It's the Weekend: Fly-by Post

Dogs appearing in portraiture, and paintings in general, are known as being a symbol of loyalty and fidelity. Below, Mary and Elizabeth Royall have their pup featured in this oil painting by John Singleton Copley. My own dog (who bears a striking resemblance to many dogs in 18thc. paintings) is currently at the vet hospital for the second time in as many weeks, and looking at dogs in paintings gives me a small piece of comfort. She is definitely a loyal and faithful companion, and if I could bring her to reenactments she would fit in quite well!

Mary and Elizabeth Royall, 1758. Oil on canvas by
John Singleton Copley. Accession #25.49. Currently
on view in the Art of Americas Wing.

Margaret Kemble Gage and the Turkish Dress.

I have a forthcoming post over at the Crazy Concord  Chicks about this very subject, but I figured I'd give my readers a little bit of a sneak peek (and I mean a very little sneak peek; there is simply too much to write about and loads of research still).

Mrs. Thomas Gage (Margaret Kemble), 1771.
John Singleton Copley.

There is much debate whether Mrs. Gage actually owned a Turkish costume or not, if it was just a costume from Copley's "look book." Truth is, through her paternal line she had a connection to Turkey and it seems she also traveled there (maybe, maybe not, still working on that). For more information, this post by J.L. Bell of Boston 1775 begins to dig at Mrs. Gage and her fantasy costume.

What I do know is that one day, I would like to recreate her costume and this portrait, as the color of her gown is simply gorgeous and looks much more structured (read: not necessarily stayed, but maybe) than most Turkish costumes. I'll keep you all posted on that post over that the Crazy Concord Chicks and the research on Mrs. Gage and her gown.

Pocket update tomorrow!

If wishes were riding habits.

Marie Antoinette hunting with Louis XVI
in the background. Louis-Auguste Brun, 1783.
Private collection.

Though my reenacting takes place in conservative New England, I have a large soft spot for the 18thc. French garments. I make it no secret that Madame de Pompadour and Marie Antoinette are my French idols. The Dauphine holds a large part of my heart especially, as she was an equestrienne. In a time where it was believed a woman's place was not on the back of a horse, she refused; she rode with the hunts--stag, boar, fox--on her own hunters. Despite the uproar, the now-fictional stories of riding ruining her chances of becoming a mother (we also now know that it was not her fault for not consummating the marriage or bearing children immediately), she rode. Riding seemed to be her escape from the pressure of the royal court life and sometimes it was the only time she saw her husband. If you ask any equestrienne they too will respond that riding is a form of therapy, an escape from every day life.

When I ride, I sometimes slip from the 21stc. to the 18thc. and pretend I'm riding behind the hounds, through the thick forests, dressed in a beautiful habit--the color and material changes with the seasons. Green and worsted wool for cool springtime rides; indigo Irish linen in the warm summer; red like the blazing maple leaves in the fall, or brown later in the season, like the bare trees. While I ride astride, I do long to learn to ride aside, but thankfully there is evidence of split-skirts in 18thc. riding habits so I won't have to--one day, though. It's on my to-do list.

Marie Antoinette at the age of 28. Louis-Auguste Brun, 1783.
Versailles.

Gazing at paintings of the 18thc. aristocracy aboard their magnificent steeds takes my breath away. When my dog Lola and I are out on the trail or riding through the field or even working in the ring, I imagine we are a small sliver of a portrait, or that maybe we are Marie Antoinette, "riding like a man" and ignoring the naysayers. I think of the Dauphine's difficulties, and realize that 3 centuries later, we're not that much different. There is a little bit of the Dauphine in me.

One day, when my sewing skills are more advanced, I will research more carefully a riding habit for myself. More like a few; one to wear in conservative New England at events and another inspired by Marie Antoinette (I particularly love the lavender or lilac habit in the painting above). Maybe even her military-esque habit to the left; why not, right? All that stops me is my own fear and imagination (okay, and money). Fear kept me from riding for several years, but I've conquered it and ride like I have no fear (or try to, fake it 'til you make it, right?). I can certainly conquer sewing in the same manner.

And an interesting note, Marie Antoinette is just a year older than I am in the painting of her astride her warhorse.

My warhorse, Galli. This was one of my Christmas card photos last year.

It's the weekend: Fly-by post.

"James Badger." Joseph Badger. 1760. The Metropolitan Museum of Art. Oil on canvas. 29.85.

I love this little boy dressed in a gown, before being breeched. It is different than young girl's gowns, but still so similar. The little black bow around his neck is so sweet, too.