WOW ~ Word of the Week ~ Contra Dance

WOW ~ Word of the Week ~ Contra Dance

I could have danced all night
I could have danced all night
And still have begged for more
I could have spread my wings
And done a thousand things
I’ve never done before

My Fair Lady, I Could Have Danced All Night, music written by Frederick Loewe and lyrics by Alan Jay Lerner, published 1956.

Contra Dance

A dance where the dancers of the different sexes stand opposite each other, instead of side by side, as in the minuet, rigadoon, louvre, &c. and now corruptly called a country dance.

Those of us familiar with the Regency era are well acquainted with dancing at balls and the obligatory appearance(s) at Almacks for a young marriage-minded miss, and we’ve heard the terms ‘minuet,’ ‘highland reel,’ and ‘quadrille,’ but what about those other dances mentioned by the estimable Mr. Grose?

Contra Dance

Popular since the reign of Queen Elizabeth I, the contra dance consisted of couples lining up opposite each other with men on one side and ladies on the other. The dance began at the top with the first couple, and they worked their way down the lines, weaving in and out. They were followed by the next top couple, until all couples had worked the line. As everyone had the chance to be the lead couple, the set could last a long, long time. A beautiful (albeit abbreviated) example of the contra dance is Mr. Beveridge’s Maggot from the cinematic version of Emma, 1995.

Minuet

Whether the dance as it was during the Regency period derived from the Italian or French versions, the minuet was so named due to its small steps. It was danced by couples in three-quarter time. This set opened balls as everyone knew how to navigate its steps, despite the fact the footwork was intricate. The dance was steeped in tradition and held with near reverence by the older crowd, likely because it quickly displayed a person’s grace (or lack thereof). It’s popularity began to wane in the Regency as the waltz gained popularity and eventual acceptance. (On a side note, the good Regency historian remembers that the waltz during this time was nothing like the waltz of the Victorian or current eras. This is the Viennese Waltz, with couples not dancing in the closed position, but rather semi-closed, side-by-side, then facing each other, as seen in the following illustration. Couples are very much embracing, but not tightly, bosoms brushing, as some might wish.)

Earl Waltz Steps from Thomas Wilson’s Treatise on Waltzing, 1816.

But I digress. A beautiful example of the minuet is presented by the Jane Austen Society of Florence and L’Atelier de Danse at the Grand Napoleonic Ball in Florence, in May of 2010, at the Villa del Poggio Imperiale, imperial residence of Napoleon’s sister, Elisa Baciocchi from 1809 till 1814 while she was Grand Duchess of Tuscany.

Rigadoon

This dance stumped me until I discovered it is a version of a more well-known dance group, the cotillion, which came to England from France in the mid-18th Century. The cotillion was another lengthy dance and the rigadoon was merely one step variation that could be showcased by the hostess. The rigadoon was a set a continuous steps and swirls with the pattern increasing in difficulty as the set progressed. I found a beautifully executed version of A New Rigadoon based on Mr. Isaac’s Rigadoon of 1706, performed at the 2012 Ottawa English Country Dance Ball.

 

If your map-reading and deciphering skills are especially acute, please feel free to interpret the original sketches of Mr. Isaac, the Rigadoon, from 1706. They are beautiful, and beyond my ken.

Mr. Isaac, The Rigadoon, 1706, plate one.

A Supplement of Steps by Raoul Auger Feuillet and translated by John Weaver, Orchesography, 1706.

 

 

 

 

 

 

 

 

 

Louvre

This is actually a “nickname” for the Aimable Vainqueur Danse, a ballroom dance choreographed by Louis Pécour that premiered in December of 1700. It’s also documented with the ‘Loure’ spelling, making it somewhat difficult to discover in the depths of Google. It became one of the popular historical dances to include at balls through the early 19th Century because of its stately movements and traditional elegance. Once again, the steps are intricate and the pace is steady without any breaks, very similar to the Allemande. Giovanni-Andrea Gallini’s A Treatise on the Art of Dancing in 1778 states the Louvre and Minuet as the two dances most in fashion throughout Europe, and that the Louvre “pleases particularly” with the “just concert of motions” exhibited by the couple. It’s important again for the Regency historian to remember that dance was also another language of diplomacy, and that the most exclusive balls and routs would feature dances that all the European ambassadors and attachés would know well. A very baroque example of this dance is performed by Thomas Baird and Suzanne Paterson for La Belle Danse, exhibiting the original 1701 choreography by L.G. Pécour. The tune is from André Campra’s 1700 opera Hésione.

