Raw non-hierarchical menu of HTML files and other resources in this directory

This is a list of everything available here (except for a few small riddle-answer HTML files, and all the in-line .gif's).

Jane Austen and Pride and Prejudice files
Singular "their" etc, construction in English, and other linguistics pages
HTML documentation
Index files, etc.

File List

Jane Austen files:
- Miscellaneous Jane Austen stuff
  - Jane Austen info page and Pride and Prejudice hypertext (index.html)
  - Abstracts of Jane Austen articles from the e-Journal Nineteenth Century Literature (19litabs.html)
  - Comments on Jane Austen sequels, from the Jane Austen discussion list (AUSTEN-L) (alfaqseq.txt)
  - Comments on Continuations/Completions, from the Jane Austen discussion list (AUSTEN-L) (alfaqctu.txt)
  - Comments on other Austen Para-Literature, from the Jane Austen discussion list (AUSTEN-L) (alfaqpra.txt)
  - Comments on Georgette Heyer, from the Jane Austen discussion list (AUSTEN-L) (alfaqhey.txt)
  - Occurrences of "ain't" in Jane Austen's writings (aus-aint.html)
  - Jane Austen -- Bibliography of Articles and Dissertations -- Part 1 (A-G) (ausartc1.html)
  - Jane Austen -- Bibliography of Articles and Dissertations -- Part 2 (H-M) (ausartc2.html)
  - Jane Austen -- Bibliography of Articles and Dissertations -- Part 3 (N-?) (ausartc3.html)
  - Coincidences in Jane Austen's novels (auscoinc.html)
  - Jane Austen on gender differences (ausexdif.html)
  - Jane Austen's life -- A letter to her brother Frank in the form of a poem (including graphic reproduction) (ausletpm.html)
  - Classifications of the marriages in Jane Austen's writings (ausmarrg.html)
  - Jane Austen's Life -- An evening prayer "composed by my ever dear Sister Jane" (ausprayr.html)
  - Jane Austen -- Full Bibliography -- Subject Index (austbsbj.html)
  - The AUSTEN-L Mailing List (austen-l.html)
  - Jane Austen -- Full Bibliography -- by Author (austfbib.html)
  - Jane Austen's literary influences -- diagram (austinfl.html)
  - Jane Austen -- Bibliography of Sequels (austseql.html)
  - Jane Austen -- Failed late 18th- and early 19th-century pick-up lines (auspikup.html)
  - Singular "their" in Jane Austen and elsewhere: Anti-pedantry page (austheir.html)
  - List of examples of singular "their" etc. from Jane Austen's writings (austhlis.html)
  - Jane Austen jokes: The Jane Austen Top Ten Song List, The Jane Austen Punishments List (austt10j.html)
  - Jane Austen's Writings -- The walk to Beechen Cliff (Henry and Eleanor Tilney with Catherine Morland), in Northanger Abbey (beechclf.html)
  - Jane Austen's Writings -- Emma -- Clueless, the Movie (clueless.html)
  - Solemnization of Matrimony -- Book of Common Prayer (compraym.html)
  - Jane Austen's writings -- a comparison between the characters Henry Crawford of Mansfield Park and Darcy of Pride and Prejudice (darcrawf.html)
  - Ellen Moody on Jane Austen's Heroes, and Austen's Sir William Mountague (emaushro.html)
  - Harp-playing Ladies: Chapter 7 of Jane Austen's Mansfield Park, Ellen Moody's Comments, and Regency Illustrations (emharpld.html)
  - Jane Austen's Writings -- Genealogy charts for the characters in Emma (emma-gen.html)
  - Jane Austen: Emma on Old-Maidhood (emmaoldm.html)
  - Jane Austen -- A sensual scene from Emma (emmasens.html)
  - Jane Austen -- The charades and riddle in Emma, and their answers (emmchrad.html)
  - Postings to AUSTEN-L on Frances Burney's 1778 novel Evelina and Maria Edgeworth's 1801 novel Belinda. (evlnblnd.txt)
  - Jane Austen's Writings -- Frederic & Elfrida (fredelfr.html)
  - Jane Austen -- Education: Mrs. Goddard's School in Emma (goddrsch.html)
  - Jane Austen's Writings -- Henry and Eliza (henreliz.html)
  - The British system of aristocratic honorifics (for Jane Austen's novels) (honrific.html)
  - Jane Austen's novels: BBC and other Film/Video adaptations (jabbcvid.html)
  - Jane Austen: 1907-1908 Charles E. Brock illustrations for the other novels (jabrokil.html)
  - Jane Austen's Writings -- Jack & Alice (jackalic.html)
  - Jane Austen's Art and her Literary Reputation (janeart.html)
  - The Jane Austen Society (janausoc.html)
  - Selective Jane Austen Bibliography (janebblg.html)
  - Jane Austen Info Page (janeinfo.html)
  - Jane Austen's Biography: Life (1775-1817) and Family (janelife.html)
  - Jane Austen's Writings (janewrit.html)
  - Jane Austen and her Writings -- Chronology and Periodization (japeriod.html)
  - The Jane Austen Society: 1995 conference, "Revisiting Mansfield Park" (jas95cnf.html)
  - The Jane Austen Society: 1996 conference, "Jane Austen's Men" (jas96cnf.html)
  - Self-deprecatory comments by Jane Austen on her own epistolary handwriting, as compared with Cassandra's (jaushndw.html)
  - Jane Austen's Life -- The Notorious "Creaking Door" and "Sofa" from James Edward Austen-Leigh's Memoir (jealmcds.html)
  - Jane Austen Info Page -- On-line Library Cataloging Information (jilibrcd.html)
  - Search the Jane Austen Info Page (jisearch.html)
  - Jane Austen's opinion on the infidelities of the Prince and Princess of Wales (jprncwal.html)
  - Jane Austen's Writings -- Juvenilia -- Miscellaneous Scraps (juviscrp.html)
  - Jane Austen's writings -- Lady Susan (ladysusn.html)
  - Jane Austen's writings -- Lady Susan -- Part 1 (ladysus1.html)
    Letters 1 to 16: Before Frederica's arrival.
  - Jane Austen's writings -- Lady Susan -- Part 2 (ladysus2.html)
    Letters 17 to 25: From Frederica's arrival to the Sir James Martin contretemps.
  - Jane Austen's writings -- Lady Susan -- Part 3 (ladysus3.html)
    Letter 26 to Conclusion: After the Sir James Martin contretemps.
  - Jane Austen's Writings -- Lesley Castle (excerpts) (leslcasl.html)
  - Literary Allusions in Jane Austen's writings (litallus.html)
  - Jane Austen's Writings -- Love and Freindship (lovfrend.html)
  - Jane Austen's Writings -- Love and Freindship -- Part 1 (lovfrnd1.html)
    Letters 1-10 (Laura in Wales and England)
  - Jane Austen's Writings -- Love and Freindship -- Part 2 (lovfrnd2.html)
    Letters 11-13 (Laura in Scotland: the Misadventures)
  - Jane Austen's Writings -- Love and Freindship -- Part 3 (lovfrnd3.html)
    Letters 14-15 (Laura in Scotland: the Wrap-up)
  - Jane Austen's Writings -- Love and Freindship -- Notes and Character List (lovfrndn.html)
  - Jane Austen's Writings -- Love and Freindship -- Character List with "Spoilers" (lovfrnds.html)
  - "Character Transformation in Emma and Clueless" by Jordie Margison (maclulss.html)
  - A Men-only dialogue in Jane Austen's novels (malemale.html)
  - Jane Austen's Writings -- Chronology of "Mansfield Park" (mansfchr.html)
  - Jane Austen's Writings -- Genealogy charts for the characters in Mansfield Park (mansfgen.html)
  - Jane Austen: Dialogue from "Mansfield Park" on the custom of girls' coming "Out" (mansfout.html)
  - Passages from Mansfield Park in which Jane Austen gently laughs at Fanny Price (mnsfnprc.html)
  - Jane Austen's Writings -- Henry Tilney and Catherine Morland on marriage vs. dancing, in Northanger Abbey (namrgdnc.html)
  - Jane Austen's Writings -- Quotes from Northanger Abbey which were puffed up into a Gothic cover blurb (nhabgoth.html)
  - Search all six Jane Austen novels (novlsrch.html)
  - Jane Austen -- Opinions of Mansfield Park (opmansfp.html)
  - Jane Austen's Writings -- Poems on Jane Austen (othpoems.html)
  - Jane Austen's Writings -- The cancelled chapters of "Persuasion" (pcanchap.html)
  - Jane Austen's Writings -- Occurences of the words "persuade"/"persuasion" in the novel Persuasion (persuasn.html)
  - Jane Austen's Writings -- Occurences of the words "persuade"/"persuasion" in the novel Persuasion (plaintext) (persuasn.txt)
  - Jane Austen's Writings -- Genealogy charts for the characters in Persuasion (persugen.html)
  - Jane Austen's Writings -- Plan of a Novel according to Hints from Various Quarters (plannovl.html)
  - Some acidulous comments on the British nobility and their social role, from William Carpenter's A Peerage for the People (1835/1841) (peeragep.txt)
  - Miscellaneous materials originally intended for contribution to the never-realized AUSTEN-L FAQ (pre-faq.txt)
  - Illustrations from the "extended" Regency period (rgnclfil.html)
  - Jane Austen's Writings -- Notes on Sense and Sensibility (sensnots.html)
  - Jane Austen's Writings -- Genealogy charts for the characters in Sense and Sensibility (senssgen.html)
  - The plight of governesses, from Charlotte Brontë's Shirley (Jane Austen notes) (shrlygov.html)
  - Jane Austen: Sir Edward Denham's sense and literary taste (or lack thereof), from Sanditon (sndedwdn.html)
  - Jane Austen's Writings -- The Three Sisters (thresist.html)
  - Jane Austen's Writings -- Henry Tilney's gothic parody, Northanger Abbey (tilngoth.html)
  - A discussion on "Tutoiement" (use of intimate vs. formal pronouns) in translations of Jane Austen's Pride and Prejudice (tutoiement.txt)
  - Jane Austen's Writings -- The Watsons -- Part 1 (watsons1.html)
  - Jane Austen's Writings -- The Watsons -- Part 2 (watsons2.html)
- Compressed binary .ZIP files of Plain ASCII e-texts
  These e-texts have been compressed as binary .zip files. If you click on the links below, your browser should download the file and give you an opportunity to save it to disk (since the HTTP content-type is "application/zip"). Once you have the file on disk, you can uncompress it with the shareware programs PKUNZIP (MS-DOS only), ZipIt (Macintosh only), or any of several of MS-Windows programs -- or with the free GNU unzip program available on a number of platforms (you can also uncompress the files with the GNU gunzip program, if the .zip file extensions are renamed to .gz). If you copy a .zip file between systems, remember to use binary transfer mode. Note that the plain ASCII e-texts have CR-LF linebreaks.
  - .zip of Plain ASCII e-text of Pride and Prejudice (pridprej.zip) <260577 bytes>
  - .zip of Plain ASCII e-text of Jane Austen's Letters (austlets.zip) <320793 bytes>
  - .zip of Plain ASCII e-text of Lady Susan (ladysusn.zip) <49888 bytes>
  - .zip of Plain ASCII e-text of The Watsons (watsons.zip) <39035 bytes>
  - .zip of plain ASCII e-text of Silas Marner: The Weaver of Raveloe by George Eliot (Mary Anne Evans) (silsmarn.zip) <155175 bytes>
- Jane Austen's Letters (Brabourne edition)
  - Jane Austen -- Letters -- Brabourne Edition (brablets.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1796 (brablet1.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1798, 1799 (brablet2.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1799 (brablet3.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1800, 1801 (brablet4.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1801 (brablet5.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1805 (brablet6.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1807 (brablet7.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1808 (brablet8.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1808, 1809 -- Part 1 (brablet9.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1808, 1809 -- Part 2 (brablt9b.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1811 (brablt10.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1813 -- Part 1 (brablt11.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1813 -- Part 2 (brablt12.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1814 (brablt13.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Cassandra, 1815, 1816 (brablt14.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Fanny Knight, 1814-1816 (brablt15.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters to Anna Austen Lefroy, 1814-1816 (brablt16.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Letters from Cassandra Austen to Fanny Knight, 1817 (brablt17.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Poetry, Backwards letter (brablt18.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Appendix I: Correspondence with Mr. Clarke, from Austen-Leigh's Memoir (brablt19.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Appendix II: Bridges family Clothing inventories, Account books, Engagement announcements. (brablt20.html)
  - Jane Austen -- Letters -- Brabourne Edition -- Appendix III: Letters from Mrs. Knight (brablt21.html)
  - Jane Austen -- Letters -- Other excerts from letters in Austen-Leigh's Memoir (auslet22.html)
  - Annotations to Jane Austen's Letters -- Austen Family Genealogical Charts and Miscellaneous Notes (brabletn.html)
  - Jane Austen's Letters -- Index IV. -- General Topics (ausletnx.html)
  - Jane Austen's Letters -- Index IV. -- General Topics -- Overflow (ausltnx2.html)
  - Search Jane Austen's letters (brabsrch.html)
- Pride and Prejudice hypertext
  - Pride and Prejudice -- Jane Austen (pridprej.html)
  - Notes and illustrations on Regency clothing styles, with 1895 Charles E. Brock illustrations for Pride and Prejudice by Jane Austen (ppbrokil.html)
  - Chronology of Jane Austen's Pride and Prejudice (ppchron.html)
  - Jane Austen: Pride and Prejudice -- Index of Characters (ppdrmtis.html)
  - Important Places in Pride and Prejudice and Jane Austen's Life -- Map (ppjalmap.html)
  - Jane Austen: Pride and Prejudice -- Notes on Random Topics (pptopics.html)
  - Jane Austen: Pride and Prejudice -- Notes on Education, Marriage, Status of Women, etc. (pptopic2.html)
  - Jane Austen: Pride and Prejudice, Chapter I of Volume I (Chap. 1) (ppv1n01.html) (The Bennets at home.)
  - Jane Austen: Pride and Prejudice, Chapter II of Volume I (Chap. 2) (ppv1n02.html) (The Bennets at home.)
  - Jane Austen: Pride and Prejudice, Chapter III of Volume I (Chap. 3) (ppv1n03.html) (Meryton assembly.)
  - Jane Austen: Pride and Prejudice, Chapter IV of Volume I (Chap. 4) (ppv1n04.html) (Meryton assembly post-mortem.)
  - Jane Austen: Pride and Prejudice, Chapter V of Volume I (Chap. 5) (ppv1n05.html) (Meryton assembly post-mortem.)
  - Jane Austen: Pride and Prejudice, Chapter VI of Volume I (Chap. 6) (ppv1n06.html) (Charlotte; evening at Sir William's.)
  - Jane Austen: Pride and Prejudice, Chapter VII of Volume I (Chap. 7) (ppv1n07.html) (Jane to Netherfield.)
  - Jane Austen: Pride and Prejudice, Chapter VIII of Volume I (Chap. 8) (ppv1n08.html) (Elizabeth and Jane at Netherfield.)
  - Jane Austen: Pride and Prejudice, Chapter IX of Volume I (Chap. 9) (ppv1n09.html) (Mrs. Bennet visits Netherfield.)
  - Jane Austen: Pride and Prejudice, Chapter X of Volume I (Chap. 10) (ppv1n10.html) (Elizabeth and Jane at Netherfield.)
  - Jane Austen: Pride and Prejudice, Chapter XI of Volume I (Chap. 11) (ppv1n11.html) (Elizabeth and Jane at Netherfield.)
  - Jane Austen: Pride and Prejudice, Chapter XII of Volume I (Chap. 12) (ppv1n12.html) (Elizabeth and Jane to home.)
  - Jane Austen: Pride and Prejudice, Chapter XIII of Volume I (Chap. 13) (ppv1n13.html) (Arrival of Mr. Collins.)
  - Jane Austen: Pride and Prejudice, Chapter XIV of Volume I (Chap. 14) (ppv1n14.html) (Mr. Collins at Longbourn.)
  - Jane Austen: Pride and Prejudice, Chapter XV of Volume I (Chap. 15) (ppv1n15.html) (Excursion to Meryton.)
  - Jane Austen: Pride and Prejudice, Chapter XVI of Volume I (Chap. 16) (ppv1n16.html) (Elizabeth and Wickham.)
  - Jane Austen: Pride and Prejudice, Chapter XVII of Volume I (Chap. 17) (ppv1n17.html) (The Netherfield ball impends.)
  - Jane Austen: Pride and Prejudice, Chapter XVIII of Volume I (Chap. 18) (ppv1n18.html) (Netherfield ball.)
  - Jane Austen: Pride and Prejudice, Chapter XIX of Volume I (Chap. 19) (ppv1n19.html) (Mr. Collins proposes.)
  - Jane Austen: Pride and Prejudice, Chapter XX of Volume I (Chap. 20) (ppv1n20.html) (Proposal aftermath.)
  - Jane Austen: Pride and Prejudice, Chapter XXI of Volume I (Chap. 21) (ppv1n21.html) (The Bingleys leave Netherfield.)
  - Jane Austen: Pride and Prejudice, Chapter XXII of Volume I (Chap. 22) (ppv1n22.html) (Mr. Collins and Charlotte.)
  - Jane Austen: Pride and Prejudice, Chapter XXIII of Volume I (Chap. 23) (ppv1n23.html) (Mr. Collins returns.)
  - Jane Austen: Pride and Prejudice, Chapter I of Volume II (Chap. 24) (ppv2n24.html) (Elizabeth and Jane.)
  - Jane Austen: Pride and Prejudice, Chapter II of Volume II (Chap. 25) (ppv2n25.html) (The Gardiners at Netherfield.)
  - Jane Austen: Pride and Prejudice, Chapter III of Volume II (Chap. 26) (ppv2n26.html) (Jane to London.)
  - Jane Austen: Pride and Prejudice, Chapter IV of Volume II (Chap. 27) (ppv2n27.html) (Elizabeth to London.)
  - Jane Austen: Pride and Prejudice, Chapter V of Volume II (Chap. 28) (ppv2n28.html) (Elizabeth to Kent.)
  - Jane Austen: Pride and Prejudice, Chapter VI of Volume II (Chap. 29) (ppv2n29.html) (Elizabeth at Rosings.)
  - Jane Austen: Pride and Prejudice, Chapter VII of Volume II (Chap. 30) (ppv2n30.html) (Darcy to Rosings.)
  - Jane Austen: Pride and Prejudice, Chapter VIII of Volume II (Chap. 31) (ppv2n31.html) (Elizabeth and Darcy at Rosings.)
  - Jane Austen: Pride and Prejudice, Chapter IX of Volume II (Chap. 32) (ppv2n32.html) (Darcy calls on Elizabeth.)
  - Jane Austen: Pride and Prejudice, Chapter X of Volume II (Chap. 33) (ppv2n33.html) (Elizabeth and Colonel Fitzwilliam.)
  - Jane Austen: Pride and Prejudice, Chapter XI of Volume II (Chap. 34) (ppv2n34.html) (Darcy's proposal.)
  - Jane Austen: Pride and Prejudice, Chapter XII of Volume II (Chap. 35) (ppv2n35.html) (Darcy's letter.)
  - Jane Austen: Pride and Prejudice, Chapter XIII of Volume II (Chap. 36) (ppv2n36.html) (Letter post-mortem.)
  - Jane Austen: Pride and Prejudice, Chapter XIV of Volume II (Chap. 37) (ppv2n37.html) (Rosings after Darcy's departure.)
  - Jane Austen: Pride and Prejudice, Chapter XV of Volume II (Chap. 38) (ppv2n38.html) (Elizabeth to London.)
  - Jane Austen: Pride and Prejudice, Chapter XVI of Volume II (Chap. 39) (ppv2n39.html) (Elizabeth and Jane to home.)
  - Jane Austen: Pride and Prejudice, Chapter XVII of Volume II (Chap. 40) (ppv2n40.html) (Elizabeth and Jane.)
  - Jane Austen: Pride and Prejudice, Chapter XVIII of Volume II (Chap. 41) (ppv2n41.html) (Lydia's Brighton scheme.)
  - Jane Austen: Pride and Prejudice, Chapter XIX of Volume II (Chap. 42) (ppv2n42.html) (Elizabeth and the Gardiners to Derbyshire.)
  - Jane Austen: Pride and Prejudice, Chapter I of Volume III (Chap. 43) (ppv3n43.html) (Elizabeth and the Gardiners at Pemberley.)
  - Jane Austen: Pride and Prejudice, Chapter II of Volume III (Chap. 44) (ppv3n44.html) (The Darcys call on Elizabeth at Lambton.)
  - Jane Austen: Pride and Prejudice, Chapter III of Volume III (Chap. 45) (ppv3n45.html) (Elizabeth and Mrs. Gardiner at Pemberley.)
  - Jane Austen: Pride and Prejudice, Chapter IV of Volume III (Chap. 46) (ppv3n46.html) (Letters from Jane.)
  - Jane Austen: Pride and Prejudice, Chapter V of Volume III (Chap. 47) (ppv3n47.html) (Elizabeth and the Gardiners to Longbourn.)
  - Jane Austen: Pride and Prejudice, Chapter VI of Volume III (Chap. 48) (ppv3n48.html) (Mr. Gardiner to London; Mr. Bennet to Longbourn.)
  - Jane Austen: Pride and Prejudice, Chapter VII of Volume III (Chap. 49) (ppv3n49.html) (Letter from Mr. Gardiner.)
  - Jane Austen: Pride and Prejudice, Chapter VIII of Volume III (Chap. 50) (ppv3n50.html) (Lydia's wedding impends.)
  - Jane Austen: Pride and Prejudice, Chapter IX of Volume III (Chap. 51) (ppv3n51.html) (Lydia and Wickham at Longbourn.)
  - Jane Austen: Pride and Prejudice, Chapter X of Volume III (Chap. 52) (ppv3n52.html) (Letter from Mrs. Gardiner to Elizabeth.)
  - Jane Austen: Pride and Prejudice, Chapter XI of Volume III (Chap. 53) (ppv3n53.html) (Darcy and Bingley return to Netherfield.)
