthur

As some of you may know, I live smack in the middle of what I often call Dupont land. The nearby schools bear the name, I get superseded in the supermarkets by persons with the name, and their massive homes, gardens, and factories dominate tourism and industry in the area. Welcome to Wilmington, DE. I think it's about as close as you can come to living on a great English estate of the 19th century in 21st century America. We are all, in some manner, dependent on the Duponts.

There are perks to this set up, and one of the best is Winterthur Museum, Garden, and Library, a mere five minutes up the road, and home to the premier collection of decorative arts in North America. It just so happens to also be the first stop (it was slated to be the only) of the Downton Abbey costume collection in the country. My family enjoyed a lovely day at the mansion last Saturday, dining on Downton inspired foods and enjoying a peek at some of the exquisite costumes from the show. I do wish they had catered a bit more to the historical context, or the costume making process. Instead of showing clips from the story (they had Mary and Matthew's engagement moment from the season two Christmas special playing on a constant loop), they might have shown the costumers at work or explaining their art. It would have enhanced the exhibit for me, but no supplementary material can alter the exquisite nature of the costumes. In so many ways, they speak for themselves.

The exhibit was (theoretically) organized by time of day, starting with the servants rising at dawn and continuing into the evening with fabulous dinner dresses. The patterns and embellishments appear far more elaborate in real life than on screen, as they are designed to create texture that can barely be seen but nevertheless enhances the atmosphere of the show. Often real vintage pieces are incorporated into the costumes (the designers only have eight weeks to put them all together), and many are inspired the original Lanvin creations of the day. I took a multitude of terrible pictures, wanting to record the fairly elaborate pattern of Anna's calico and the lace on Mrs. O'Brien's costume, but I will only show you what I thought were the most spectacular costumes (and most tolerable pictures).

Vintage day dress worn by Lady Sybil

Cora's half-mourning for Sybbie's christening

Lady Sybil's harem pants (she really had the most spectacular clothes)

Lady Edith's wedding gown (so sad)

 Lady Sybil's dress from Edith's wedding

Gown worn by Cora with details

 Evening gown worn by Lady Mary

Beautiful lace jacket worn on multiple occasions by the dowager countess 

Fabulous evening gown of Cora's with details

Evening gown worn by the dowager countess with sleeve and bodice detail

The exhibit runs through New Year's. It is wildly crowded, so book ahead! I saw many people who had driven hundreds of miles to get there turned away at the door. Be sure to also book your house tour in advance if you've never been to Winterthur before. The grounds are also fabulous.

http://www.winterthur.org/downtonabbey?src=home-triptych-left

Artist / Rebel / Dandy 2: The Mirror of Fashion

I was lucky to return to Providence, Rhode Island earlier this month, this time without my daughter, and went back to the RISD Museum to view the current exhibit - Artist / Rebel / Dandy: Men of Fashion - in more detail than my previous visit allowed (check out my first post on the exhibit here). I was particularly interested in getting a closer look at Richard Dighton's panoramic Mirror of Fashion, made in 1823 and featuring several prominent society gentlemen of that time. The exhibit is opened through August 18th, so there is still time to see it yourself, but for those who cannot get there, I thought I'd take this opportunity to detail this fascinating set of caricatures, as I was very sorry not to be able to find more information on it when I returned from my first viewing.

I can't find a complete picture of this rather bizarre scroll, but at it is not the artwork but the captions I find so interesting, perhaps this matters little. I did not transcribe it in its entirely, but I did pick out a few snippets to share, either for their humor or the familiarity of the persons represented. I will present them from left to right, beginning with the first that struck my particular interest. The bold type is the identification provided by Dighton.


A Good Whip
William Phillip Molynaux, 2nd Earl of Sefton certainly was a notable whip. As one of the founders of the Four-Horse club, he might well have been the basis for many of Georgette Heyer's "Corinthians". His wife was one of the founders of Almacks. A politician, perhaps his most memorable contribution to public life was his opposition to the railroad, so we'll remember him for driving through town at a reckless place with four horses instead.

An Indian Lake, Lord Lake
This is humorous because Francis Gerard Lake's father received the title Viscount for his service in India as Commander-in-Chief of the British forces. The 2nd Viscount Lake does not seem to have similarly distinguished himself, but we may assume by his presence here that he enjoyed the profits of his father's toil.

A Favorite Poodle
The Hon. Frederick Gerald Byng (I found a few mistakes by the RISD curator, and one was misidentifying him as George Byng, 2nd Earl of Strafford, another was listing Almack's as a gentlemen's club), was named "Poodle" Byng by Beau Brummell himself, who was mocking the dog that constantly accompanied his friend. A member of the "Bow Window Set" at White's, this caption probably mocks his status as a close associate of George IV, whom he served as page. The gentlemen is credited with improving London's sanitation system.

Kang = Kook
I can't find much information on Colonel H.F. Cooke, but I'm dying to know what this caption references. If anyone can explain Kang = Kook to me, I'd be ever so grateful.

(skip ahead a few)

New = Gent, Lord M_____
This one poses another mystery. Presumably the man pictured was recently elevated to his status as lord whatever he was (Mumford?). If anyone can enlighten me, I'm all ears.

