Tuesday, April 25, 2017

History Has Never Looked So...Unhistorical

And that’s what’s so cool about it!

This is going to be a short post, because the best thing I can do is give you a link and let you do your own exploring...but first, here’s the background. A few weeks ago, my awesomely awesome nephew sent me a link to an amazing thing: a collection of 19th and early 20th century black and white photographs that have been, after much research, carefully and sensitively colorized by professional artists.

I suspect that most of us have an unconscious idea in our heads that the world was black and white before ca. 1960.  It’s so easy to look at old daguerreotypes and cartes de visite and early photos and think of them as just that—dead images of dead people.

But the images here will change that idea—and blow your mind.  Czar Nicholas and his daughters...immigrants at Ellis Island...D-Day...dozens of Civil War images of soldiers and generals, both posed and casual...ranchers and polar explorers and Manhattan newsboys.  Scroll through these images, and come back and tell us what you’ve seen. But make sure you’ve got a spare hour before you start.

You’re welcome. ☺

Friday, April 21, 2017

My Mother's Book

I inherited my love of reading from my mother. A schoolteacher by trade, she encouraged me to read from an early age, recommended books, and ultimately read the same books and exchanged thoughts with me. She’s the one who first introduced me to Regency romances, which became my passion. I had published several before she came to me, piece of scratch paper in hand.

“I have an idea for a Regency romance,” she explained. “It’s about a widow with three young sons who enters into a marriage of convenience with a man, then sets about improving his life and realizes she’s just might have married a gem.”

Now, people have approached me in the past, wanting me to write a story they’ve envisioned. Let me state plainly: I don’t do that. There are already so many stories running around in my head that adding another non-organic one could quite possibly make my brain explode. And it is very, very hard to do justice to a story that isn’t your own. So, knowing she was not only a huge fan of the genre but a well-educated, well-read woman, I suggested she write it herself.

She lowered her gaze. “Oh, I couldn’t.”

I encouraged her, but it was plain the idea of writing a book was simply daunting. I took the slip of paper from her, promising to think about it, and went on with my writing. A few months later, my editor called.

“We’d like you to write a novella for a collection,” he said. (I love it when editors call with that sort of suggestion.)

“Sure!” I said. “When do you need it?”

He named a date, which was very tight, but doable, if I could find the right idea. Then he said, “But it’s for a Mother’s Day-themed anthology [even though Mother’s Day was unknown in the Regency], and the heroine has to be a widow with children. Can you come up with an idea like that?”

“Yes,” I said with a smile. “I can.”

So, I wrote my mother’s story. It wasn’t easy. Every characterization, every scene, I kept wondering whether it would live up to her hopes. The book was published the following May, and I presented it to her on Mother’s Day. She cried.

And she loved the story.

I’m very happy to report that the novella I wrote for my mother, Sweeter Than Candy, has been released as part of The Marvelous Munroes series and is now available at fine online retailers. This is the first time it's been available outside an anthology.

Widowed Cynthia Jacobs will do anything to support her three young sons, left impoverished by their father’s sudden demise. Anything, that is, but marry one-time suitor Daniel Lewiston. Cynthia’s family and Daniel’s conspired to match them up years ago, but Cynthia struggled to see the shy boy next door as the dashing husband of her dreams.

Wealthy Daniel Lewiston always admired the beautiful Cynthia, even knowing she’d never settle for him. But when her sons beg him to court her so he can be their father, his heart melts and Cynthia reconsiders. Perhaps what starts as a marriage of convenience for the boys can turn into something more, something that is far sweeter than candy.

Barnes and Noble

I hope you enjoy it as much as she did.

Tuesday, April 18, 2017

Regency Fabrics, Part 14

Here’s another post in our ongoing series on Regency fabrics.

As I have in previous posts, I’ll be examining actual fabric samples glued into several earlier editions of Ackermann’s Repository, samples supplied by the manufacturers and published by Ackermann in order to boost the British cloth-making industry at a time when exporting British goods to Europe was almost impossible because of the Napoleonic war. I'll give you a close-up scan of each sample, the published description if available, and my own observations of the color, weight, condition, and similarity to present-day materials, to give you as close a picture as possible of what these fabrics are like. So here we go!

Today’s four samples are from the July 1810 issue of Ackermann’s Repository. The overall condition of my copy is not very good, and when I went searching online for a less toned and foxed example, I couldn’t find one that was much better.  So here we are, in all its spotted glory:

No. 1 is a real India muslin*, of uncommon delicacy, calculated for half or full dress robes. In the former order it is worn plain, and over white sarsnet; in the latter over coloured gossamer, satin, or sarsnet slips. Long sleeves, cut obliquely, are frequently composed of this article; and the Persian robe, with white satin bodice and petticoat, boasts much elegance and delicacy when formed of this tasteful material. It is sold, from 6s. to 3 guineas per yard, by Mr. Millard of Cheapside; whose ware-rooms are not to be exceeded in taste, fashion, and variety, by any in the metropolis.

*The article of India muslin is well known to have been for many years in high and deserved estimation, and it has been considered by the India Company of the first consequence as an article of commerce, and by the government as a great and principal source of revenue. The improved state of the British manufactured goods has, for some time, enabled many persons to substitute the one for the other, and so well have they been imitated, that even many inexperienced vendors themselves have not been able to distinguish them whilst new. From these combined causes, for two or three years past, the India goods have sunk in the estimation of the public, because British goods have been substituted through ignorance or design; and it is a well known fact, that, in some of the leading streets of the metropolis, as well as in different parts of the country, British muslins have been constantly exposed for sale with large labels on them as real India. This has proved a serious evil to the India Company, to the revenue, and to the public. The establishment of the warehouse by Mr. Millard, in Cheapside, is likely to prove a check to these impositions, as the India goods are there sold direct from the India warehouses, not only in bales, but in single and half pieces. Here the public cannot be deceived, the honour and the reputation of the house entirely precluding the possibility of such a transaction, and those valuable articles will no doubt soon regain their wonted celebrity.