  - Jane Austen: Pride and Prejudice, Chapter XII of Volume III (Chap. 54) (ppv3n54.html) (Darcy and Bingley at Longbourn.)
  - Jane Austen: Pride and Prejudice, Chapter XIII of Volume III (Chap. 55) (ppv3n55.html) (Jane's engagement.)
  - Jane Austen: Pride and Prejudice, Chapter XIV of Volume III (Chap. 56) (ppv3n56.html) (Lady Catherine's visit.)
  - Jane Austen: Pride and Prejudice, Chapter XV of Volume III (Chap. 57) (ppv3n57.html) (Mr. Bennet and Elizabeth.)
  - Jane Austen: Pride and Prejudice, Chapter XVI of Volume III (Chap. 58) (ppv3n58.html) (Elizabeth and Darcy.)
  - Jane Austen: Pride and Prejudice, Chapter XVII of Volume III (Chap. 59) (ppv3n59.html) (Familial approbation.)
  - Jane Austen: Pride and Prejudice, Chapter XVIII of Volume III (Chap. 60) (ppv3n60.html) (Wrap-up.)
  - Jane Austen: Pride and Prejudice, Chapter XIX of Volume III (Chap. 61) (ppv3n61.html) (The weddings, and conclusion.)
  - Search Pride and Prejudice e-text (ppsearch.html)
- Jane Austen-related images
  - Picture of Jane Austen (janepict.jpg)
    Reduced version of Jane Austen picture (janepics.jpg)
  - Somewhat manipulated image of the original sketch of Jane Austen by her sister Cassandra (jacportr.jpg)
  - Cassandra's portrait of their niece Fanny Knight (fankncas.jpg)
  - Silly cover of a printing of Northanger Abbey which was marketed as a gothic novel (USA, 1965) (nhabgoth.jpg)
  - Equally silly inside blurb (nabgoth2.gif)
  - Back-view portrait by Cassandra of Jane Austen (poor-quality greyscale JPEG) (auscport.jpg)
  - Back-view portrait by Cassandra of Jane Austen (poor-quality color JPEG) (auscprt2.jpg)
  - Jane Austen portrait filtered through mid-Victorian sentimentalism (janevict.gif)
  - Silhouette of Jane Austen's sister Cassandra (cassnslh.gif)
  - Silhouettes of Jane Austen's father and mother (taken at different ages) (jafathmo.gif)
  - The Austen family Coat of Arms (original greyscale) (austarms.gif)
  - The Austen family Coat of Arms (rudimentary colorization) (austarmc.gif)
  - Map of Bath ca. 1800 (bath-map.gif)
  - A scan of a card with information about Bath in Jane Austen's life and novels is also available. (Large image in PNG format, which won't load into pre-1996 browsers and image viewer programs.) (bathcard.png)
  - Map of important places in Pride and Prejudice and Jane Austen's Life (ppengmap.gif)
  - Illustration of the answer to the first Jane Austen humorous "charade" (chradans.gif)
  - Obituary of Jane Austen from the Gentleman's Magazine (1817) (jausobit.gif) (derived from an image scanned in by Mark Turner)
  - Silly version of Jane Austen portrait (ja-silly.gif) (this image taken from Margaret D. Stein's Restoration and 18th-century site formerly located at http://www.nd.edu/~mstein/style.html)
  - A deliberately contemporized version of Cassandra's Jane Austen portrait, by Amy Bellinger (amy-ja-3.gif)
  - Another silhouette said to be of Jane Austen in 1815 (jasilh15.gif) (this image scanned by Joan Winsor)
- Images from Jane Austen's era (not about Austen or her family):
- Fashion illustrations, etc.
  - Illustration summarizing the evolution of fashion in the latter half of the eighteenth century (1760-95f.gif)
  - Henry Angelo's Fencing Academy (watercolor by Rowlandson, 1787) (1787fenc.jpg) The famous fencer the Chevalier St. George's portrait, foils, and fencing shoes are displayed on the right wall. (The building burned down June 17th, 1789)
  - A crowd watching a horse-race, print by Rowlandson ("The High Mettled Racer"), July 20 1789 (1789rwld.jpg)
  - "Female Opinions on Military Tactics", Sept. 30 1790 caricature engraved by Isaac Cruikshank. Despite the title, this doesn't really mock feminine ignorance of military matters, but instead derives its humor from situations involving inexperienced soldiers of the militia or volunteers -- and adds in a good number of double entendres [Large Image] (1790mltj.jpg)
    Text in Image:
    - Rustic Couple:
      Wife:
      "I have made good the Accident of last night, -- and now John, though thee dost not look very like a Soldier, there shall not be a man in the Regiment with a better Ramrod."
    - Old Couple:
      Husband:
      "I can't conceive what is the matter with my Old Gun. I can't do any thing with it."
      Wife:
      "It's owing to the Cock, my Dear; it has been so a long time!!"
    - Third Couple:
      Man:
      "Is not that very Gentlemanly and upright."
      Young Lady:
      "Yes, and I hope you will always continue so. I doat upon everything upright."
    - Fourth Couple:
      Man:
      "Oh -- had you but seen me Fire last night; I astonish'd every Lady on the ground. I don't think I wink'd once during the whole evening."
      Woman:
      "I am happy to hear you improve in any thing -- I had almost given you up, I assure you.
    - Fifth Couple:
      Husband:
      "A mere Flash in the pan, as I am a Gentleman and a Soldier!"
      Wife:
      "That's nothing uncommon my Dear -- the only way is to try again."
    - Sixth Couple:
      Husband:
      "Bring me the Hammer, Wife -- I want to make an improvement in my Tailpipe."
      Wife:
      "That I will, my Dear; I love improvements of any kind."
    - Seventh Couple:
      Young Man:
      "This, Miss, is what we call the Cock -- and this is the Swell."
      Young Miss:
      "Well, I never knew so much of a Musket before -- how I should like to marry a soldier!"
    - Eighth Couple:
      Onlooker:
      "That a Military tail? I would not give a farthing for a Cart-load of them! I am told it is his Majesty's orders that every Gentleman Soldier in this Village shall at least have a tail of nine inches, to set a good example."
  - Roller Skates of 1790 (with a brief history of the invention of wheeled skates) (1790rlsk.gif)
  - A daughter summoned to appear before her parents, because of an unexpected and suspicious flower that has been found (the assumed topic of this sketch by Isaac Cruikshank, apparently drawn about 1790) (icruikshk.gif) (Somewhat pre-Regency.)
  - Self-portrait of Rose Adélaïde Ducreux with harp, ca. 1791 (rosadcru.jpg)
  - Lady with yo-yo (French, 1791) (1791yoyo.gif)
  - A watercolor which shows a more respectable version of visits by women to ships in port:"The Sailor's Sweetheart" by Isaac Cruickshank (probably done in the 1790's) (icslswth.jpg)
  - "A section of The Petticoat, or The Venus of 1742 and 1794" (English engraving, presumably from 1794, comparing fashion silhouettes of the two years; the left half is taken from a detail in the Hogarth painting "Taste in High Life", engraved 1746) (17421794.jpg) Text on the left: "The Mode - 1742 - Hogarth pinxit - from a picture of Hogarth's in the Collection of J. B. Esquire"
    Text on the right: "The Ton - 1794 - Lady CC...'l pinxit - from an Original (in the Collection) at the Opera"
    (Notice the high heels that the 1742 lady is wearing.)
  - A confrontation between a couple wearing formal French court dress of ca. 1778 and another couple wearing the advanced clothing styles of the young French fashionables of the Republic (costume plate ca. 1795?, by Vernet?); the couple on the left is saying "AH! QUELLE ANTIQUITÉ!!!" and the couple on the right "OH! QUELLE FOLIE QUE LA NOUVEAUTÉ.....": A poor-quality scan of the whole plate (17781793.gif)
    - A larger better scan of the left (ca. 1795) couple only (1793lft2.gif)
    - A larger better scan of the right (Court ca. 1778) couple only (1778riht.gif)
  - "Naomi entreating Ruth and Orpah to return to the land of Moab", illustration to the biblical book of Ruth by William Blake, 1795 (An idealized depiction of antiquity which nevertheless shows clothes similar to the actual fashions of the late 1790's) (1795blak.jpg)
  - Since the classical world was held up as a model, why not go all the way in your emulation? (French engraving by Linge after a semi-satirical painting by Dutailly, 1795, on "The Imitation of Antiquity") [Large image, mediocre-quality scan] (imitntqj.jpg) (Note that the flesh-and-blood gentleman's feet are in the fourth position of dancing, quite unlike those of his marble counterpart.)
  - "Leaving Off Powder, or A Frugal Family Saving the Guinea", March 10th 1795 caricature by James Gillray, on the results of the new tax on hair-powder. The mother is trying on a new unpowdered wig, the daughter is disconsolately surveying in a mirror the effect of her new unpowdered hair style, the father is standing with his back to the fire in an unpowdered wig and reading a Gazette -- the first page of which says "New Taxes", and the second page "Bankruptcies" -- and the extremely dandified son isn't wearing a wig at all. The very powdered Charles II looks down from the wall [Large Image] (offpowdr.jpg)
  - Portrait of the Frankland sisters by John Hoppner, 1795 (1795frnk.jpg)
  - Modern drawing by Jean Webber of short front-buttoning linen stays in blue silk, 1790's (179stays.gif)
  - 1795 fashion plate with naval background (navalbkg.jpg)
  - Gerard, Portrait of the painter J.B. Isabey and daughter, 1795. (isabey.gif)
  - "TOO MUCH and TOO LITTLE, or Summer Cloathing of 1556 & 1796", satirical print by Isaac Cruikshank after drawing by George M. Woodward, February 8th 1796 (15561796.gif)
  - A scan of a black-and-white reproduction of a hand-colored version of this same print) (15561796c.gif)
  - A fashion prediction of 1796: "Ladies Dress, as it soon will be --", slightly naughty satirical engraving by James Gillray, published Jan 20th, 1796, after a drawing by "Henry C----e" (1796gilr.gif)
  - "Lady Godina's Rout -- or -- Peeping-Tom spying out Pope-Joan. Vide Fashionable Modesty", a March 12th 1796 caricature by Gillray [Very large image] (fashmodj.jpg)
    An exaggerated satire by Gillray on the extremes of classical-influenced styles which were very new and cutting edge in England at that time. The caricature is said to refer to Lady Georgiana Gordon; the title, as well as the servant lecherously peering down while trimming the candle, are allusions to the Lady Godiva legend. "Pope-Joan" is a cardgame -- see http://www.trussel.com/maig/pope.htm for information on the game; Lady "Godina" is holding the nine of diamonds which is called the "Pope" in the game.
    (This scan courtesy Bob Whitworth of PrintsGeorge.Com.)
  - Trade card advertising Sloan House, a boarding school for young ladies, 1797 (1797schl.jpg)
    Top:
    Beehive, symbolizing industry
    To left of Beehive:
    Books, "English Grammar, French Grammar, Italian Grammar"
    To right of beehive:
    Book, "Bon Ton"
    To Left of Oval:
    Young lady sketching head of classical statue, Young lady looking through telescope with "Ferguson on Astronomy" open in front of her.
    To right of Oval:
    Pallas Athene standing by a harpsichord, and holding by the hand a young girl in 1790's attire.
    Below Oval:
    Scientific instruments, another music book
    Text in Oval:
    "Sloane House. Terms of Mrs. Chassaing's French Boarding School, Sloane Street, Chelsea. Board and Education including French grammatically by Mr. Chassaing At 30 guineas per Annum. Day Boarders 15 Guineas per Annum. Music, Dancing, Writing & Accounts, Geography with the use of the Globes at One Guinea per Quarter and a Guinea entrance each. Italian 2 Guineas per Quarter and One Guinea entrance.
    Text Below:
    "Every Lady has a separate bed."
  - A drawing which makes fun of the perceived excesses of Classical-influenced fashion, when the style was new (1797 -- one can see the outlines of the legs, how shocking!) (1797fash.gif)
  - "Le Goût du Jour", late 1790's fashion satire (goutjour.jpg) The little men cavorting on the swing are a satire of a then-familiar visual cliché (the similarly cavorting cupids in various pseudo-classical paintings of the period).
  - Louis Boilly, "Point de Convention" -- Semi-satrical painting depicting extreme clothing styles worn by young French fashionables ("incroyables" and "merveilleuses"), ca. 1797 (boilypdc.jpg)
  - "La Promenade publique du Palais-Royal" by Louis Philibert Debucourt, ca. 1798 (dbucplry.jpg)
  - An illustration of a balloon journey, from the Journal des Dames et des Modes, 1797-1798 (the lady seems none too warmly attired for the occasion) (1798blon.jpg) The writing on the falling scraps of paper reads: "Rapport sur le premier voyage aërien du Citoyen Garnerin avec la Citoyenne Henri" (Andre-Jacques Garnerin was one of the most famous balloonists of the time).
  - "Trade card" of Miss Dietrichsen, music teacher (ca. 1798), showing two young ladies playing the harp and piano (ditrchsn.gif) Caption: "On Moderate Terms, The Harp, Piano Forte & Singing, Taught by Miss Dietrichsen, 12, Rathbone Place, Oxford Street. White, Engraver, 14 Brownlow Street, Holborn."
  - Portrait of Gabrielle Josephine du Pont, ca. 1798 (possibly by Louis Léopold Boilly?) (1798dpnt.jpg)
  - Watercolor sketch for a fashion plate (to be published in Vienna?), showing a day dress with spencer, ca. 1798 (1798spnc.jpg)
  - Engraving of Archers, after a drawing by Adam Buck, published April 1799 (with dedication to Prince Regent) (1799arch.jpg)
    What might not be obvious now is that in 1799 the loosely-flowing unbound hair of the two ladies on the left would have been somewhat titillating in the eyes of the males of the day. (At the time, grown-up women did not leave their hair completely free-flowing and unadorned in public, but generally covered, ornamented, or confined their hair in some way, usually binding it up in back -- so unbound hair had a sexual charge because it was associated with the intimacy or privacy of the boudoir.)
  - Chemise dress worn with "Coiffure à la hollandaise", from Journal des Dames, 1799 (1799chms.gif)
  - Directoire gown worn with red shawl with Greek key border, from Costume Parisien, 1799 (1799shwl.jpg)
  - Lady riding (sidesaddle, of course!) in a dress of lawn and a jockey cap, from Journal des Dames, 1799; she isn't wearing a riding habit, but only her white Directoire gown, which would only really be appropriate for riding in the summer, over grassy turf (not dusty dirt roads...) (1799ridg.gif)
  - An example of strongly Classical-influenced continental European high fashion of the late 1790's and early 1800's (Jacques-Louis David, portrait of Madame de Verninac, 1799, JPEG) (verninac.jpg)
    - An example of strongly Classical-influenced continental European high fashion of the late 1790's and early 1800's (Jacques-Louis David, portrait of Madame de Verninac, 1799) (davd1799.gif) (old poorer-quality scan)
  - Parisian fashion? (Classicized scene) (parisdrs.gif)
  - "Parisian Ladies in their Full Winter Dress for 1800" (exaggerated satirical print by Isaac Cruikshank, Nov. 24th 1799) (1800crks.jpg)
  - "Parisian Ladies in their Full Winter Dress for 1800" (exaggerated satirical print by Isaac Cruikshank, Nov. 24th 1799) [Huge scan, showing more detail] (1800crksb.jpg)
  - "Sophia Western", a March 20 1800 print depicting the heroine of Tom Jones (apparently), showing her in the clothing styles of 1800 rather than 1749, and jumping rope (something which she might have found difficult to do in the fashionable costume of 1749!). Engraved by J. C. Stadler and Piercy Roberts after a drawing by Adam Buck (1800jmpr.jpg)
    Caption: ``Adorned with all the charms in which Nature can array her, bedecked with beauty, youth, sprightliness, innocence, modesty and tenderness, breathing sweetness from her rosy lips and darting brightness from her sparkling eyes, the lovely Sophia comes!''
    The dishevelment of her clothes in the picture was not meant to contradict the word "modesty" in the caption, but was supposed to be understood as being the accidental and unintentional effect of her strenuous physical activity.
  - Gambling at roulette, ca. 1800 (1800gmbl.jpg)
  - "The Comforts of a Rumford Stove", a June 12th 1800 Gillray caricature of Rumford (who was an American, Benjamin Thompson, awarded the title of "Count Rumford" by the elector of Bavaria), standing before his famous invention, the Rumford grate (popularized by his 1796 essay on "Chimney fireplaces", and mentioned in Northanger Abbey) [Large Image] (1800rumf.gif) According to the inscription, this was drawn ad virum (i.e. in Rumford's presence).
  - Portrait of a lady and her son by American artist John Vanderlyn, 1800 (1800vndl.jpg)
  - Impressive haberdashery from "La Mésangère", Paris, 1800 (1800bigh.gif)
  - Photographs of corsets in possession of the Kyoto Costume Institute (1819stay.jpg) Left: Late 18th-century linen stays, with boning, but short and front-lacing.
    Right: Early nineteenth century (ca. 1820?) cotton sateen stays which are long, but not necessarily all that constricting (in comparison with corsets from other periods); however, a busk inserted down the center front would ensure straight posture!
  - Coach(?) and six, with a "box" in front and "basket" behind (Rowlandson, 1798) (coach-n6.jpg)
  - Skating couple ca. 1800 -- the sly gentleman knows that under cover of teaching her to ice-skate, he can hold her and clasp her hand without being thought improper or forward. (Plate re-colored when printed in Fischel and Boehn's Modes and Manners of the Nineteenth Century, 1909.) (1800skat.jpg)
  - Image showing a couple in late 18th-century or early 19th-century Portsmouth kissing right out in the open on the street (gasp!) (publkiss.gif)
  - "The Fashionable Ox" (anonymous French caricature of the beginning of the 19th century) (fashnoxj.jpg)
  - Sketch of a daughter of Sir Edward Knatchbull (8th Baronet) by John Singleton Copely, 1800-1802 (done in preparation for painting a large portrait of the family) (1801knch.jpg)
  - "La Walse", caricature from Le Bon Genre, Paris, 1801 (at this time the Waltz was unknown in England, and in Germany and France still had not entirely shed its connotations of being a German peasant dance) (1801wals.jpg)
    On the left: a raffish couple; on the right: German "egghead", and a lady with her feet none too firmly planted.
  - Detail of a painting of a woman looking through an artistic portfolio, by Constance Mayer, 1801 (possible self-portrait?) (1801cmyr.jpg)
  - "Paris Dress" from The Lady's Magazine, July 1801 (1801gtar.gif)
  - Game of Blind Man's Buff, from Le Bon Genre (Paris), ca. 1803 (1803bbuf.gif)
  - Less detailed colored version of same illustration (attributed to Le Bon Genre, ca. 1802) (1802bbuf.jpg)
  - Two of spades, depicting a mother-daughter dialogue, from an 1803 draft design by John Nixon for the "Metastasis Transformation" pack of playing cards (London). (twospads.gif)
    (Caption here.)
  - "Crying for a New Toy", a Jan. 25th 1803 caricature attributed to Isaac Cruikshank which portrays Napoleon's planned coronation in a rather undignified light (1803npcj.jpg)
    Nurse -- "Well Child, you shall have it, but I don't think you'll be a bit better for it, nor quieter when you've got it." Nappy -- "I will have it, I will, or else I'll cry -- give me the Crown!" (Torn picture of "the world" and broken crowns and scepters litter the floor.)
  - "Night Bason Stand" from The Cabinet Dictionary by Thomas Sheraton (1803) (1803ntbs.gif)
    This bedside appliance fits in the corner of a room, and has a basin on top that you can wash your hands and face in (a jug of water would be placed on top of it for that purpose), and on the bottom has a concealed swing-out chamber-pot stand (with hinged foot for stability). Since the main sanitary facilities would have been on the ground floor, while bedrooms were usually upstairs, this would allow someone to take care of lesser necessities during the night without having to go all the way downstairs (and perhaps outside), to do so. (Note that this piece is an example of a professional cabinetmaker showing what he's capable of, and something this fancy wouldn't necessarily have been found in an average room of an average middle class house.)