 

WOW ~ Word of the Week ~ Dining Room Post

WOW ~ Word of the Week ~ Dining Room Post

This week’s phrase comes courtesy the dedicated thief who’s in it for the art of the deception, with the Rube Goldberg-esque planning and implementation of the steal.

Dining Room Post

A mode of stealing in houses that let lodgings, by rogues pretending to be postmen, who send up sham letters to the lodgers, and, whilst waiting in the entry for the postage, go into the first room they see open, and rob it.

Arrest of a Woman at Night by Thomas Rowlandson, date unknown, The Samuel Courtauld Trust at The Courtauld Gallery, London.

As we all know, however, crime rarely pays, or at least fails to pay for the long run. It can be argued that the Regency era gave rise to the (more) modern  and organized police man. During this time, criminals were pursued by constables, the night watch, thief-takers, and Bow Street Runners. The Metropolitan Police themselves were formed in 1829, a few years removed from the Regency but during the reign of George IV (the former Prince Regent). These various officials of law enforcement were notoriously tough and dogged in their pursuit of criminals (or at least the payment at the end of the pursuit). Some lawmen were fresh from lives of crime themselves, and used their considerable knowledge and connections to ferret out criminals.

The Night Watchman Picking Up a Wayward Girl by Thomas Rowlandson, Bonhams, New York.

Interestingly, when searching for period graphics to illustrate this post, the majority I found were of women being arrested rather than men. I’m not sure if there’s a less-than-subtle message to be inferred here, but at least one engraving by Thomas Rowlandson showed they didn’t all go down quietly.

Attacking the Night Watchman by Thomas Rowlandson, date unknown.

 

WOW ~ Word of the Week ~ Gentleman of Three Ins

WOW ~ Word of the Week ~ Gentleman of Three Ins

Lots of things come in threes.

Little pigs. French hens. Little kittens. Feet in a yard. BLT ingredients. Brontë sisters.

Sometimes frightening things come in threes: witches in Macbeth, Cerebrus’s heads, Hanson brothers. And this week’s slang.

Gentleman of Three Ins

In debt, in gaol, and in danger of remaining there for life; or, in gaol, indicted, and in danger of being hanged in chains.

I wrote several posts last year concerning the perilous nature of gaols and imprisonment in Regency England, which can be found here, here, here, and here. I won’t rehash the past, but instead rely on my dear Mr. Gillray to provide some period figurative illustrations rather than literal interpretations of this week’s slang.

In debt:

John Bull ground down by James Gillray, published by Hannah Humphrey 1 June 1795, National Portrait Gallery.

From the British Museum:

John Bull’s head and shoulders emerge from a gigantic coffee-mill. He is being ground by Pitt into guineas which pour from the spout of the machine into the inverted coronet of the Prince of Wales, held out by the Prince (left). The Prince points out his harvest of coins to a row of creditors. John Bull, his hands clasped, shrieks “Murder! Murder!” Pitt (right), both hands on the handle, is working hard, stripped to his shirt. His coat lies across an enormous heap of guineas on which he rests his left knee. He says: “God save great George our Ki . . .” Behind him, and in the upper right corner of the design, is the crown, the centre of a sun whose rays extend behind Pitt’s head, with the words: “Grind away! grind away grind away Billy! never mind his bawling! Grind away.” Other words from the crown are directed towards the victim: “What! – What! – what! Murder hay? why, you poor Stupe, is it not for the good of your Country? hay? hay”. Between Pitt and the post of the mill Dundas and Burke are grovelling for guineas: Burke, frowning, uses both hands; Dundas, who wears a plaid, fills his Scots cap.

In gaol:

Exaltation of Faro’s Daughters by James Gillray, published by Hannah Humphrey 12 May 1796, British Museum.

From the British Museum:

Lady Buckinghamshire (left) and Lady Archer (right) stand side by side in the pillory, heads and hands closely confined, their heads in profile to the right, weeping angrily. Both wear tall feathers in their hair and large pendent ear-rings. Lady Buckinghamshire is forced to stand painfully on tip-toe, a short petticoat exposes her fat legs. On the front of the platform is a placard: ‘Cure for Gambling Publish’d by Lord Kenyon in the Court of Kings Bench on May 9th 1796’. This is raised above the heads of the crowd, with grinning upturned faces in the foreground. Eggs, a cat, &c. fly through the air; the pillory and the dresses of the victims are bespattered. On the right is a house with spectators in the windows.