The Golden Ball, Ball Hughes
No mystery here. Ball Hughes is one of those famous dandy's who gambled and caroused his way through an enormous fortune until he had to move to France, where one could live more cheaply. Although I saw no specific mention of his contributions to fashion in the exhibit, he is credited with inventing the black cravat, which one would think would be worth noting. Look for him in Heyer's Sylvester.

Best Blood & Bottom of Westmorland
Totally unidentified, but as I believe Westmorland was known for hunting, the gentlemen must have been quite the Corinthian (if these terms have little meaning for you, please read more Heyer).

Lord Yarmouth, A View from Yarmouth to Hertfordshire

I was super excited to see Francis Seymour-Conway, 3rd Marquess of Hertford and Earl of Yarmouth pictured, as I have a print of his mother's picture (one of the Regent's many mistresses) hanging in my living room. The inscription indicates the extent of his power and influence. He was a considerable art collector, so it makes sense that he's now part of a collection.

A Welch Castle
I don't quite get this one, for it is identified as Lord Gwydyr, and despite the hard to pronounce name I can find no indication that he was at all associated with Wales. Maybe one of you can help? What is of interest for Janeites is his full name, for Peter Drummund-Burrell was also the 22nd Baron Willoughby de Eresby.

(Skip a few more)

The Best Store in the Ordnance

-          The most well-know personage is none other than Arthur Wellesley, 1^st Duke of Wellington. I think no further explanation is require.

A Princely Ambassador

-         Prince Paul III Anton Esterhazy is another character familiar from Heyer, as his wife was one of Almack's most famous patronesses. He was a prince and the ambassador from Austria. Go figure.

(One last leap to the section pictured below)

A Character in the School of Reform/Catullus/A Spice of Pepper from the Stick of Arden/One of the Rakes of London/An Old Servant out of Place

A Character in the School of Reform

-          John Cam Hobhouse, 1^st Baron Broughton is one for the literary buffs, as the forth Canto of Childe Harold is dedicated to him. After traveling with his buddy Byron through Europe for several years, he began a career as Radical reformer, for which he is best known.

Catullus

-         George Lamb did a translation of Catullus' poems into English, but he's mostly interesting in the modern world as the little brother of William Lamb and husband of the Duke of Devonshire and Lady Elizabeth Foster's illegitimate daughter.

A Spice of Pepper from the Stick of Arden

-         William Arden, 2^nd Baron Alvanley, as in "Alvanley, who's your fat friend?", which has to be the most famous cut of all time, having lost Beau Brummell his place in the Regent's circles. The Baron was another infamous dandy to plow through the family money, but he must have been a lot of fun to party with in his heyday, while I believe the rest of his family was of a more serious bent (his brother was a friend of William Wilberforce).

One of the Rakes of London

-          Thomas Raikes was a famous dandy and diarist. The artist's willingness to make a rather insulting pun upon the name Raike might be a liberty premised in its mercantile roots. I'm pretty sure this gentlemen makes his appearance in Heyer, too, but I can't figure out where. 

I had so much fun studying this! Any information a reader might wish to contribute to further this deciphering of an iconic image would be wonderful. I'm sorry I couldn't do the entire scroll, but there were others waiting on me. 

One last highlight of the exhibit I failed to mention in the last post: this magnificent banyan worn by the Prince Regent in his thinner days is included. If you can get there, go visit the RISD Museum before August 18th. While in providence be sure not to miss the Athenaeum Library on Bennet St. That place is magical. 

Artist / Rebel / Dandy: Men of Fashion at the RISD Museum

I was in Providnce, RI this weekend visiting my sister, and she took me to the RISD Museum. My two year old in tow, we were making quick pace through the galleries, trying to keep her engaged, when, upon turning a corner, I stumbled upon this:

Suddenly an image I've long been familiar with, having studied it in many a book, was before my eyes! Abandoning my daughter to my sister, I excitedly began lecturing about the biographic details of several of the figures pictured in The Mirror of Fashion by Richard Dighton, a lengthy panorama fashioned in a beautiful box, made in 1823.

 

Turning another corner, I was confronted with a collection of the iconic ruffled white shirts and blue, broadcloth suits of a Regency Era dandy, as popularized by Beau Brummel. I had unknowingly stumbled into the middle of phenomenal exhibit detailing the image of the dandy since the early 19th century, complete with Cruikshank caricatures. What kismet!

Any Janeite who can should see Artist / Rebel / Dandy: Men of Fashion, which catalogs the development of the dandy as a product of industrialization, democratization, and rebellion since the days of Brummel. His influence is traced through such iconic figures as Baudelaire, Oscar Wilde, Fred Astaire, Andy Warhol, and Patty Smith. What an amazing testament to the cultural importance of the Regency upon our modern world! I came away with a beautiful exhibit book, filled with essays detailing the construction of satire, art, and self-expression through fashion. The only sorrow attendant on the experience was an ardent wish for time to explore the extensive exhibit and am planning a return trip for that very purpose, probably sometime mid-summer. As it runs through August 18th, I highly recommend making it part of your summer travel plans.