  - Portrait of Mrs. Richard Crowninshield Derby as St. Cecilia, by John Singleton Copely, 1803-1804 (1803cply.jpg)
  - "The Arrival of the Diligence (stagecoach) in the Courtyard of the Messageries" by Louis-Léopold Boilly, 1803 (detail) (boilydlg.jpg)
  - Another conflation of Classical with contemporary Empire dress: Illustration by Stothard to "The Pleasures of Memory" by Rogers (stothplm.gif)
  - "Two Sisters Dancing" by Bovi (bovi2sis.gif)
  - "Stretchit", a slightly naughty English caricature of the early 19th century, commenting on a few young females who were daring enough to ride astride, rather than sidesaddle (gasp!) (strechit.jpg) (Part of the intended humor is suposed to come from the confrontation between the genteel, though "fast" young lady and the salty British tar.)
    (Dialogue in image here)
  - A game of blind man's buff -- it looks like the gentleman is, ahem, taking advantage of the situation... The French caption is "Colin Maillard assis -- MONSIEUR ON NE TÂTE PAS" (Translation: "Seated blindman's-buff -- Sir, no groping!") (colmaill.jpg) (Color scan courtesy Bob Whitworth of PrintsGeorge.Com.)
    A game of blind man's buff -- it looks like the gentleman is, ahem, taking advantage of the situation... The French caption is "Colin Maillard assis -- MONSIEUR ON NE TÂTE PAS" (Translation: "Seated blindman's-buff -- Sir, no groping!") (Slightly larger black-and-white scan.) (1800bbuf.gif) (For a more respectable single-sex version of blind man's buff, also published in Le Bon Genre, see above.)
  - A Regency parlour game, of uncertain nature but faintly scandalous appearance (by Schenker, from Le Bon Genre?). French Caption: "Le Baiser à la Capucine". (baiscpuc.jpg) (Color scan courtesy Bob Whitworth of PrintsGeorge.Com.)
    A Regency parlour game, of uncertain nature but faintly scandalous appearance (by Schenker, from Le Bon Genre?). French Caption: "Le Baiser à la Capucine". (Larger black-and-white scan.) (1800what.gif)
    A Regency parlour game, of uncertain nature but faintly scandalous appearance (by Schenker, from Le Bon Genre?). French Caption: "Le Baiser à la Capucine". (Even larger, but blurrier, black-and-white scan.) (1800what.jpg)
  - "Les soeurs Harvey" (Sketch portrait of the Harvey sisters) by Ingres, 1804 (ingharvy.jpg)
  - Portrait of Mrs. Lawrence Lewis (Nellie Custis), by Gilbert Stuart, 1804-1805 [Somewhat mediocre scan. Her clothes are rather modern-looking.] (1804cust.jpg)
  - Rather lively dancing of the "La Trénis" figure of the Contredanse, from Le Bon Genre, Paris, 1805 (1805cntd.jpg)
  - Nelson's famous flag signal at the battle of Trafalgar (1805) (1805evdut.gif)
  - The family of José de Iturrigaray, Spanish Viceroy of Mexico, about 1805 (iturigar.jpg)
  - George "Beau" Brummell, watercolor by Richard Dighton (1805) (brummell.jpg)
  - Detail of an early 19th-century French caricature depicting a semi-raucous peasant dance [Largish image] (psntdanc.gif)
  - "Woman and Child with a cat", "Cottager and Child" from "Cottagers Plate 2" in William Henry Pyne's Microcosm (1806) (pynectgr.gif)
  - "Mower's family travelling" from William Henry Pyne's Microcosm, 1806 (original uncolored engraving) (pynemowr.gif)
    A mower and his family on the move. (If this family had a more or less secure base to return to during the agricultural off-season, then they may not have been quite as badly off as you would think by looking at them -- but if they were carrying all their worldly possessions on their backs, then their lives were likely to have been rather grim.)
  - A hand-colored version of "Mower's family travelling" from William Henry Pyne's Microcosm, 1806 (larger scan) (pynemowc.jpg)
  - "Chaise and pair loading" from William Henry Pyne's Microcosm, 1806. Travel speed: 7 to 8 miles an hour. (pynepch2.gif)
  - "Chaise and four in full gallop" in William Henry Pyne's Microcosm, 1806. Travel speed: 10 miles an hour. (pynepch4.gif)
  - "A stage-coach with four horses coming down hill" from William Henry Pyne's Microcosm, 1806 (pynestgc.gif)
  - "Man and woman washing linen in a brook", from William Henry Pyne's Microcosm, 1806 (pynewshg.gif)
  - Portrait of Miss Harriet and Miss Elizabeth Birney, by J. Smart, 1806 (1806birn.jpg)
  - "Modern Antiques" by Rowlandson, 1806 (a satire on the craze for imitations of things ancient-Egyptian) (1806egyp.gif) In the Morning Chronicle in 1805, a lady complained that ``since this accursed Egyptian style came into fashion... my eldest boy rides on a sphinx instead of a rocking-horse, my youngest has a papboat in the shape of a crocodile, and my husband has built a watercloset in the shape of a pyramid, and has his shirts marked with a lotus.''
  - "La Sauteuse", waltz caricature from Le Bon Genre, Paris, 1806 (1806saut.jpg)
    (Intended to caricature the walz as having an abandoned nature, compared to the more decorous dances which had previously prevailed in genteel circles.)
  - Evening dresses of 1806 and 1807 redrawn by Cecil Everitt from La Belle Assemblée (18061807.gif)
  - Evening full dress, from Le Beau Monde, 1807 (1807evdr.gif)
  - "The Fashions of the Day, or Time Past and Present", an 1807 caricature engraved by Charles Williams after a drawing by Woodward, which presents an (exaggerated) contrast between "The Year 1740: A Lady's full dress of Bombazeen" and "The year 1807: ..." (well, you can read the rest yourself) (17401807.jpg)
    Note that "undress" didn't mean anything naughty -- you can read a definition of it at Cathy's Regency fashion pages. In pursuing his goal of satirizing certain features of contemporary 1807 fashions, the caricaturist did not really draw a fair comparison between the styles of 1740 and 1807, since a young Regency fashionable is juxtaposed here to a sedate middle-aged pre-Regency lady (perhaps in mourning), and such features of mid-18th century dress as tight stiff stays with extremely low necklines were not included (also, the "1740" costume actually seems to be somewhat of a pastiche with 17th century styles). Women's fashions of the Regency weren't always "sensible", but their excesses do seem to be more in accord overall with the spirit of the 20th century than the fashion excesses of most other periods between the 16th century and World War I (which tended to go in for such things as huge hoopskirts and tight corsets...)
  - Pattern, description, and photograph of an 1806-1809 Empire or "Regency" dress (from Blanche Payne's History of Costume: From the Ancient Egyptians to the Twentieth Century) (pattern.gif) (Large image)
  - Dancing the Quadrille at Almack's (quadrill.gif)
  - Advertisement for Gowlands' Lotion, from Ackermann's Repository 1809 (for ladies who want to carry away their freckles) (gowlands.gif)
  - "Squatting plump on an unexpected cat in your chair!!", detail of an engraving by Isaac Cruikshank after a drawing by Woodward, ca. 1808 (part of a series on "Miseries of Human Life") (1808cats.jpg)
  - Mourning dress, 1809 (mourngdr.gif)
  - Longer stays, from a semi-satirical 1809 French engraving titled "La Fureur des Corsets" ("The Corset Fad") (1809cors.gif)
  - A wider smaller view of "La Fureur des Corsets" (1809crsb.gif)
  - A view of "Ackermann's Repository of Arts, 101 Strand", an illustration by Pugin and Rowlandson to the magazine Ackermann's Repository of Arts, Literature, Commerce, January 1809 [Large Image.] (1809ackm.jpg)
    Rudolph Ackermann was a publisher, print-seller, and "manufacturer of fancy articles" (e.g. screens, card racks, flower stands).
  - "Full and half-dress for April", fashion plate ca. 1809 (1809aprl.jpg) The male "Full Dress" (i.e. formal eveningwear with knee-breeches and stockings) is on the left, and "Half-Dress" (i.e. less formal attire with boots and long trousers) in the center.
  - Trevithick's steam locomotive as an attraction for paying customers in London's Euston Square; watercolour by Rowlandson, 1809 (1809trvh.jpg)
  - Engraving satirizing young ladies' "accomplishments" (drawing of a prosperous farmer's family by Gillray, 1809) (accompls.gif)
  - "A Peep at the Gas-lights in Pall Mall", caricature of reactions to installation of the new invention of gas-lighting on Pall-Mall, London, by Rowlandson, 1809 (mediocre-quality image) (gaslight.jpg)
    Well-informed gentleman:
    "The Coals being steam'd produces tar or paint for the outside of Houses -- the Smoke passing thro' water is deprived of substance and burns as you see."
    Irishman:
    "Arragh honey, if this man bring fire thro water we shall soon have the Thames and the Liffey burnt down -- and all the pretty little herrings and whales burnt to cinders."
    Rustic bumpkin:
    "Wauns, what a main pretty light it be: we have nothing like it in our Country."
    Quaker:
    "Aye, Friend, but it is all Vanity: what is this to the Inward Light?"
    Shady Female:
    "If this light is not put a stop to -- we must give up our business. We may as well shut up shop."
    Shady Male:
    "True, my dear: not a dark corner to be got for love or money."
  - Dancing dress, 1809 (Rather modern-looking in some ways) (dancdres.jpg)
  - Dancing dress (1809) [New, larger scan] (dancdrsb.jpg)
    (If this dress were trimmed slightly differently, then a woman could wear it out and about now, without attracting undue attention -- not something that could really be said of any fashionable clothes from most eras before the 1920's...)
  - Ball gown from Ackermann's Repository, 1810 (looks almost 1920s-ish) (1810bldr.gif) (Better scan)
    - 1810 ball dress (almost looks 1920s-ish) (1810mdrs.gif)
      [smaller version] (1810mdsm.gif) (older poorer-quality scans)
  - 1810 watercolor sketch of woman in "Schute" bonnet and blue-striped dress, by Johann Adam Klein (1810klein.jpg)
  - 1810 watercolor portrait of Allan Melville, by John Rubens Smith (1810amlv.jpg)
  - Home-made Entertainment in the Drawing-Room (1810 anonymous sketch of semi-informal dancing, such as that at Sir William Lucas's in Pride and Prejudice) (1810danc.gif)
  - Merry-go-round in an English village (probably part of a village fair), by W. H. Pyne, ca. 1810. (It doesn't conspicuously seem to be an enjoyment of the genteel classes.) [Large Image] (1810fair.gif)
  - "Les Modernes Incroyables", satire on would-be fashionable young bucks of the day, from Caricatures Parisiennes, 1810 (1810incr.jpg)
  - "Les Invisibles", an 1810 caricature of how various fashions (including women's bonnets, along with male hats and high collars) seemed to hide the face ("Invisible" is the French word for a poke bonnet) [Large Image] (1810invs.jpg)
    (This scan courtesy Bob Whitworth of PrintsGeorge.Com.)
  - Detail from the above 1810 caricature, redrawn as simple line art for the Caricature History of the Georges, 1867 (1810invs.gif)
  - "Postman", part of a series showing street cries, engraved by Rowlandson, 1810 (1810pstm.jpg)
  - Detail of a broadside published in New York in 1810 on Dutch customs celebrated in connection with Dec. 6th (the day of St. Nicholas or "Sancte Claus"), showing a depiction of a good child who has gotten gifts and a bad child who has been punished, engraved by Alexander Anderson (1810stcl.gif)
  - "La Walse"; 1810 adaptation by Gillray of the earlier French waltz caricature (1810wals.jpg)
    (At this time the Waltz was very new in England, and considered rather scandalous, because of the way the gentleman's arm encircles the lady's waist as part of the dance.)
  - Photograph of French dress of red net with high waist, puff sleeves, and Kashmir-inspired motif at the hem, in the posession of the Musée Historique de Tissu de Lyon (reddress.jpg)
  - Portrait of a lady by Henri François Mulard, ca. 1810 (181mulrd.jpg)
  - The queen of spades from an 1810 deck of cards by Vincenz Raimund Grüner (Vienna). (qeenspad.jpg)
  - Dr. Syntax plays the fiddle at a village dance ("Rural Sports" by Rowlandson, from The Tour of Dr. Syntax In Search of the Picturesque, 1810) (dsytxdnc.jpg)
  - Making him useful (my caption for this slightly humorous drawing-room picture of a young lady and a soldier) (aidecamp.gif) (No information was given in the source I scanned this in from, so I don't know whether the picture is contemporary Regency/Empire, or from the later 19th century; nor whether the accompanying caption, "Her Aide-de-camp", is original.)
  - Detail from "The Three Graces in A High Wind", semi-satirical engraving by Gillray (reportedly from 1810, perhaps originally drawn earlier) (glr3grcd.gif) (Imagine a wind blowing from the right; its effects on the women's clothing would seem funny to a generation that had been accustomed to skirts stiffened with more layers of petticoats.)
  - A wider view of a differently-colored copy of "The Three Graces in a High Wind" (poor quality scan) (gilr3grc.jpg)
  - Photograph of gowns in possession of the Kyoto costume Institute (1810drss.jpg) Left: English dress of embroidered Indian muslin, ca. 1810
    Right: American formal or semi-formal girl's silk dress with sash, ca. 1810 (its hemline probably would have been several inches higher above floor-level when originally worn).
  - Regency dress (londfash.gif)
  - "The Devil to Pay, or the Elopement" (elope.jpg)
  - A musical party (harp-playing lady; Rowlandson ca. 1810) (muscprty.gif)
  - Walking dress (1810, French, JPEG) (walkdres.jpg)
  - Dress (probably ball dress), ca. 1810 (mediocre-quality scan) (1810dres.gif)
  - Portrait engraving of Dolley Madison ca. 1810, partly based on Gilbert Stuart's 1804 painting (now hanging in the White House) (dolymads.jpg)
  - "Portsmouth Point", caricature by Thomas Rowlandson ca. 1811, mainly satirizing various types of lower-class boisteriousness and carousing in Portsmouth harbor (1811pmth.jpg)
  - Pavel Petrovich Svinin, Merrymaking at a Wayside Inn (watercolor) (181svinc.jpg)
    This depicts travellers grabbing a very hurried and impromptu dance on the road in early 1810's America (in rural Pennsylvania?), and so shows practices that would have been considered rather inelegant in genteel circles in England at the time (such as smoking in the presence of ladies, smoking indoors, taking off one's tailcoat in the presence of ladies -- leaving a man wearing only waistcoat and shirt -- and holding onto one's horsewhip while dancing!).
    - A grayscale scan (lower quality, but slightly less cropped around the edges) is also available
  - Pavel Petrovich Svinin, "Worldly Folk" [i.e. non-Quakers] Questioning Chimney Sweeps and their master before Christ Church, Philadelphia, Watercolor, early 1810's (181svwfs.jpg)
  - Pavel Petrovich Svinin, Oyster Barrow in front of the Chestnut Street Theater, Philadelphia, Watercolor 1811-1812 (svchoyst.jpg)
  - Portrait of the Mlles. Mollien by Rouget, 1811 (molliens.jpg)
  - Lady in the "Fourth Position of Dancing" from Wilson's Analysis of Country Dancing, 1811 (Original smaller scan) (ldy4danc.jpg)
  - Lady in the "Fourth Position of Dancing" from Wilson's Analysis of Country Dancing, 1811 (New differently-colored scan) (wldy4dnc.jpg)
  - All five "Positions of Dancing", from Wilson's Analysis of Country Dancing, 1811 (New, clearer scan) (wils5dnc.jpg)
    - All five "Positions of Dancing", from Wilson's Analysis of Country Dancing, 1811 (Original lower-quality scan) (wils-all.jpg)
  - "Guessing the Kiss" (Le Bon Genre, 1811) (1811game.gif)
  - A mild French visual joke -- she's wearing a stylish gown according to Paris fashions, combined with an elaborate or exaggerated version of the traditional peasant-women's Sunday-best head-dress of the Caux region of northeastern Normandy ("Cauchoise, Evirons de Rouen", engraving by Benoit Pécheux, 1811-1812) (1811caux.gif)
  - Exuberant young lady in a pelisse (Costume Parisien, 1811-1812) (18111812.gif)
  - "Dressed for the country" (Regency couple) (cntrdres.gif)
  - Drawing of "Merveilleuse" (young French fashionable) by H. Vernet ca. 1812 (1812vern.gif)
  - Regency young lady playing the pianoforte (pianofrt.gif)
    - A smaller but clearer scan of this same image (pianofts.gif)
  - "Young Ladies at Home" (idealized classicized engraving by Henry Moses, 1823) (1823grcn.gif)
  - Another classicized idealized engraving, of ladies at their instrument, by Henry Moses (originally drawn 1812?; published by 1823) (1812pian.gif)
  - "Hyde Park Walking Dress" (an overdress or pelisse influenced by men's military uniforms), from The Ladies Magazine, 1812? (1812wmlt.jpg)
    (for another scan of this, see http://www.candicehern.com/fashion12.html)
  - A print that will make you wish you lived in the Regency, when things were decorous and elegant! "A Milling Match Between Decks", by W. Elmes, July 13th 1812. (A caricature satirizing situations which arose in some navy ships when officers appeased the seamen by turning a blind eye to indulgences below decks -- especially allowing women who were not the sailors' wives to freely come on board when a ship was in port) [Large Image] (1812milg.jpg)
    The devotee of terpsichore on the left is saying "I love a bit of hop -- Life is ne'er the worse for it when in my way do drop a Fiddle -- that's your sort." and the pugilistic spectator on the right is saying "Now Jack -- Brail up his peepers or Mungo will tip you yankey-doodle-doo." ("Hop" = "dance", "brail" nautical for "to haul up a sail", "peepers" = "eyes". The name "Mungo" is probably at least as much in honor of Scottish explorer Mungo Park as it is authentically African.)
  - "Tom, Jerry, and Logic Making the Most of an Evening in Vauxhall" by Robert and George Cruikshank, from Pierce Egan's Life in London (1821) (1812vaux.jpg)
  - Walking Costume 1812 (Fashion plate redrawn as simple line drawing for Social England under the Regency by John Ashton, 1899) (1812wkdr.gif)
  - A caricature of Napoleon and his officers reviewing their troops on the retreat from Moscow in November 1812; a detail of a May 27th 1813 print by George Cruikshank, based on a Russian print. (1813bonb.jpg)
  - Promenade Dresses (1813) (promenad.gif)
  - Ackermann's Art Library lit by the new invention of gaslight, detail of aquatint by J. Bluck after Augustus Charles Pugin, ca. 1812-1815 (artlibry.jpg)
  - Sketch of a Christmas celebration among German immigrants to Pennsylvania in the 1810's, by John Lewis Krimmel (krimlchm.jpg) Notable features (according to commentary by Milo M. Naeve) include a small Christmas tree on the table with a fence enclosure surrounding it; presents heaped on plates; and a switch included among the presents for a child who had been naughty. (Note that this is not the way that most Americans would have celebrated Christmas at the time -- much less most English families...)
  - "Longitude and Latitude of St. Petersburgh", caricature of Countess Lieven waltzing at Almack's, by George Cruikshank, May 13th 1813 (lieven.gif)
  - "Longitude and Latitude of St. Petersburgh", caricature of Countess Lieven waltzing at Almack's, by George Cruikshank, May 13th 1813 (larger less contrasty scan) (lieven-b.jpg)
  - Detail of a portrait of Marcia Fox, by Sir William Beechey (beechfox.jpg)
  - Outfit with men's redingote, Costumes Parisiens, 1813 (1813mrdg.gif)
  - Fashion plate showing short overdress over long underskirt, from Costume Parisien 1813 (1813bcag.gif)