Hanging in:

Hanging. Drowning. by James Gillray, published by Hannah Humphrey 9 November 1795, National Portrait Gallery.

From the Historical and Descriptive Account of the Caricatures of James Gillray:

Fox. Pitt. Dundas. Another allusion to the love of the two Ministers for the bottle. It represents the different feelings with which the different parties in this country were supposed to have looked upon the decline of Republican principles in France at this time.

And lest we forget, three is a magic number.

 

Slang term taken from the 1811 Dictionary of the Vulgar Tongue.

WOW ~ Word of the Week ~ Up to Their Gossip

WOW ~ Word of the Week ~ Up to Their Gossip

This week’s phrase took very little effort on my part after I stumbled upon a terrific post at Flavorwire. I have long admired Jane Austen’s works and delved into her life through her remaining correspondence and notes – she really had the greatest sense of comic timing and a deft hand at using words to their greatest effect. After reading this compilation of her best bon mots from Pride and Prejudice, I was again reminded of her genius way with words.

This will be fun.

Up to Their Gossip

To be a match for one who attempts to cheat or deceive; to be on a footing, or in the secret. I’ll be up with him; I will repay him in kind.

“But that’s none of my business.” ~Fitzwilliam Darcy

To me, Lizzy Bennet is the epitome of the definition of being Up to Their Gossip. Never let them see you sweat.

The following are the 15 Best Disses and One-Liners From Pride and Prejudice, according to Flavorwire.

1. Mr. Bennet on Mrs. Bennet’s nerves:

“Mr. Bennet, how can you abuse your own children in such a way? You take delight in vexing me. You have no compassion for my poor nerves.”

“You mistake me, my dear. I have a high respect for your nerves. They are my old friends. I have heard you mention them with consideration these last twenty years at least.”

2. Mr. Darcy’s original stone-cold snub of Lizzy Bennet, to Mr. Bingley:

“She is tolerable, but not handsome enough to tempt me; I am in no humour at present to give consequence to young ladies who are slighted by other men. You had better return to your partner and enjoy her smiles, for you are wasting your time with me.”

3. Lizzy Bennet to Mr. Darcy on his weaknesses:

“Perhaps that is not possible for anyone. But it has been the study of my life to avoid those weaknesses which often expose a strong understanding to ridicule.”

“Such as vanity and pride.”

4. Mr. Darcy to Caroline Bingley on the appeal of Lizzy Bennet’s eyes, despite her conceitedly independent choice to walk in ankle-deep mud:

“I am afraid, Mr. Darcy,” observed Miss Bingley in a half whisper, “that this adventure has rather affected your admiration of her fine eyes.”

“Not at all,” he replied; “they were brightened by the exercise.”

5. Mr. Bennet to Lizzy, after she refuses to marry Mr. Collins:

“An unhappy alternative is before you, Elizabeth. From this day you must be a stranger to one of your parents. Your mother will never see you again if you do not marry Mr. Collins, and I will never see you again if you do.”

6. Lizzy to Caroline Bingley on the matter of George Wickham:

“His coming into the country at all is a most insolent thing, indeed, and I wonder how he could presume to do it. I pity you, Miss Eliza, for this discovery of your favourite’s guilt; but really, considering his descent, one could not expect much better.”

“His guilt and his descent appear by your account to be the same,” said Elizabeth angrily; “for I have heard you accuse him of nothing worse than of being the son of Mr. Darcy’s steward, and of that, I can assure you, he informed me himself.”

7. Mr. Bennet to Mrs. Bennet on longevity:

“Indeed, Mr. Bennet,” said she, “it is very hard to think that Charlotte Lucas should ever be mistress of this house, that I should be forced to make way for her, and live to see her take her place in it!”

“My dear, do not give way to such gloomy thoughts. Let us hope for better things. Let us flatter ourselves that I may be the survivor.”

8. Mr. Darcy to William Lucas on dancing:

“What a charming amusement for young people this is, Mr. Darcy! There is nothing like dancing after all. I consider it as one of the first refinements of polished society.”

“Certainly, sir; and it has the advantage also of being in vogue amongst the less polished societies of the world. Every savage can dance.”

Not. Amused. By. Savages. At. All.

9. Mr. Darcy, in peak jerk mode, even as he proposes to Lizzy:

“Could you expect me to rejoice in the inferiority of your connections?—to congratulate myself on the hope of relations, whose condition in life is so decidedly beneath my own?”

