woensdag 29 mei 2013

Hosting a ball

“The characteristic of an English country dance is that of gay simplicity. The steps should be few and easy, and the corresponding motion of the arms and body unaffected, modest, and graceful.” – The Mirror of Graces, 1811 
 
In a society governed by strict rules regulating the interaction of the sexes, the dance floor provided one of the only places marriage partners could meet and courtships might blossom. The ballroom guaranteed respectability and proper conduct for all parties since they were carefully regulated and chaperoned. Even so, under cover of the music and in the guise of the dance, young people could talk and even touch in ways not permitted elsewhere.

As far as the opportunity to meet people went, private balls had the very great advantage over public ones in that the hosts controlled who attended. One could be assured of the quality of guests at a grand house, so chaperons could rest a little easier that their charge was not interacting with someone below her station.

Hosting a ball was no small matter. Musicians had to be hired and supper for all the guests provided. Cards or invitations were sent out no less than two to three weeks prior to the event and a reply was imperative with a day or two. After the ball, thank you notes were expected of all the guests in appreciation for the hospitality. Read more: a-private-regency-ball

vrijdag 24 mei 2013

A Pictorial Visit to Chawton

 

Fireplace in Jane’s and Cassandra’s shared bedroom. Chawton Cottage Image@Tony Grant
 

The stairs outside Jane’s room. Chawton Cottage Image@Tony Grant



A view of the outbuildings from Jane’s bedroom window
 

New website: What Jane saw.

 
On 24 May 1813, Jane Austen visited an important and much-talked-about art exhibit at the British Institution in Pall Mall, London. The show was a retrospective of the works of Sir Joshua Reynolds (1723-1792), England's celebrated portrait painter.
No visual record of this show is known to have survived, although it attracted hundreds of daily visitors during its much-publicized three-month run. However, many details of the exhibit can be reconstructed from the original 1813 "Catalogue of Pictures," a one-shilling pamphlet purchased by visitors as a guide through the three large rooms where hung 141 paintings by Reynolds. Armed with surviving copies of this pamphlet, narrative accounts in nineteenth-century newspapers and books, and precise architectural measurements of the British Institution's exhibit space, this website reconstructs the Reynolds show as Jane Austen (as well as any Jane Doe) saw it.
Read more on the website.

JANE AUSTEN/ WEBSITES

Jane Austen

Jane Austen

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