  - A circulating libraryy, from Poetical Sketches of Scarborough, 1813 (circlibr.jpg)
  - Music and (somewhat illegible) instructions for the Boulanger ("baker") dance ("Co:" is an abbreviation for "couple", and apparent "f" without a crossbar is an "s") (boulangr.gif)
  - Curtseying (?) for the Devonshire Minuet (devnshmn.gif)
  - Bathing-machines in Bridlington Bay, Yorkshire, from "The Costume of Yorkshire" by George Walker, 1814. (bridlgtn.gif)
  - A contrast between contemporary depictions of 1814 and 1861 fashions (18141861.jpg)
  - Ball dress of Indian Muslin, from Costume Parisien, 1814 [Mediocre-quality image.] (1814bldr.gif)
  - Painting of girl embroidering, by Georg Friedrich Kersting, ca. 1814 [Large Image.] (181kerst.jpg)
  - Portrait of Mrs. Edward Hudson by Thomas Sully, 1814 [Semi-mediocre scan] (1814suly.jpg)
  - "Love-à-la-mode, or Two dear friends", early 19th-century caricature by Gillray, reportedly depicting a scandalous rumour told about Emma, Lady Hamilton (Nelson's mistress), and Queen Maria Carolina of Naples (presumably the the lady on the left, who seems to be wearing some kind of coronet or crown beneath the feathers in her headdress). Two men spy out the situation in some distate, from behind some bushes. [Large Image] (lovalmod.jpg)
    Text of dialogue in image:
    One lady to the other:
    "Little does he imagine that he has a female rival"
    Nautical gentleman (Nelson?):
    "What is to be done to put a stop to this disgraceful Business?"
    Other gentleman:
    "Take her from W???"
  - Can the caption supplied by James Laver to this 1814 satire be correct? Is it possible that the French could portray themselves as less stylish than the English?? (1814angl.jpg) (What is clear is that the English couple is visiting France, after Napoleon's exile to Elba, and the French are pointing and laughing at them, and this caricature makes fun of the French.)
  - Englishmen after dinner ("L'après-Dinée des Anglais"), a slightly naughty 1814 French satire on gentlemen taking liberties in the dining room after the ladies have withdrawn to the drawing room (1814admn.gif)
  - English ladies after dinner ("Les Dames Anglaises Après-Diné"), 1814 French satire of ladies in the drawing room (1814adwm.gif)
  - A Natural Curiosity... (my caption for this slightly naughty caricature of 1815) (1815kilt.gif) Yes, she really did need to tie her shoe right at that very moment!
  - Caricature of an aging dandy, probably with allusion to the Prince Regent (rgntstay.gif) (Older, smaller scan)
  - "The celebration [fête] of the Order of Cuckoldry before the throne of her majesty, Infidelity", satirical colored French print, ca. 1815. (A parody of knightly orders such as the English order of the Garter, which traditionally held annual celebrations on the day of the patron-Saint of the order.) (ordcukld.jpg) The cupid at the bottom front is writing this on the scroll: "Liste de M^srs les Membres Composant la g^de. famille de Vénérables Cocus, Cornards, Cornettes, et Cornillons de tous les Pais [pays]. &c." Note the gentlemen from non-Western-European nations at the right of the picture, and the lady in the pink dress who is firmly calling her husband's attention to the horns on her own head.
  - The Regency Cat Lady (caricature published in Vienna, 1815) (1815catl.gif)
  - The Waltz (caricature) (thewaltz.gif)
  - A larger scan of this early 19th century English caricature of the waltz redrawn for _Social England under the Regency_ by John Ashton, 1899 is also available (walzing.gif)
  - Autumnal walking dress (with pelisse, 1815) (autwkdrs.gif)
  - Portrait sketch of a lady with a fan, by Ingres (ingrslfn.gif)
  - "Walking Costume" from Ackermann's Repository, 1815 (1815wkdr.gif) (This one is interesting because it's probably closer to the everyday wear of the average English country gentlewoman, during the years when Jane Austen was publishing her novels, than are the clothes depicted in many other fashion plates of the time.)
  - 1815 Morning Dress from Ackermann's Repository (1815mrnd.gif)
  - "Chapeau de Paille. Robe à dix-huit Remplis." (Costume Parisien, 1815). A dress with 18 tucks worn by French royalists to show their loyalty to Louis XVIII (Partisans of Napoleon wore violets...) (181518rp.gif)
  - Portrait by Ingres of Alexandre Lethière, wife Rosina Meli, and their daughter Letizia (1815) (ingltier.jpg)
  - Sketch by Ingres of the family of Lucien Bonaparte (1815) [Poor-quality image] (inglucnb.jpg)
  - An outdoors game (1815) (new, better-quality scan) (1815qoit.jpg)
  - Here's a picture showing how classical Grecian attire was sometimes conflated with contemporary Regency dress; this U.S. "folk art" drawing ca. 1815 shows an allegorical figure holding a flagpole and a pole topped with a Phrygian cap (symbolizing liberty) in one hand, and a palm leaf (symbolizing victory) in the other hand. Her clothes are meant to suggest Classical styles, but some details are more reminiscent of the early 19th century, while the bonnet is pure 1815 (1815lbty.gif) Caption: "Liberty, Independence, Ever Glorious Memory"
  - The wearing of shawls in early 19th-century France, a lithograph plate redrawn from various early 19th-century sources by Durin for Albert Charles Auguste Racinet's Le Costume Historique (1888) [Large Image] (rcineshwl.jpg)
  - Watercolor of two women, by Eunice Pinney of Connecticut, ca. 1815 (181eunpn.jpg)
  - Sketch of Lord Grantham by J.A.D. Ingres, 1816 (1816grnt.jpg)
  - An example of what Repton can do on the inside of the house (as well as the garden) for his five-guinea-a-day retainer: The "Modern Living Room" contrasted with the "Ancient Cedar Parlour", from Humphry Reptons's Fragments of the Theory and Practice of Landscape Gardening (1816) (1816rept.jpg) Here's what Repton says about the contrast in his book:
    Two sketches are introduced, to shew the contrast betwixt the ancient cedar parlour and the modern living room: but as no drawing can describe those comforts enjoyed in the latter, or the silent gloom of the former, perhaps the annexed lines may be allowed to come in aid of the attempt to delineate both.
    A MODERN LIVING-ROOM.
    No more the Cedar Parlour's formal gloom
    With dulness chills, 'tis now the Living Room;
    Where Guests, to whim, or taste, or fancy true,
    Scatter'd in groups, their different plans pursue.
    Here Politicians eagerly relate
    The last day's news, or the last night's debate,
    And there a Lover's conquer'd by Check-mate.
    Here books of poetry and books of prints
    Furnish aspiring Artists with new hints;
    Flow'rs, landscapes, figures, cram'd in one portfolio,
    There blend discordant tints to form an olio.
    While discords twanging from the half-tun'd harp,
    Make dulness cheerful, changing flat to sharp.
    Here, 'midst exotic plants, the curious maid
    Of Greek and Latin seems no more afraid.
    There lounging Beaux and Belles enjoy their folly,
    Nor less enjoying learned melancholy.
    Silent midst crowds the Doctor here looks big,
    Wrap'd in his own importance and his wig.
  - Portrait sketch by Ingres of Joseph Woodhead, wife Harriet, and brother-in-law Henry George Wadesford Comber (1816) (ingwoodh.jpg)
  - A contrast between "Grecian" vs. "Gothic" styles of landscape and architecture; a Feb. 1st 1816 plate accompanying Humphry Repton's Fragments on the Theory and Practice of Landscape Gardening (it might be just possible that Marianne Dashwood of Sense and Sensibility would prefer one of these to the other!) [Large Image] (grecgoth.jpg)
    - Smaller version of Repton 1816 Grecian-Gothic scan (grecgths.jpg)
  - Portrait of Harriet Leavens by Ammi Phillips of western Massachusetts, ca. 1816 (181amphl.jpg)
  - Frontispiece to Thomas Wilson's Correct Method of German and French Waltzing (1816), showing the nine positions of the waltz (1816wlzf.gif)
  - Regency waltzers in the eighth position of the waltz, from the frontispiece to Thomas Wilson's Correct Method of German and French Waltzing, 1816 (waltzers.gif)
  - Caricature by (George or Robert?) Cruikshank, 1816 (probably an allusion to some specific event or gossip) (1816slip.gif) Caption:
    THE BERKELEY SLIP, or a Lesson for Spinsters
    "Not one false Slip entirely damns her Fame."
    Trust not to Man, however Debonair,
    Nor trust your bottoms on a slippery Chair.
    (Dialogue in image here)
  - Another unknown "fast" Regency parlour game; engraved by Bosio, 1816 (from Le Bon Genre?) (1816what.gif)
  - An image of Regency ladies consulting a menu with the assistance of the waiter (le-menu.jpg) (low-quality newspaper scan).
  - Woodcut of a mother and daughter in a confectioner's shop (i.e. candy store; 1810's?) (cnfectnr.gif)
  - The character of Rosara in "The grand melodrama of The Broken Sword (by W. Domind), as performed at the Theatre Royal, Covent Garden." -- (published November 4th 1816) (rosara.jpg) (This play apparently ended up giving the phrase "old chestnut" to the English language.)
  - A jaunty couple (hand-colored plate from Almanach der neuesten Moden auf das Jahr 1816, Vienna, JPEG) (1816cupl.jpg)
  - Painting of woman in a ball gown, from painting by Rosina Sharples, 1817 (balpaint.jpg)
  - Walking Dress, La Belle Assemblée, April 1817 (1817wdrs.jpg)
  - Walking Dress (from La Belle Assemblée, April 1817, JPEG) [New, larger scan] (1817wdrsb.jpg)
  - "Parisian Home Costume", from La Belle Assemblée, January 1, 1817 (1817blas.gif)
  - "Dottator et Lineator Loquitur", 1817 engraving showing the stages of a ball in rather schematic form: "Asking to dance", "Leading out", "Hands four round", "Down the middle", "Right and Left", "Setting", "Cross hands", "Poussette", "Hornpipe", "Tête à Tê", "Fainting", "Taking home royal". (1817dotl.gif)
  - "Dos à Dos -- Accidents in Quadrille Dancing", caricature print engraved by George Cruikshank, 1817 ("Other way, Mr. Collins!") (1817qbmp.jpg) By an old caricaturist's trick, the women's skirts are shown somewhat shorter than they would have been in reality...
  - "Bobbin' about to the Fiddle -- a Familly Rehersal of Quadrille Dancing, or Polishing for a trip to Margate", a caricature of a "cit" (bourgeois) family preparing for their vacation, by Charles Williams, May 1817 [Large Image] (famqadrl.jpg)
    The paterfamilias is saying to the French dancing master: "I say, Mounseer Caper! don't I come it prime? Ecod, I shall cut a Figor!!" [i.e. "figure"], and one of the daughters says "Law, Pa, that's just as when you was drilling for the Whitechaple Volunteers -- only look how Ma and I & sister Clementina does it!!", while the dancing master says "Vere vell, Sar, ver vell, you vil danse a merveille vere soon!"
  - Waltzing scene from La Belle Assemblée, February 1, 1817 (1817walz.gif)
  - Dance Dress adorned with green satin leaves, from Wiener Zeitschrift Für Kunst Literatur und Mode, 1817 (1817vdcd.gif)
  - A hobby horse built for four (English caricature, ca. 1817) (hobyhrs4.gif) Text in image:
    1st woman:
    "Vy, Poll, this beats the Delly!!" ["delly"="dilly", a shortening of "Diligence", which is an older and foreign word for "stagecoach"]
    "Vy, Poll, it's capsized" [Using the nautical word "capsize" instead of normal "overturn"]
    2nd woman:
    "And we have capsized a Dandy"
    1st sailor:
    "D--n it Jack, this is rare sailing without a wind"
    2nd sailor:
    "A very pretty invention, Tom!"
    "D--n it we shall run down the Dandy!"
    Dandy:
    "Curse you, you tarpauling!" ["tarpaulin"="sailor"]
    "Wy don't you mind how you steer?"
  - "The English Ladies' Dandy Toy", somewhat symbolic caricature by Robert Cruikshank, 1818, showing a type of toy popular at the time (1818ltoy.jpg)
  - "The inconveniences of a crowded drawing room", famous caricature by George Cruikshank, May 6th 1818 (incvdrwr.jpg)
  - Illustration and partial text from "Neckclothitania or Tietania, being an essay on Starchers, by One of the Cloth", published by J.J. Stockdale, Sept. 1st. 1818, engraved by George Cruikshank (1818nkcl.gif)
  - "An Interesting scene, on board an East-Indiaman, showing the Effects of a heavy Lurch, after dinner", print by George Cruikshank, Nov. 9th 1818, after a drawing by Captain Frederick Marryat (Large JPEG image) (crklrchb.jpg) The sailor on the right is saying "My precious eyes, Tom!!! here's a smash!! !! -- hold on, my hearties!! hang on by y'r eyelids"
  - "Luxe et Indigence", French satirical print, 1818. The young lady's chamber is furnished extremely sparsely (bandboxes used as bedside table, shawl used as curtain, and not much else) -- but she has a ball ticket stuck in the corner of the mirror, and a fashionable ball dress laid out on the chairs. (luxindig.jpg)
  - Woodcut of a woman reading (1810's) (womredng.gif)
  - Ball Gown (1818) (1818dres.gif)
  - "Lady with a Harp: Eliza Ridgely", portrait by Thomas Sully, 1818 (1818erdg.jpg)
  - "Les Soeurs Kaunitz" (portrait sketch of the Kaunitz sisters), by Ingres, 1818 (ingkaunz.jpg)
  - French satire on the poke bonnet ("invisible"); No. 16 in the series of engravings, "Le Suprême Bon Ton" (from the second half of the 1810's) [New better scan; thanks to "Sedat"] (tetatete.jpg) Caption: "Les Invisibles en Tête-à-Tête"
  - "Dandies Dressing", 1818 caricature by George Cruikshank on the artificial Regency beau [Large Scan.] (1818dand.jpg)
  - "The Dandy Club", Dec. 29th 1818 caricature drawn and etched by Richard Dighton [Large Image] (1818dndc.jpg)
  - La Famille Stamaty, 1818 sketch by Ingres [Semi-mediocre scan] (ingstamt.jpg)
  - Fashionable Evening Dress for September 1818 (Sept. 1 1818) (1818evdr.gif)
    Though broad low necklines with tiny shoulder-puff sleeves were frequently worn during the Empire/Regency period, it would have been considered outlandish and unthinkable to go further and wear strapless, and straps which did not cover the shoulder-joints were only worn as part of the ephemeral Parisian High Greek look, such as by Madame Verninac in her portrait (a style which would not have been "street-ready" in London). This drawing of the 1818 evening dress shows shoulders pretty much as bare as they got among Regency Englishwomen...
  - A huge scan of "The inconveniences of a crowded drawing room" Cruikshank caricature (showing additional detail) (incvdrwb.jpg)
  - A caricature of the Prince Regent by George Cruickshank illustrating "The Political House that Jack Built" by William Hone (1819) (1819prny.gif)
  - A smaller color scan of the 1819 evening dress from Ackermann's Repository, worn by a harp-playing young lady (ack2hrp5.jpg)
  - Detail from "The Boulevard in 1819", a sometimes slightly satirical anonymous French picture in the Musée Carnavalet (1819boul.jpg)
  - Another detail from "The Boulevard in 1819" (1819bul2.jpg)
  - French satire on the poke bonnet ("invisible"); No. 16 in the series of engravings, "Le Suprême Bon Ton" (from the second half of the 1810's) (1820pokb.gif) Caption: "Les Invisibles en Tête-a-Tête"
  - Painting of Celebration of July 4th 1819, Philadelphia, by John Lewis Krimmel (kriml-j4.jpg) (non-huge scan)
  - Painting of Celebration of July 4th 1819, Philadelphia, by John Lewis Krimmel (krimlj4b.jpg) (A huge scan which lets you make out some of the lettering; if you don't want to load this, then the inscription over the entrance to the leftmost tent reads "Don't give up the Ship", that over the entrance to the rightmost tent reads "The Battle of New Orleans", and the words on the flag are "Virtue, Liberty, Independence".)
  - Walking dress (half mourning, from Ackermann's Repository 1819) (1819whmd.gif) (new larger scan)
    - Walking dress (half mourning), 1819 (1819hmdr.gif) (old lower-quality scan)
  - An 1819 evening dress from Ackermann's Repository, worn by a harp-playing young lady (1819evdr.gif) (new larger scan)
  - Morning dress from Ackermann's Repository, 1819 (1820mrnd.gif)
  - Morning dress from Ackermann's Repository, 1819 (large 250k scan in PNG graphics file format) (1820mndb.png)
  - A satirical engraving of the quaint English custom of "wife-selling", which wasn't quite what it sounds like, but was more a ritual among the non-genteel classes (who couldn't possibly obtain a full parliamentary divorce according to the pre-1857 laws), to publicly proclaim a dissolution of marriage (though not one that was really recognized by the authorities of Church and State). 1820 English caricature (even though the sign says "Marché de Bêtes à Cornes") (1820wfsl.gif) Notice how the artist has arranged things so that the cattle's horns are strategically placed in line-of-sight behind the husband's head.
  - Children dancing(?) in the grounds of a country house ca. 1820 (1820kdnc.jpg)
  - "The Waltz Dance" -- caricature by Alexander Anderson, published as illustration for the 3rd. edition of Washington Irving's Salmagundi (1820) (waltzdnc.gif)
  - "The Waltz Dance", engraved illustration for the 3rd. edition of Washington Irving's Salmagundi (1820) by Alexander Anderson, probably based on Gillray's earlier caricature (1820wlzd.gif)
  - "Danse Bolèro", from Delineations of the Most Remarkable Costumes of the Different Provinces of Spain (ca. 1820?) (182bolro.gif)
  - A detail from a ca. 1820 engraving, showing an event that was not out of place or incongruous with everyday life in the U.S. at that time, even in the large eastern seaboard cities: an elegant young lady who has been knocked over by a pig in the streets of New York City [Poor quality scan] (182nypig.gif)
  - English print of ca. 1820 showing dancers executing the "three forward and back" section of the pastourelle figure of a quadrille (182qadrl.jpg)
    (Dresses resembling those shown here -- very full-skirted but still very high-waisted -- were apparently worn by some elite followers of all the latest changing high fashions during a fairly brief period ca. 1819-1820, but never really became the default style of the general body of "genteel" women, at least in this extreme form. Ironically, these gowns have some resemblance to the hoop-skirted "court dress" -- worn at formal royal occasions -- which was abolished at nearly the same time, in 1820, on the grounds of being universally considered an archaic and hideous relic.)
  - A semi-satirical drawing used as the basis for a colored engraving (print), titled "Academie et Salle de Danse. Les Graces Parisiennes". A mild parody of a French dancing school -- the man on the left is in a contraption to accustom him to turn out his toes at the proper angle, and the next guy is on wedges that enforce the proper angle of bending for the knees. The ladies' skirts are slightly shorter and more diaphanous than they would have been in real life, the dancing master's small "kit" fiddle (pochette in French) is even smaller than it would have been in real life, and the demi-beau in the middle is earnestly scrutinizing his appearance in the mirror when he should be practicing dancing with his partner... (acaddans.jpg)
  - A valuable historical document of the Regency period! (Facial expression study by Louis-Léopold Boilly; chalk sketch, probably from the early 1820's) (boilyfnf.jpg)
  - "The Country Wedding" by John Lewis Krimmel, 1820 painting depicting the marriage of the daughter of a moderately prosperous Pennsylvania farmer in the 1810's (the bride's wedding dress will probably be used as her regular "Sunday best" dress for the next year or so) (krimlwdg.jpg)
    Here's some commentary that accompanied an engraving of the painting printed in Analectic Magazine (1820):
    