10. Lizzy to Mr. Darcy on his previous comments:

“You are mistaken, Mr. Darcy, if you suppose that the mode of your declaration affected me in any other way, than as it spared me the concern which I might have felt in refusing you, had you behaved in a more gentlemanlike manner.”

That condescending curtsy, though. 19th Century equivalent of the slow clap.

11. Darcy to Caroline Bingley on Lizzy’s fine eyes, part II:

“I remember, when we first knew her in Hertfordshire, how amazed we all were to find that she was a reputed beauty…But afterwards she seemed to improve on you, and I believe you thought her rather pretty at one time.”

“Yes,” replied Darcy, who could contain himself no longer, “but that was only when I first saw her, for it is many months since I have considered her as one of the handsomest women of my acquaintance.”

12. Lizzy to her seduction-victim little sister Lydia on finding a spouse:

“And then when you go away, you may leave one or two of my sisters behind you; and I dare say I shall get husbands for them before the winter is over.”

“I thank you for my share of the favour,” said Elizabeth; “but I do not particularly like your way of getting husbands.”

13. Lizzy to Lady Catherine on whether or not she’ll marry Mr. Darcy:

“You are then resolved to have him?”

“I have said no such thing. I am only resolved to act in that manner, which will, in my own opinion, constitute my happiness, without reference to you, or to any person so wholly unconnected with me.”

14. Lizzy, to Jane, on falling for Mr. Darcy:

“My dearest sister, now be serious. I want to talk very seriously. Let me know every thing that I am to know, without delay. Will you tell me how long you have loved him?”

“It has been coming on so gradually, that I hardly know when it began. But I believe I must date it from my first seeing his beautiful grounds at Pemberley.”

15. Lizzy and Darcy on Lady Catherine’s influence on their love:

I knew enough of your disposition to be certain that, had you been absolutely, irrevocably decided against me, you would have acknowledged it to Lady Catherine, frankly and openly.”

Elizabeth coloured and laughed as she replied, “Yes, you know enough of my frankness to believe me capable of that. After abusing you so abominably to your face, I could have no scruple in abusing you to all your relations.”

And they all lived happily every after.

 

WOW ~ Word of the Week ~ Knight of the Rainbow

WOW ~ Word of the Week ~ Knight of the Rainbow

The Flower must not blame the Bee —
That seeketh his felicity
Too often at her door —

But teach the Footman from Vevay —
Mistress is “not at home” — to say —
To people — any more!
~Emily Dickinson, 206

They were to be tall, handsome, young, strong, and silent. They were to be seen and admired, but not heard. They were there for the heavy lifting (of tea trays, trunks, and whatnot).

They were there to pester the maids.

The Jealous Maids by John Collett, published by Robert Sayer and engraved by Robert Lowery L.aurie on 2 March 1772, Victoria and Albert Museum.

Observe the elaborate livery worn by the male servant, a froth of lace at his throat, his waistcoat  and facings festooned with gold. Even his buttons are gold!

Knight of the Rainbow

A footman: from the variety of colours in the liveries and trimming of gentlemen of that cloth.

Many others have gone into great detail on the lives, both personal and professional, of male domestic servants. I won’t rehash the particulars, but will include links below for those of a researching mind. Instead, I propose to show some prime examples of those noble Knights of the Rainbow.

Unlike female domestics, males were arrayed in a variety of fabrics and colors, with no shortage of embellishments and gee-gaws to ornament their costumes. The more public the servant, the more ostentatious and ornate his livery. Colors and style were as distinctive to families as was the crest on their carriage.

Footman Livery, made for the attendants of the 3rd Earl of Ashburnham of Ashburnham Place, Sussex, in 1829 for his installation as Knight of the Garter, at Manchester Art Gallery.

From the Manchester Art Gallery label:

Coat: Light blue-green cloth trimmed with red cloth and wool braid with uncut pile woven with coat of arms and coronet in red, yellow and black on white; lined with red glazed twilled wool; high standing collar; fronts each in one section, fastening at chest with 2 hooks and eyes, 17 metal buttons on right edge from neck to hem, cord imitating buttonholes on left, pocket at waist each side with shaped flap over three buttons; back in two shaped sections with centre back vent; long sleeves in two sections lined with white cotton, collar and turned-back cuffs of red cloth, strip of red cloth each side of front and centre back opening; braid on all edges and seams, outlining pockets and in chevrons down outside of sleeves; two loops white, red and yellow silk cord with metal points attached to right shoulder under crest embroidered in coloured silks on red cloth;
Breeches: Red cloth; shaped waistband lacing over gusset at centre back, fastening at centre front with 3 plain buttons under flap fastening with two buttons on waistband and one of centre front buttons; pocket each side with small button at corner on hip; narrow pocket in waistband on right of centre front; horn buttons for braces each side front and back; legs fastening at outer knee with four buttons and coloured silk braid kneeband with slot for buckle.
Waistcoat: red cloth lined with white cotton; front and skirt faced with red glazed wool; fronts each in one section fastening to waist with small metal buttons, buttons continue above and below fastening, high standing collar, fronts cut away at angle below waist, pocket each side of waist with shaped flap over three buttons; back in two sections, centre back vent; two pairs of linen tape ties at waist; collar, fronts and pockets edged with same braid as coat.

Footman’s Livery Uniform circa 1840-1860, via Manchester Art Gallery.

From the Manchester Art Gallery label:

Coat; Made from a dark blue cloth. Front edge curved out over chest fastening with hook and eye, slit pocket inside left front. Six brass buttons with crest of rampant lion on right edge, braid imitating buttonholes on left. Low standing collar of yellow cloth. Centre sections extending to form centre back skirt, open at centre below waist. Side sections padded and lined black cotton satin. Long sleeves with turned-back cuffs of yellow cloth. Edges outlined wool braid with uncut pile with geometric pattern in blue and yellow. Collar and cuffs trimmed smaller button.
Breeches: Made from yellow wool plush, partly lined twilled cotton. Straight waistband lacing at CB over gusset. Fastening at CF with three plain buttons under flap the whole width of front fastening with four buttons on waistband. Slit pocket each side of fastening under flap. Long narrow pocket in right front waistband. Buttons for braces at side front and CB. Legs fastening at outer knee with three brass buttons and kneeband with small brass buckle.
Waistcoat: Made from yellow cloth, unbleached linen back, lined with cream twilled cotton. High neck with low standing collar. Fastening with five brass buttons. Pocket shaped flap each side of waist.

Livery Coat circa 1875-1890, via Manchester Art Gallery.

From the Manchester Art Gallery label:

Coat: Blue wool, embroidered with braid and frogging. Purple blue cloth, braid-embroidered, lined dark blue twilled wool; fronts each in one section to waist extending to side back, fastening edge to edge at centre front with 6 hooks and eyes to v-neck with high standing collar; converging row of 6 silk-covered buttons each side of front; skirt fronts in one flared section extending to side back, side back edge stitched down onto back section under stitched-down pleat headed with button; false pocket each side of waist with shaped flap over three buttons; back in two shaped sections extending below waist to form centre back skirt, open below waist at centre; long sleeves in two sections, separate cuff sections, lined glazed linen; all edges, collar, cuffs, and side back seams outlined with wool braid in two shades of blue with diamond pattern in uncut pile; narrow blue silk braid in elaborate scrolling designs forming borders round the wider braid and frogging round buttons from neck to waist; lining padded and quilted on shoulders and under arms; pockets in lining each side of skirt and left breast.

Random specimens of livery

There is often a glut of information (and mis-information) on the internet, and the following costumes came without descriptors. But they were too pretty to pass.

Livery, early 19th Century, Italian, Metropolitan Museum of Art.

Livery, early 19th Century, Italian, Metropolitan Museum of Art.

Sleeved livery waistcoat, early 19th century.

Ceremonial livery, Court Footman, late 19th Century, Hermitage Museum.

Ceremonial uniform of the Chief Chamberlain, late 19th Century, Hermitage Museum.

Not everyone was impressed by the finery and frippery, however.

Country Characters. No. 4: Footman by Thomas Rowlandson 30 August 1799, Royal Collection Trust.

Thomas Rowlandson and his well-honed satire: A conceited and “dandy-fied” Town footman stands admiring himself in a mirror, much to the disapproval of the country housemaid and butler. He is sure his charms and posy of flowers will win him the admiration of the country chits at the local pub; the monkey on a chain, imitating the footman, is certainly awed.

 

WOW ~ Word of the Week ~ Black Spy

WOW ~ Word of the Week ~ Black Spy

Last week’s term – Dandy Grey Russet – introduced me to the concept of the Devil’s Nutting Bag. Never heard of it before, needed to know more, so must write post 🙂

Black Spy

The Devil.

According to Plant Lore, Legends, and Lyrics. Myths, Superstitions, and Folk-Lore of the Plant Kingdom by Richard Folkard, the Devil is on the lookout for those who go nutting on a Sunday. Children were warned that to do such meant the Devil, disguised as a gentleman, would hold down the branches for them.