    The Country Wedding is engraved from a painting by Krimmel, an artist not sufficiently known to be duly appreciated. He is a native of Germany, but long since chose this country for his residence, and has painted many pictures in which the style of Wilkie -- so much admired in England -- and Gerard Dou so much celebrated of yore -- is most successfully followed. He avoids the broad humor of the Flemish school as much as possible, as not congenial to the refinement of modern taste, and aims rather at a true portraiture of nature in real, rustic life.
    
    In the picture here presented he has delineated a scene of no rare occurrence in the dwelling of our native yeomenry. The whole is in admirable keeping. The furniture and decorations of the rooms, the costume and attitudes of the characters show perfectly the inside of a farmer's dwelling, and the business that occupies the group. The old clergyman appears to have just arrived, his saddlebags, hat and whip, lie on the chair near the door, the bride stands in all her rustic finery, rustic bloom and rustic bashfulness. The bride-groom's hand on her shoulder, seems intended to revive her courage, while the manner in which he grasps her hand is at once affectionate and awkward. The distress of the mother solaced by the father, who points to the younger daughter, as if indicating her as the successor to her sister's rank in the family, is well expressed. And the by-play at the door, which is opened by a servant girl to admit an old woman, the awkward affectation of grace and importance in the bride's-maid, whose attention seems to be attracted by what is passing between the young man and young woman on the other side of the room, all are full of life and true character of painting.
    
    Mr. Krimmel's painting room, in Spruce street above Seventh, in Philadelphia, contains many admirable specimens in the same style. His country dance, Return from camp, Return from boarding school, &c. afford the amateur a rich and varied repast.
  - Depiction of an early 1820's young lady hurrying through a door (182doorg.gif)
  - Self-portrait of Rolinda Sharples with her mother, ca. 1820 (sharples.jpg)
  - The "L'été" figure of the quadrille, early 1820's (engraved by Lebas) (182eteqd.jpg)
  - An ice-skating scene, "January", print from an early 1820's series of prints of the months (182janry.jpg)
    Do you think it might be just barely possible that one of the gentlemen is showing off?
  - "The Merry Ship's Crew, or Nautical Philosophers" a satirical caricature on severe naval discipline, from the late 1810's, signed by "Williams" [Mediocre-quality scan] (182navlj.jpg)
    Caption:
    Captain:
    "Well, Mate! Just come on shore? How did you leave the ship's crew?"
    Mate:
    "Why Captain, I left them all to a man the merriest fellows in the world -- I flogged seventeen of them as your Honor commanded, and they are happy it is over; and the rest are happy because they have escaped."
    
    "For all the happiness mankind can gain,
    "Is not in pleasure, but in rest from pain." -- Dryden
  - "Sporting a Toe among the Corinthians at Almacks in the West" by Cruikshank, from Pierce Egan's Life in London (1821) (almacks.jpg)
  - "Monstrosities of 1822", George Cruikshank caricature satirizing the manners and modes of 1822 (1822mnst.jpg) Here Cruikshank wildly exaggerates recent high-fashion trends of the time, including the incipient trend towards recorseting.
  - A millinery shop in Paris, drawn by Chalon in 1822; the lady is giving directions on the making of her new bonnet, while her husband is ogling the shopgirls; the assistant isn't wearing so many layers of petticoats that she can't grip her bonnetmaker's dummy firmly between her knees (1822miln.jpg)
  - Print of the 1822 meeting of the "Royal British Bowmen" archery club (1823 print engraved after J. Townshend) [Large Image] (1823arch.jpg)
    Caption: "This Plate representing the Meeting of the Royal British Bowmen on the Grounds of Erthy, Denbighshire, the Seat of Simon Yorke Esq. on Sept^r. 13^th. 1822, is respectfully dedicated to that Society by ONE of its MEMBERS"
    Notice that both men and women members of the society have uniforms (the women's uniform was a green dress with yellow at the shoulder puffs and yellow triangles at the bottom hem). In the 1806 book Microcosm (from which William Henry Pyne's engravings of rural and working-class life on this page above have been taken), a number of these archery clubs are mentioned, along with a brief capsule history of both "working" and "hobby" archery.
    For a less documentary picture of lady archers, go to the women's Regency fashion page
  - Here's an 1822 boneless "corset" (or short stays, as they would have been known in English), laced in front and worn over a chemise, from Costumes Parisiens (1822cors.gif) (By contrast, Victorian corsets were stiffened with boning and laced in back, in order to be able to exert stronger shaping force.)
  - Village harvest procession, by Rowlandson, 1823 [Mediocre-quality scan.] (1823rwhp.jpg)
  - "Learning to Drive Tandem", 1823 Caricature by Henry Alken (1823tndm.jpg)
  - An 1823 fashion-plate engraving of a ball dress with a diaphanous overskirt that can be lifted for certain dance moves, such as the "pas d'été") (1823balg.jpg)
  - A picture of a woman wearing some immediately post-Regency "short stays" over a "shift"/"chemise" (long slip); detail from a woodcut showing a dressmaker attending to a customer, from The Book of English Trades, 1823-1824 (1823stay.gif)
  - Also, a wider view of the same woodcut (1823stsc.gif)
  - Satire on the beaked bonnet by "Cham" (Amédée de Noé); probably drawn in the 1840's, but apparently depicting the fashions of the early 1820's (182chamj.gif)
  - "Blind Man's Buff", caricature by Robert Cruikshank, ca. 1824 (showing festive jollities and frolics in an English household) (182bmbuf.jpg)
  - "Corinthian Steamers, or Costumes and Customs of 1824", Feb. 26 1824 caricature by W. Heath. This shows the very beginnings of the transition from Regency to Victorian with respect to facial hair and smoking (both of which were considered outlandish and un-English during the Regency, and are ridiculed here, but later would come to be considered highly respectable during the Victorian period) (1824smok.jpg)
    Caption:
    Flaming dandy (2nd from left):
    "Fire! Fire! oh Dear, my best Mustacios will be quite Destroyd!"
    Alarmed dandy (next to left):
    "Fire! Fire!"
    Irish fireman (at left):
    "My Master, I must fetch our Engine to put out your Steam Engine"
    
    At the right of the image a dandy is blowing smoke in a lady's face, in flagrant violation of the etiquette of the time (in which smoking was mostly not done indoors at all, and never in the presence of ladies). Caption is "Fond of Steaming Ladies! do you smoke it, eh!" (The steam engine was a shiny new technology in 1824, so smokers are jocularly compared to steam-engines...) Moustaches were associated with foreign (continental European) and military influences at the time (and so had a secondary association with conspicuous dandyism), while beards were totally out of fashion (generally only a few elderly working-class people and invalids would have had them).
  - Four of spades from 1832 card deck by Baron Louis Athalin (published in Paris): A Regency lady consulting her gardener (apparently) (4-spades.gif)
  - "Portrait at 29 Well Street", a watercolor depiction of my 2nd cousin 4 times removed, the lawyer and artist Thomas Churchyard of Woodbridge, Suffolk, England, in his home, by an unknown artist, ca. 1825 (chrchyrd.jpg)
    - Watercolor of Haugh Lane, Woodbridge by Thomas Churchyard of Woodbridge (chaughwb.jpg)
    - Watercolour sketch of an officer and his two ladies by Thomas Churchyard of Woodbridge (chrchof2l.jpg)
  - Pseudo-Regency pictures (later depictions of the Regency, drawn mainly from late Victorian times through the 1920's):
  - In The Wood-carver's Shop, illustration by Howard Pyle for "By Land and Sea", published in Harper's Monthly, December 1895 (1895pyle.jpg) A Victorian illustration of a Regency young lady posing as a model for the carving of a ship's figurehead (the man dozing in the background is her father the ship-owner, who's commissioning the figurehead).
  - Humorous light caricature of Regency dancing, drawn by one "W. G. Baxter" (if I'm reading the signatures correctly), probably in the late Victorian or early twentieth century (psrgdncj.jpg)
  - Illustration of a Regency mother and daughter sewing, from the 1920's(?) (rgsewing.gif)
  - Hmmm, wonder what she's thinking.... (Pseudo-Regency closeup pic) (rgnclosup.jpg)
  - "Greeting from Cupid" (detail of Valentine) (Pseudo-Regency) (cupdgrtg.jpg)
  - A retouched woodcut purporting to depict a Regency lady using a personal computer (Pseudo-Regency) (rgncmpuj.gif)
- Chronologically non-Regency, but similar:
  - "Two Venetian Ladies" by Vittore Carpaccio, painted about 1500-1505 (also known as "The Courtesans") -- somewhat "Regency" in appearance, though painted three hundred years earlier... (2vladies.jpg)
  - Illustration for "Zonë" taken from Autenrieth's Homeric Dictionary (zone-grk.gif)
  - Large image showing four ladies; pictures taken from J. Moyr Smith's Ancient Greek Female Costume (1882) (4grklady.gif) Upper left - Depiction of goddess Hebe
    Upper right and lower left - Bacchantes
    Lower right - Dancer
  - A somewhat Regency-looking Greek statuette, ca. 300 B.C. (grkstatu.gif)
  - Further illustrations of Greek women's dress, from Thomas Hope's Costumes of the Greeks and Romans (2grklady.gif) Left: "Bacchante presenting the sacred fillet"
    Right: "Grecian female"
- Diana Sperling watercolors:
  - "Mrs. Van [Hagen] and Harry Sperling fighting for the shuttlecock" -- watercolor by Diana Sperling, about 1812 (dshtlcok.jpg)
  - "The Review at Dynes Hall [Essex]: June 1816" -- watercolor by Diana Sperling (dsreview.jpg)
  - "Mrs. Van [Hagen] murdering a Spider. Sept. 10th 1816. Tickford." -- watercolor by Diana Sperling (dsspider.jpg)
  - "Newport Pagnell. Mrs. Hurst dancing. Sept. 17 1816." -- watercolor by Diana Sperling (dshrsdnc.jpg)
  - Walking through the mud: "Nov. 2nd. 1816. Tickford -- Dinner waiting at a neighbour's house." -- watercolor by Diana Sperling (dswlkmud.jpg)
  - Playing around with static electricity -- watercolor by Diana Sperling, 1817 or 1818. -- Caption: "May 25th. Henry Van [Hagen] electrifying -- Mrs. Van, Diana, Isabella, Harry, Isabella, Mum and HGS. Dynes Hall." (dstatlct.jpg)
- Illustrations to Jane Austen's novels:
- 1895 Charles E. Brock illustrations for Pride and Prejudice:
  - New larger clearer scans:
  - Darcy on Elizabeth: `She is tolerable, but not handsome enough to tempt me.' (ppv1n03b.jpg)
  - Sir William Lucas: `Mr. Darcy, you must allow me to present this young lady to you as a very desirable partner.' (ppv1n06b.jpg)
  - Mrs. Bennet: `Why Jane -- you never dropt a word of this, you sly thing!' (ppv1n13b.jpg)
  - Mr. Denny entreated permission to introduce his friend [Wickham]. (ppv1n15b.jpg)
  - [Mr. Collins] prefaced his speech with a solemn bow. (ppv1n18b.jpg)
  - Mr. Collins: `Almost as soon as I entered the house I singled you out as the companion of my future life.' (ppv1n19b.jpg)
  - Mr. Collins and Charlotte were both standing at the gate in conversation with the ladies [Anne de Bourgh and Mrs. Jenkinson]. (ppv2n28b.jpg)
  - She [Lady Catherine] sallied forth to scold them into harmony and plenty. (ppv2n30b.jpg)
  - Elizabeth: `You mean to frighten me, Mr. Darcy?' (ppv2n31b.jpg)
  - Lady Catherine: `I assure you, I feel it exceedingly.' (ppv2n37b.jpg)
  - The introduction, however, was immediately made. (ppv3n43b.jpg)
  - Jane: `I never saw any one so shocked.' (ppv3n47b.jpg)
  - She [Lydia] went after dinner to shew her ring, and boast of being married, to Mrs. Hill and the two housemaids. (ppv3n51b.jpg)
  - She [Elizabeth] perceived her sister and Bingley standing together. (ppv3n55b.jpg)
  - Lady Catherine: `Miss Bennet, I insist on being satisfied.' (ppv3n56b.jpg)
  - He [Darcy] could even listen to Sir William Lucas. (ppv3n60b.jpg)
    - Brock illustration from another source:
    - Chapter 20 (ppchap20.gif) -- "Mrs. Bennet: ``You must come and make Lizzy marry Mr. Collins''
    - A card of Brock etc. illustrations from this other source (some the same as the separate images, but differently colored, others different) is available in raw form (Large 500k image in PNG graphics format, which won't load into pre-1996 browsers and image viewer programs) (ppcard.png)
- 1907-1908 Charles E. Brock illustrations for the other novels:
- Emma:
  - [Mr. Knightley:] "My dearest, most beloved Emma, tell me at once..." (emma-il1.jpg)
- Mansfield Park: (New, better, color scans)
  - [Edmund and Mary:] Indulged with his favourite instrument. (mnsfpk-2.jpg)
  - While Fanny cut the roses. (mnsfpk-3.jpg)
  - [Mr. Rushworth:] He walked to the gate and stood there without seeming to know what to do. (mnsfpk-4.jpg)
  - [Fanny Price and Tom Bertram:] ``It would give me the greatest pleasure, but that I am this moment going to dance.'' (mnsfpk-5.jpg)
  - [Fanny Price:] She worked very diligently under her aunt's directions. (mnsfpk-6.jpg)
  - Dr. Grant himself went out with an umbrella. (mnsfpk-7.jpg)
  - [Fanny and Edmund:] ``Oh, this is beautiful indeed!'' (mnsfpk-8.jpg)
  - [Henry Crawford and Fanny Price:] ``No, no, no!'' she cried, hiding her face. (mnsfpk-9.jpg)
  - [Fanny and Mary:] Good gentle Fanny. (mnsfpk-b.jpg)
  - [Fanny and William Price:] Looked at him for a moment in speechless admiration. (mnsfpk-c.jpg)
  - [At Portsmouth:] Fanny was obliged to introduce him. (mnsfpk-d.jpg)
- Mansfield Park: (Even larger color scans)
  - [Edmund and Mary:] Indulged with his favourite instrument. (mnsfpk2b.jpg)
  - While Fanny cut the roses. (mnsfpk3b.jpg)
  - [Mr. Rushworth:] He walked to the gate and stood there without seeming to know what to do. (mnsfpk4b.jpg)
  - [Fanny Price and Tom Bertram:] ``It would give me the greatest pleasure, but that I am this moment going to dance.'' (mnsfpk5b.jpg)
  - [Fanny Price:] She worked very diligently under her aunt's directions. (mnsfpk6b.jpg)
  - Dr. Grant himself went out with an umbrella. (mnsfpk7b.jpg)
- Mansfield Park: (Old grey-scale scans, lower quality)
  - "...while Fanny cut the roses" (mansfpk1.jpg)
  - [Fanny Price:] "She worked very diligently under her aunt's directions" (mansfpk2.jpg)
  - [Henry Crawford and Fanny Price:] "`No, no, no!' she cried, hiding her face." (mansfpk3.jpg)
  - [At Portsmouth:] "Fanny was obliged to introduce him to Mr. Crawford." (mansfpk4.jpg)
  - "The joyful consent which met Edmund's application" (mansfpk5.jpg)
- Northanger Abbey:
  - [Catherine Morland and Isabella Thorpe:] "They were always arm in arm when they walked" (naabbey1.jpg)
  - [Catherine Morland:] "Anxious attention to the weather" (naabbey2.jpg)
  - [Catherine Morland and John Thorpe:] "A famous good thing this marrying scheme, upon my soul!" (naabbey3.jpg)
  - "Mr. and Mrs. Morland's surprise on being applied to by Mr. Tilney for their consent to his marrying their daughter was, for a few minutes, considerable" (naabbey4.jpg)
- Persuasion:
  - [Capt. Wentworth and Anne Elliot at Uppercross:] "In another moment, she found herself being released from him; some one was taking him from her" (persuas2.jpg)
  - [At Lyme:] "The horror of the moment to all who stood around!" (persuas3.jpg)
  - [Anne Elliot and Admiral Croft:] "In earnest contemplation of some print" (persuas4.jpg)
- Sense and Sensibility (illustrations set in the early-to-mid 1790's):
  - [Marianne Dashwood and Willoughby:] "He cut off a long lock of her hair" (sensens1.jpg)
  - [Col. Brandon and Marianne:] "She immediately left the room" (sensens2.jpg)
  - "Mrs. Ferrars" (sensens3.jpg)
  - [Elinor and Willoughby:] "Miss Dashwood, I entreat you to stay" (sensens4.jpg)
  - "Colonel Brandon was invited to visit her" (sensens5.jpg)
- Other (miscellaneous) illustrations to the novels:
- Joan Hassall woodcut engravings to Mansfield Park and the Juvenilia:
  - She was found one morning by her cousin Edmund sitting crying on the attic stairs. (mpwoodc1.gif)
  - A young woman, pretty, lively, with a harp as elegant as herself... was enough to catch any man's heart. (mpwoodc2.gif)
  - ``It is a great while since we have had any star-gazing.'' The glee began. ``We will stay till this is finished, Fanny,'' said [Edmund], turning his back on the window. (mpwoodc3.gif)
  - She met Miss Crawford within a few yards of the Parsonage. (mpwoodc4.gif)
  - ``Why have you no fire to-day?'' (mpwoodc5.gif)
  - Joan Hassall woodcut illustration of Frederic and Elfrida (f-ewoodc.gif)
  - Joan Hassall woodcut illustration of Jack and Alice (j-awoodc.gif)
  - Joan Hassall woodcut illustration of Love and Freindship (lvfwoodc.gif)
- Pseudo-illustrations to Mansfield Park
  - An alternative illustration for Fanny cutting the roses? (Actually a typographer's "cut" or "Grasset Ornament" from ca. 1900, that has nothing whatever to do with Mansfield Park.) (fannyros.gif)
  - A concept illustration for a possible alternative ending to Mansfield Park (one that many people may find just as believable as Fanny getting together with Henry C.!) (pembfun/fpgcmpss.gif)
    An even bigger version of this image is also available. (pembfun/fpglcmps.gif)
- Hugh Thomson illustrations to the novels:
  - Emma: [Mr. Woodhouse:] "I am very sorry to hear, Miss Fairfax, of your being out this morning in the rain." (emmthmps.gif)
  - Mansfield Park: Fanny's last feeling in the visit was disappointment: for the shawl which Edmund was quietly taking from the servant to bring and put round her shoulders was seized by Mr Crawford's quicker hand, and she was obliged to be indebted to his more prominent attention. (hc-fanny.gif)
  - Mansfield Park, Chapter 42: "Mrs. Price...only discomposed if she saw Rebecca pass by with a flower in her hat." (mnsfrbcf.gif)
  - Persuasion: "Placed it before Anne." (persulet.gif)
  - Pride and Prejudice: The Bennets at home (benethom.gif)
  - Pride and Prejudice: (Illustration by Hugh Thomson, 1894?) "Mr. Collins... protested that he never read novels" (mcolnrnv.gif)
  - [Probably by Thomson:] Northanger Abbey, chapter 24: "With a feeling of terror not very definable, she fixed her eyes on the staircase, and in a few moments it gave Henry to her view." (nachap24.gif)
  - Hugh Thomson illustration of a Regency carriage departure scene (carrgdpt.gif)
- A quasi-impressionistic illustration to Pride and Prejudice:
  - [Darcy:] "I would by no means suspend any pleasure of yours." (daremb18.jpg) (this image was modified from a photograph by Amy Bellinger)
H.C.'s abstract oversimplified conceptual overview schema of the history of the Western fashion cycle (fashcycl.html)
Non-literary images:
H.C.'s Slightly Silly Victorian and pre-Regency Page (victcfsh.html)
(includes thumbnails of images listed immediately below)
An interesting sketch by Alfred Roller, giving an overview of women's fashions 1794-1887 (the caption at the top of the image was added by your humble web-page maintainer) (17941887.gif) [Large image]
"`At Home' in the Nursery, or the Masters & Misses Twoshoes' Christmas Party", an 1826 caricature by George Cruikshank, that shows children of several different families having a "party" (or play session) attended by servants, while the adults are no doubt eating, drinking, and making merry in another part of the house. (1826xmas.gif)
Fashion plate from Wiener Moden, 1826 (an example of the utterly non-Regency cutting-edge fashions of 1826) (1826wien.gif)
"Term Time", satire on lawyers, from "Illustrations of Time" by George Cruikshank, 1827 (1827crks.gif)