Nutting Party, 1832.

The tradition of a Nutting Day dates back to 1560 Eton, when boys were given a half-holiday to gather nuts, creating the phrase “gone a-nutting.” Consequently, as one might suspect from a tradition associated with young boys, going “a-nutting” soon became a euphemism for sex and seduction, giving rise to its own saying, “a good year for nuts, a good year for babies.”

The 17th Century play Grim, the Collier of Croyden addresses those devil nuts – in both literal and seductive sense – in verse.

Excerpt from Grim, the Collier of Croyden.

After a run-in with the Devil, minds are changed about the seductive pull of going a-nutting.

Excerpt from Grim, The Collier of Croyden.

The worst day of the year to gather nuts is September 14th, according to a letter written by Northamptonshire poet John Clare to his friend, William Hone,  in 1825.

On Holy Rood Day it is faithfully and confidently believed by both old and young that the Devil goes a-nutting on that day and I have heard many people affirm that they once thought it a tale till they ventured to the woods on that day when they smelt such a strong smell of brimstone as nearly stifled them before they could escape out again…

Oh dear.

The safest day to gather nuts is September 21st, when legend has it the Devil was out gathering nuts and ran smack into the Virgin Mary. In his fright, he dropped his bag and fled. The dropped bag of nuts formed a hill in Alcester, Warwickshire, which has henceforth been known as The Devil’s Nightcap.

So not only is the devil busy spitting on blackberries in September, he’s also out tormenting nut gatherers. Fusty Old Scratch.

Folklore is fascinating.

 

WOW ~ Word of the Week ~ Dandy Grey Russet

WOW ~ Word of the Week ~ Dandy Grey Russet

Spring has sprung here in Texas, and the colors are phenomenal this year. We’ve had enough early season rain to make everything go supernova on the color spectrum.

Colors during the Regency period were no less fantastic, and had the names to match. From the pale watercolors of the young misses to the vibrant primaries of waistcoats and married ladies gowns, there was no shortage of shades and hues to drape the beau monde (although this term was likely not use in Regency England, but it sounds pretty and fits the context, so I’m going for it).

1807 Le Beau Monde plate

Dandy Grey Russet (noun)

A dirty brown. His coat’s dandy grey russet, the colour of the Devil’s nutting bag.

A few years ago, author Collette Cameron penned A Regency Palette – Colors of the Regency Era, a definitive list of fabric tints and pigments of the Regency, at Embracing Romance. Names like Jonquil and Cameleopard are far more evocative than mere yellow and beige. Even the dirty brown of the Word of the Week sounds spiffy when given the thieves’ slang treatment.

Behold the colors of the Regency.

Jonquil: yellow (daffodil)
Primrose and Evening Primrose: shades of yellow
Puce: a purplish pink (for some reason I always think puce is green)
Pomona Green: a cheery apple green

1816 Gothic-influence, via Ackermann’s Repository.

Coquelicot: sort of a poppy red
Emerald Green: a bluish-green, almost aqua
Cerulean Blue: a muted, almost grayish blue – but not popular during the Regency era (ack!)
Blossom: a light pink
Bottle Green: just like it sounds
Mazurine Blue: a mixture of indigo and violet
Slate: a mix between gray and lavender

London, June 1799 fashions, plate no. 16, printed for R. Phillips

Other Popular Regency Colors

Apollo: bright gold (1823)
Aurora: chili-colored (1809)

1805-6 Pelisses, via Ackermann’s Repository.

Aetherial: sky blue (1820)
Azure: sky blue (1820)
Barbel: sky blue (1820)
Cameleopard: French beige (1825)
Clarence: sky blue (1820)

1804 Walking Dress with Pelisse, via Ackermann’s Repository.

Devonshire Brown: mastic (1812)
Dust of Ruins: squirrel (1822)
Egyptian Brown: mace (1809)
Esterhazy: silver grey (1822)
Isabella: cream (1822)
Lavender: between heliotrope and parma (1824)
Marie Louise: calamine blue (1812)

1812 Pelisse and Carriage/Walking Coat, via Ackermann’s Repository.

Mexican: steel blue (1817)
Morone: peony red (1811)
Princess Elizabeth Lilac: Alice blue (1812)
Russia Flame: pale mastic (1811)
Spring: Cossack green (1810)
Terre D’Egypte: brick red (1824)
Parma Violet: violet (1811)

1809, Half-dress, via Ackermann’s Repository.