In background:
The formal procession which marks the opening of a legal "term" (court season).
Legal individual:
"Gentlemen, it was a very fine Oyster! The court awards you a shell each."
In bag of legal documents:
"Noodle v. Doodle"
Noodle and Doodle don't appear to be pleased with the legal resolution of their dispute.
Over donation box, at the barred window of jail (presumably debtor's prison):
"Pray Remember the Poor Debtors"
On piece of paper on ground:
"Pray Remember the Poor Creditors"

[This was an old joke -- in 1791 a caricature engraved by Bowles after Dighton, with the title "A Sharp between Two Flats", showed a legal gentleman (the "sharp") dividing an oyster among the opposing parties in a lawsuit, with the caption "A Pearly Shell for HIM and THEE -- the OYSTER is the Lawyer's Fee".]
"Newest Fashions for May 1829, Morning and Evening Dresses", fashion plate from World of Fashion (1829mevd.jpg)
(The rightmost outfit, with its skimpier sleeve coverage, non-whitish color scheme, and slightly lower neckline, is the evening dress. The lady on the left is wearing a version of the ca. 1830 "salad plate" hat.)
1820's satire on the coming of the Age of Steam; the inventions to be expected in the wake of the newfangled steam railroad are, from left to right: a steam walker, a steam carriage, and a steam ornithopter -- (182tepot.jpg)
Teaching one's aged progenitress the proper way in which to do the thing ("The Age of Intellect", humorous illustration on a proverbial phrase by George Cruikshank, 1829) (gmsukegs.gif) Notice that the tyke has Shakespeare, Halley, Bede, Hume, Gibbon, Flamsted, Milton, Bentley, Boyle, Newton, and Euclid in her toy-basket, and Theology, Algebra, Bacon, and Locke on the floor (and scientific apparatus on the table), while grandma is reading "Who killed Cock Robin?" (a nursery rhyme).
(Dialogue in image here)
Illustration of quadrille steps from Carlo Blasis's Code of Terpsichore (1830) (1830dncm.gif)
"The March of Roguery", 1830 caricature by C. J. Grant [Large Scan] (183rogry.jpg)
Text in image:
State [king, holding sceptre]:
"I Rule"
Church [bishop, with "£10000" under the crook of his arm]:
"I Pray"
Farmer [in smock]:
"I Work for Both"
Merchant:
"I Cheat you Three"
Lawyer:
"I Fleece you Four"
Doctor:
"I Poison you Five"
Devil:
"I'll have all Six"
"Waist and Extravagance", a satire of the fashions of ca. 1830 by W. Heath (183wstex.jpg)
Satire on the coming age of steam ("A View in Whitechapel Road", after H. T. Alken, 1831) [Large File] (1831steam.jpg)
The two large steam coaches are named "The Infernal Defiance -- From Yarmouth to London" and "The Dreadful Vengeance -- Colchester, London". On the rear of the coach in front is a banner proclaiming "Warranted free from Damp", the small delivery wagon has "Bread served Hot" on its side, and the service station proclaims "Coals Sold Here: only 4s. 6d. per Pound(?)"
As Paul Johnson has documented in his book The Birth of the Modern, the early British railroad companies were at pains to preclude any possible competition from free-running steam coaches (which may not have been too practicable anyway...)
A rather absurd outfit, depicted as being worn by a lady of anatomically impossible shape, from Wiener Moden, 1832 [Mediocre-quality scan] (1832wird.gif)
A drawing of the 1830's which satirized the competition for the honor of having the narrowest waist: "The Devil's Grindstone" by Eugène Le Poitevin (dvlgdstn.gif)
A ca. 1833 caricature of the political establishment from a Radical point of view, suggesting that the Whigs were not all that different from the Tories (by Charles Jameson Grant; see further information at top of image) (183wgtry.gif)
At last, honesty in fashion terminology! -- A deadpan entry from a distinguished scholarly reference work, including a sketch of an 1834 fashion (note that "straight-waistcoat" is the British word for what is known in America as a "straightjacket") (1834imbc.gif)
What sense of style, of form, of proportion; it's perfect -- perfectly hideous! (Wiener Zeitschrift, 1835) (1835wird.gif)
Brocade Satin dress, circa 1835 (from Gazette des Salons); note that it may not be obvious on first glance that the woman has a small waist, because of her sleeves (1835dres.gif)
Detail from fashion plate depicting bonnet and collar fashions for October 1838, from Godey's Lady's Book (1838oglb.jpg)
Illustration of Johann Nestroy's play Der Talisman (first performed December 16th 1840), from the Vienna Theaterzeitung. Note how only the older lady is wearing the old-fashioned Regency styles of her youth, while the young ladies are clothed in what were no doubt then considered to be much more up-to-date and becoming fashions. (The woman immediately to the right of the man holding the wig is probably a servant, which would explain why she isn't quite as puffed out as the others.) (nstroytl.jpg)
(Somewhat mediocre-quality scan; another scan which is less grainy -- though smaller and more washed-out -- is available on this page of Nestroy pictures.)
The social-class "Geology of (London) Society", from Punch, 1841 (1841pnch.gif)
Somewhat strange fashion illustration of a woman in a masculine-influenced riding habit gazing with a somewhat predatory expression towards a more femininely-attired lady (from La Mode, 1842) (1842wird.gif)
Proof that the pointy-haired boss was not invented by Dilbert.
"Tremendous Sacrifice!", an engraving on the rigors of women trying to make a living at seamstressing (one of the few lines of work really open to them at that time) by George Cruikshank from Our Own Times, 1846: (1846crks.gif) [Large scan]
Text in image:
At left, a conversation between two seamstress applicants: "I understand that it is impossible to get a living at this work --" "So I have heard, nevertheless we must try!"
At bottom: "Profits" go "To the Bank".
At right, shopper in "Cheap House" says: "I cannot imagine how they can possibly be made for the price!!"
"Something Like a Valentine", a caricature by George Cruikshank from the Comic Almanack of 1849, illustrating an article which pretends to assert that Valentines shouldn't harp on all that sickly sweet sentimental love stuff but should itemize the important things in life (such as "smuggled French gloves") instead (1849valj.gif)
Text in image, from top to bottom:
- I offer my heart and my hand
- "I am young rich and handsome, good-tempered and well educated"
- Millinery and Dresses unlimited
- £300 per annum Pin-money
- Smuggled French Gloves
- A Love of a Page
- Eau de Cologne
- Splendid Suite of Jewels
- Box at the Opera
- Balls and Routs
- Grand Piano
- Champagne, Ices, Jellies, Tarts, and Cheesecakes
- Annual Trips to the Continent
- Town House -- Handsome Chariot -- Country House
The 1850 idea of outdoorsy recreational clothing for women: "The Lovers: Morning Recreation", print by Sarony and Major (New York) (morngrec.jpg)
The Hippopotamus Polka (Victorian silliness ca. 1850) (hippolka.jpg)
The Hippopotamus Polka (Victorian silliness ca. 1850) (hippolka.gif)
"The Hippopotamus Polka" (Victorian silliness ca. 1850; cover of sheet music by L. St. Mars, engraved by Napoleon Sarony) (larger raw scan) (hippolkab.jpg)
"A Splendid Spread", early satire on the inflatable (air tube) crinoline by George Cruikshank, from The Comic Almanack, 1850 (1850crks.gif) Note that the gentlemen have to use long-handled trays ("baker's peels") to serve the ladies.
"A New Court of Queen's Bench, As it Ought to Be -- Or -- The Ladies Trying a Contemptible Scoundrel for a ``Breach of Promise''", by George Cruikshank, 1849, for the 1850 Comic Almanack [Large Image] (1850wmjj.jpg)
A satire on what the imagined results of women's rights efforts would be. (The feminist movement had begun to attract public attention in 1848, and the 1849 Comic Almanack had carried a piece on the "Frightful State of Things if Female Agitation is allowed Only for a Minute" which, interestingly, satirized men's fantastic fears of feminism as much as feminism itself -- farcically portraying a social upheaval arising from a titanic struggle to restrain male smoking, drinking, and late nights out at clubs and pubs.) This piece is less equivocal, and mocks the mere thought of any possibility of women ever becoming lawyers, judges, and legal officers. Much of the humour (which may not be entirely obvious to twentieth-century eyes) is intended to arise from the way in which the rather grim and austere all-male world of the mid-nineteenth century English law receives various touches of feminine domesticity, giving rise to juxtapositions which would have seemed ludicrously incongruous and inherently absurd to many at the time.
The auxiliary spaces around the main area of the courtroom are "The Papas and Mammas Box", "The Brothers, Sisters, and Other Relations", "Visitors Gallery", "Prosecutrix's Boudoir", "Tea Room", and "Coffee Room".
At the left the female warder guards the prisoner/defendant, while the female bailiff(?) holds a staff. The accuser sits next to the jury, supported by a relative who casts a reproachful glare at the defendant. The lawyers etc. sit at the table; at the right, the main "prosecutrix" declaims to the jury, with piles of paper labelled "Introductory Correspondence &c. &c. &c.", "Declaration & Proposal &c. &c. &c.", and "The Breaking off" in front of her. The other lawyers (going clockwise) are looking at: a mirror propped up against "The Book of Beauty", an advertisement for "Don Giovanni" at "Her Majesty's Theatre", "Boz's Law Reports: In Cause of Bardell v. Pickwick" (a reference to an incident in Dickens' Pickwick Papers), and La Belle Assemblée (a fashion magazine).
Incongruous feminine touches include the ribbons and bows in the legal wigs of the lawyers and judges, the huge floral centerpiece on the lawyers' table, and the judges, lawyers, and jurywomen who are knitting, embroidering, smelling nosegays, plying fans, and eating sweets.
The blindfolded symbolic representation of Justice at the center top is dressed as a ballerina, while the lion that serves as a supporter to the royal arms at upper right has the hairstyle and moustache of a parlour dandy and ladies' man of the period, and the middle judge's book rests on a blindfolded cupid -- these last two suggesting that the judges' decisions will be influenced by the handsomeness of males who appear before the court. (Similarly, three years later in the Comic Almanack for 1853, there was a satire on what would happen if women ever could vote, in which the debonair "Darling, The Ladies' Candidate", with his promise of "Parliamentary Balls once a week", was pitted against the less handsome "Screwdriver, the Great Political Economist" -- but given the state of so-called "political economy" in early to mid nineteenth century, I would rather vote for anyone who might possibly show a few flashes of humanity, than for a practitioner of that very "dismal science", which largely consisted of "proving that the Good Samaritan was a Bad Economist", to quote Dickens.)
Bloomer Walz, outdoors scene (1851) [Large File.] (bloomrwz.gif)
This image is a little funny because it doesn't really make fun of dress-reform and bloomers (which was the commonest reaction), and even seems to assume that bloomers would be acceptable as summer outdoors country wear, at least; but on the other hand, this illustration seems to miss the basic point of the dress-reform movement (i.e. to provide sensible and comfortable alternatives to impractical women's clothing styles), in that the bloomer costume depicted here is tightly-corseted and big-skirted, in accordance with the fashions of the day.
Bloomer Waltz, ballroom scene (early 1850's?) (bloomwzb.jpg) Version of Bloomer "dress reform" costume with fashionable corseted waist and big skirt -- and accessorized with a bell-pull rope!?.
Illustration for "The New Costume Polka" by James Queen (1851); as with the preceding two illustrations, the satire, if any, is implicit (perhaps it was enough merely to depict a scenario in which bloomers would be fully accepted as part of high fashion, without any need for overt caricature) [Large Image] (nwcstumwz.gif)
An 1854 joke on practicality vs. fashion, from Punch's Almanack for 1854 (1854boot.gif)
(This is a perfect illustration of Veblen's theories of the social basis of fashion, as applied to the Victorian period.)
Cutaway view of crinoline costume, Punch August 1856 (1856crnl.gif) (new, larger scan)
A rigorous boarding school curriculum (Cartoon on "Our Ladies' Boarding Schools" from Harper's Weekly, 1857; a fairly pointed satire on the Victorian idea of a "Fine Lady") (1857bscj.gif)
Victorian young ladies mocking Regency fashions; satirical drawing from Harper's Weekly (New York), 1857 (1857rgcj.gif) Caption:

ARABELLA MARIA:

``Only to think, Julia dear, that our Mothers wore such ridiculous fashions as these!''

BOTH:

``Ha! ha! ha! ha!''
Another comparison between Regency styles and crinolined Victorian fashions, from Harper's Weekly, 1857 (New York) (18121857.gif)
Note that the figure on the right, labeled "1807", is actually apparently an 1857 redrawing of an 1854 redrawing of a slightly exaggerated satirical 1812 engraving, by Vernet, of a "Merveilleuse" (the colloquial name for a young French fashionable who adopted the most extreme versions of the latest fashions of the time). If a true ball gown of 1807 (which would look more like this) were contrasted with that of 1857, then to modern eyes the comparison would be even more strongly in favor of early nineteenth century styles.
"The Remarkable Convenience of Hoops for Young Mothers in the Country", satirical cartoon on crinolines, from Harper's Weekly, 1857 (New York) (1857hoopj.gif)
"New Omnibus Regulation", a satire on the Crinoline in public transport. Caption: "Werry sorry 'm, but yer 'l 'av to leave yer Krinerline outside." Original October 2nd. 1858 Punch cartoon by John Leech (1858pclj.gif)
"New Omnibus Regulation", a satire on the Crinoline in public transport. Caption: "Werry sorry 'm, but yer 'l 'av to leave yer Krinerline outside." A staged joke photograph of 1858, re-creating the Punch cartoon (1858cnlj.jpg)
Part of an 1859 fashion plate from the "Gazette of Fashion", showing sea bathing and bathing machines in the background (1859bthg.gif) (poor-quality scan)
Practical and attractive clothing for females of all ages -- not! (Godey's Magazine, 1859) (1859gody.gif)
Two satirical odes to the Crinoline, published in Punch in 1858: "What a Ridiculous Fashion" (August 12, 1858) and "My Flora -- A Fashionable Pastoral" (January 2, 1858) (1858cnpm.gif)
1859 fashion plate from the "Gazette of Fashion", showing sea bathing and bathing machines in the background (New larger scan.) (1859bthg.jpg)
Announcement forbidding the wearing of crinolines by female factory hands, posted in Courtauld's Mills, 1860 (1860ntic.gif)
(This shows that even women far down in the social hierarchy often tried to imitate the cumbrous fashions of the genteel classes, insofar as this was practical given the requirements of their daily lives -- or sometimes, as here, even to a degree that was more or less incompatible with their normal occupations.)
A simple beast of burden startled by a highly unnatural phenomenon (painting by David Gilmour Blythe, Pennsylvania ca. 1860) (dgblythe.jpg)
A caricature photo sequence of posed joke photographs ca. 1860, showing five stages of putting on a crinoline (by French photographer Sirot?) [Warning: Huge scan.] (186crinj.jpg)
Rather extreme examples of the hoop-skirt style (Ball gowns of the early 1860's, from Petit Courier des Dames, drawn by Pauqet) (186ballg.gif)
A contrast between contemporary depictions of 1814 and 1861 fashions (18141861.jpg)
An intimate conversation of 1862: "Don't try to whisper in my ear, or your crinoline will tip up, dear" (my silly caption for this plate from the Wiener-Moden-Zeitung, July 1862) (1862scen.jpg)
Another comparison of Regency and Victorian styles: A fanciful subjective impressionistic mid-Victorian drawing by Alfred Grévin, apparently expressing his personal opinion of the degeneration of 19th century women's fashions (this drawing not intended to be realistically historically accurate on the right-hand side!) (19cgrvin.gif)
"Before Waterloo", by Henry Nelson O'Neil (1868); this presumably attempts to depict the Duchess of Richmond's famous ball on the eve of the battle of Waterloo, but the fashions shown seem to be based on elements of 1830's and early 1860's fashions, and show no particular resemblance to the actual styles of 1815 (except perhaps in having slightly highish waistlines). This is an "Anti-Regency" picture, i.e. one depicting conspicuously non-Regency fashions in a context where Regency styles should have been shown to be historically accurate (in the mid-Victorian period, when Kate Greenaway was still unknown, it seems that some people thought that such styles had been shamelessly indecent, many would have felt slightly uncomfortable to be reminded that their mothers or grandmothers had once promenaded about in such fashions, and perhaps the majority would have found it somewhat difficult to really empathize with, or take seriously, the struggles of a heroine of art or literature if they were being constantly reminded that she was wearing Regency styles).
Diagram showing the increasing relative skirt length with increasing age thought proper for little girls in the High Victorian (Harper's Bazar, 1868) (1868lglg.gif)
Railway-station Zoology, a classic Punch joke by Charles Keene, March 6 1869 (1869pnch.gif) (If you don't at least chuckle at this one, you might as well not bother to try to read Twain and other Victorian humorous authors.)
Satire on the London "Season" (coming "out", being presented at court, mothers on the hunt for an eligible matrimonial "catch" for their daughters, especially among the scions of nobility, changing fashions in artificial hair-bun thingies, etc.), Harper's Bazar, 1870 (1870seas.gif)
Another satire on the difference between Classical and Victorian ideals of beauty (Harper's Bazar, 1870) (1870vdmj.gif)
(This is not really as vigorous and well-done as the slightly later satire on a similar theme from a less respectable publication below; see also the probably originally somewhat serious but now unintentionally humorous 1884 advertisement below.)
"Are you sure you have enough flowers, dear?" (my silly caption for this plate from La Mode Illustrée, 1870) (187roses.jpg)
A contrast: "Young Lady of Fashion 1871" vs. "London Dairywoman" (1876 illustration) (1871ctrs.gif)
Two examples of girls' training corsets. On left: "Under-Waist for Girl from 12 to 14 Years old", Harper's Bazar, 1870. On right: "Le Corset de la Fillete", La Vie Parisienne, January 15 1881 (grlcorst.gif)
"Veto" by George du Maurier, from Punch; a comic comment on fashions of the 1870's (187dmvto.gif)
An 1878 satire on men's clothing fashions (or at least military dress uniforms) which takes for granted a long-standing satire against women's fashions (Punch, May 25th 1878, engraving by Du Maurier) (1878stoop.gif)
NEWSFLASH: Venus de Milo should have worn corset! (Silly story, or non-story as the case may be, from 2nd-rate sensationalistic scandal rag of 1881) (1881vdmj.gif)
Several "fast" young ladies smoking (gasp!) while visiting a dog and rat baiting "pit" (presumably in a squalid section of New York City); illustration from the same type of publication as the preceding (vicldogr.gif)
An interesting alternative historical perspective: In 1881, corsets (such as worn by the lady at lower right) were taken for granted as everyday items, while the bra (worn by the Regency woman at upper left) was a curious exotic obsolete historical artifact which had to be explained (La Vie Parisienne, January 15 1881) (1881mpcs.gif) Caption: ``LE CORSET EMPIRE. -- Cela peut-il s'appeler un corset? C'était plutôt un «appui». Deux petites poches de satin blanc, réunies et maintenues par un ruban. Le satin, très-mince, afin de soutenir les accidents de terrain; ce corset-là n'était ni encombrant, ni trompeur, et s'enlevait en un tour de main.''
Semi-exaggerated outfit from La Vie Parisienne, 1881 (not a straight fashion illustration) (1881pars.gif)
Der Bazar, Berlin, Nov. 1881 -- indoor formalwear that doesn't look very easy to walk in; also, an example of the 1881 idea of menswear-influenced fashions for women. (vctn1881.jpg)
Early 1880's poster for the J.M. Brunswick and Balke Company (printed in Chicago), depicting three ladies playing billiards (Large Scan.) (188jmb-b.jpg)
The Regimental ball of the Honourable Artillery Company, 1882 (England) -- I do hope the dance floor is quite large, since each lady seems to take up so much room! (1882ball.gif)
Victorian cut apparently depicting a young lady in a silly long-trained early 1880's formal outfit embracing a young man in non-dress military uniform. (188mbrac.gif)
Three examples of comfortable and attractive outfits from 1880's fashion plates (left: early 1880's daywear, center: late 1880's eveningwear, right: mid 1880's daywear) (3victldy.jpg)
19th-century man and woman lightly flirting (illustration from Sep. 23 1882 Police Gazette) (romance.gif) (smaller image)
19th-century man and woman lightly flirting (illustration from Sep. 23 1882 Police Gazette) (romncbig.gif) (larger clearer version)
Der Bazar, Berlin, Feb. 1883 (Ballgowns? Some unkind souls might insinuate that the magazine should change an "a" in its name to an "i"...) (vctf1883.jpg)
An improvement on nature? (Another picture on the theme of classical standards of beauty vs. the Victorian waistline.) I'm not sure whether this 1884 advertising picture is intentionally slightly jocular, or merely unintentionally silly (the fact that it's part of an advertisement for a "Survival Corset" shown at a health exhibition doesn't decide the matter one way or the other) (1884vdmc.gif)
For other graphic comparisons of the Venus de Milo with Victorian fashions, see this 1881 humorous image above (as well as a less vigorous 1870 satire).
Satirical illustration of a marriage proposal, 1885 (1885prpos.gif)
"Our Three-Volume Novel at a Glance", a jocular look at some clichéd expressions; by Priestman Atkinson, from the Punch Almanack for 1885 (1885pnch.gif) (I've abridged the second and third "volumes" in this scan.)
"Too Kind by Half", satirical cartoon of ballroom situation by George Du Maurier, 1880's (dmdncjok.gif)
(Note that this gentleman takes an approach to wallflowers which is the exact opposite of what Darcy does...)
Ridiculous "back-shelf" bustle ball-dress (?), from La Mode Artistique, 1885 (1885wird.jpg)
Quite peculiar menswear-influenced fashions for women, with bustle ("Indoor Toilettes", from Revue de la Mode, 1886) (1886wird.gif)
Tailored brown cashmere serge costume with bustle; redrawn from 1886-7 fashion plate. (1886dres.gif)
Annie Oakley, Wild West show (mid-1880's?) (annioakl.jpg)
Advertisement from The Queen, July 10th 1886, showing a tennis outfit in which the influences from menswear, and the intended informality (appropriate for an athletic costume), clash oddly with the presence of a bustle. Also offered for sale are "Real Yak Flouncings" (1886nwsp.gif)
Woman on staircase, from 1880's typographers' "cut" (188girls.gif)
1887 Japanese print depicting two young ladies dressed according to the Western styles of time (i.e. bustled 1880's fashions) -- except that the designs printed on the cloth are according to Japanese taste (1887japn.jpg)
Journal des Demoiselles, Paris, 1887 -- some rather impractical clothes for roughing it outdoors... (vict1887.jpg) (also scanned in by Suzy A. Samuelson)
A fashion-plate from the Journal Des Demoiselles of February 1st 1895 (or 1893?) that even many at the time would have found somewhat silly, since a certain trend against excesses and extremes in women's outer clothing was starting to set in (at least in Anglo-Saxon countries) (1893sily.gif)
No collection of Victorian women's fashion images would be complete without a picture of a stereotypical ca. 1890's corset; this one is sillier than most, since it's of an "electric health corset" (elcorset.jpg)
1897 advertisement for Elliman's Universal Imbrocation from The Graphic, showing woman wearing "rationals" or knickerbockers for bicycle-riding (1897knad.gif)
Satirical drawing of fishing for a man; notice that what she is wearing is not a faithful depiction of women usually wore to the beach ca. 1900 (189hfshj.gif)
Charles Dana Gibson on a ritual of masculine chivalry (from Sketches and Cartoons, 1898) (cdgfnglv.jpg) (Large file)
1899 Piano advertisment with strongly-corseted model (1899crsp.jpg)
1899 Bustle advertisement (1899bstl.jpg)
"Slightly Preoccupied?" (my caption for this humorous romantic illustration, "The Turning of the Tide", by Charles Dana Gibson, from Life magazine, and reprinted in his collection Americans, 1900) (cdgtrntd.gif) (New better scan)
The Smith College class of 1902 basketball team (photograph) -- the Queen is dead, and healthy-looking athletic young women are wearing somewhat functional and uncorseted clothing (at least when playing) (smbskb02.jpg)
Some authorities have stated that 1908 was the year when corsets first started to be loosened to some degree, but this 1908 postcard published in Boston is as silly as ever... (1908pcrd.gif)
Ace of hearts design sent in by an American reader to The Strand Magazine (1911) (aceharts.gif)
USA women's suffrage map (usawmsuf.gif)
Non-Victorian Images:
Medieval illustration of women fighting in knightly style (not to be taken too literally) (mdvwmfgt.gif)
Drinking tea, northern Europe 1690's (detail of painted fan-leaf) (1700ftea.jpg) (Even the maid seems to be wearing a fontange.)
Detail of portrait of Mr. and Mrs. Richard Bull in their house at Ongar in Essex, by Arthur Devis, 1747 (devisbul.jpg)
Advice to an eighteenth century lover (undated engraving) (18c-chien.gif)
The poem reads:
"Ce Chien qui m'obeit doit servir de modéle
A tout galant qui voudra m'en conter:
Il est discret, complaisant et fidéle,
Amants, pour être aymés, tachez de l'jmiter."
The small writing says:
"Jnventé et peint par Jac. Courtin
et Gravé par J. B. de Poilly
Je vend a Paris chez les freres de Poilly rue S^t Jacques a la belle Jmage -"
Illustration of miscellaneous fashion accessories (hairstyles, hats, shoes, etc.) from the 1760-1790 period, from Doreen Yarwood's English Costume (1961) (17601790.gif)
"The Various forms of the Hoop-skirt during Three Centuries", a modern costume plate which contains redrawn versions of various contemporary illustrations (including the 1778 picture of French court dress also linked on this web-page), comparing the late 16th century farthingale, the mid 18th century hoop skirt and the mid 19th century crinoline, and showing their development (from Tilke's Kostümschnitte, 1945) (Large Image; the missing date under the first costume of the second row should probably be ca. 1695-1700.) (hoopsk3c.jpg)
Young lady wearing French aristocratic court dress of 1778 (from La Galerie des Modes); perhaps artistically exaggerated to some degree, but not by very much! (1778fgrb.jpg) Caption: "Jeune Dame de Qualité en grande Robe coëffée avec un Bonnet ou Pouf élégant dit la Victoire.
Dessiné par Desrais
Gravé par Voysant"
[New larger color scan.]
- French aristocratic court dress of 1778 (from La Galerie des Modes, vol. 1 plate 7); perhaps artistically exaggerated to some degree, but not by very much! (1778frnc.gif) (older lower-quality scan)
Young daughter of a French bourgeois, from Galerie des Modes, 1778 (1778fkid.jpg)

Singular "their" construction and other linguistics pages

Singular "their" in Jane Austen and elsewhere: Anti-pedantry page (austheir.html)
List of examples of singular "their" etc. from Jane Austen's writings (austhlis.html)
Stephen Pinker on the English singular "their" construction, from The Language Instinct (s-pinker.html)
Examples of singular "their" etc. from the OED and elsewhere (sgtheirl.html)
Henry Churchyard's linguistics page (hc/linghebr/index.html)
Plain text abstract of dissertation Topics in Tiberian Biblical Hebrew Metrical Phonology and Prosodics by Henry Churchyard (University of Texas, May 1999) (hc/linghebr/abstract.txt)
The vowel system of a reconstructed 18th-century proto-language ancestral to modern "standard" English dialects in both England and America (hc/linghebr/18cengvs.html)

HTML documentation:

Tom Neff and Eric Bohlman on HTML IMG tag ALT attributes (htnimglt.html)
ISO 8859-1 Latin 1 characters and selected Unicode characters in ampersand entities (latin1.html)
ISO 8859-1 Latin 1 characters and selected Unicode characters in ampersand entities (latin1.utf8) [Delivered with MIME "Content-Type: text/html;Charset=utf-8" HTTP header]
ISO 8859-1 Latin 1 characters and selected Unicode characters in ampersand entities (version with HTML tables) (latin1tb.html)
ISO 8859-1 Latin 1 characters and selected Unicode characters in ampersand entities (version with HTML tables) (latin1tb.utf8) [Delivered with MIME "Content-Type: text/html;Charset=utf-8" HTTP header]

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