My comments: Okay, if this is real India muslin, I can see what the big deal is about bewaring knock-offs—it’s an amazingly finely woven, dainty, smooth fabric. It’s hard to judge if the patterning is machine woven or hand-done, but it’s lovely—so light and finer than the finest linen. I’m a little amused by the long footnote warning against domestically-made muslins trying to pass themselves off as imported—a bit of a reverse from what we’re used to!

No. 2. A most elegant permanent green cambric muslin, of most delicate pattern and happily contrasted shades. Morning wraps, summer pelisses, and high military gowns, have an uncommonly attractive and appropriate effect, when formed of this elegant print. It is sold by F. and I. Smith, Tavistock-street, Covent-garden.

My comments: A very pretty minty green fabric (assuming it hasn’t changed color over the intervening 200 years since it was printed!) The fabric itself reminds me of a lightweight percale; it’s fairly opaque, and has a pleasantly smooth hand. The subtle leaf print is attractive.

No. 3. A beautiful lilac embossed muslin, composing much appropriate and  unique elegance. This article is best calculated for the dinner and  evening party and must be worn over white satin or sarsnet slips, with ornaments of diamonds, pearls, or white beads. It is sold by Messrs. Waithman and Everington, 104, Fleet-street.

My comments: This displays more as pink than what we would consider lilac; it’s hard to judge whether the color in the sample has changed, or how the word is used. It’s fairly loosely woven, but the evenness of the threads keeps it from feeling coarse. The light blue flowerets look almost painted on.

No. 4. A sea-weed or rock muslin, appropriated [sic] also for evening dress, and which should also be worn over white satin or sarsnet. The observation with regard to the ornaments to be worn with dresses of the preceding article, applies to the present. This muslin is sold by F. and I. Smith, Tavistock-street, Covent-garden.

My comments: This sample has not aged well; looking at another example of this page I found on line the print is dark tan and black on a brown background, in a sort of loopy, tentacle-ish pattern; my guess is that the dye had degraded the material, so it’s hard to make a judgment about the weight and hand. The fabric body itself is very loosely woven of fine threads and any garment would indeed have to have been worn over an underdress.

Friday, April 14, 2017

The History of County Fairs by Linda Ford

My book The Rancher’s Surprise Triplets features a county fair which the Lone Star Cowboy League hopes will raise money enough to fund their many projects. Ironically enough, I have another book out in July 2017 that also includes a county fair.  I suspect most, if not all of us, have attended a county fair, a state fair, or even a local fair.

I hadn’t given the history of fairs much thought, but my curiosity was aroused. The earliest record of a fair that I could find was in Ezekiel Chapter 27."Tarshish was thy merchant by reason of the multitude of the kinds of riches with silver, iron, tin and lead, they traded in thy fairs." But from the description, it sounds more like our modern-day farmers markets. Other research verifies this, such as this picture by Flemish artist Gillis Mostaert 1590 (as found on Wikipedia).

According to my research, the first known agricultural fair in North America took place in Windsor, Nova Scotia, in 1765 and continues to this day. The first American fair is thought to have been organized in Pittsfield, MA, in 1807 by Franklin Watson. It became known as the Berkshire County Fair and still operates as such today.

Over the years the fair developed into local exhibitions of new agricultural implements and techniques, and plowing contests and horse pulls.
Entertainment soon became part of the scene with horse racing, balloon ascensions, games of chance, and midway rides.

I couldn’t find definitive dates as to when the fair began to include exhibition and competition of domestic products such as jams and jellies, handicrafts, baked goods, and garden produce. The prizes were usually rosettes –blue for first, red for second, and green or white for third.

I find the bench show fascinating. There are samples from gardens, flower arrangements, pickles, and jams. There's baking—pies, bread, rolls, biscuits, cookies, and cakes (all with a bit taken out for testing). There's sewing. The quilts are beautiful, the crafts unique. And there's artwork—paintings, drawings, and photography. The adult entries leave me overwhelmed, but the children's entries blow me away. The level of expertise in their work, the creative energy evident is amazing. One entry I once saw was a Lego model depicting Main Street with the parade going by. There was such detail—a man in a wheelchair, children picking up candy, a garbage can at the corner—imagination and attention to detail evident in every piece. I find the bench show a veritable feast for the senses. The animal and machinery display not quite so interesting to me.

The fairs began and continue as a means of informing others of developments and local availability of goods and services. They include tribute to those who excel in various crafts and skills. I love a fair. 

Tuesday, April 11, 2017

Nineteen Teen Welcomes Linda Ford!

This spring, we’re off to Little Horn, Texas, again, with a new three-book series featuring some of the characters you knew and loved from 2016’s A Rancher of Convenience. This year’s trio starts off with The Rancher’s Surprise Triplets, and I’m pleased to have Linda Ford join us this week. Look for a great post from her on Friday.

In the meantime, she sat down with us at Nineteen Teen to tell us more about the book, her writing, and the marvelous nineteenth century. Here’s a little about Linda:

Linda Ford grew up devouring books and making up stories in her head, often late at night when she couldn't sleep. But she hadn't planned to write. Instead, she dreamed of running an orphanage. In a way, that dream came true. She married, had 4 homemade children, adopted 10 and lived her dream. She lives on a small ranch in western Alberta, where she can see the mountains every day. She and her husband continue to enjoy their children and grandchildren. Linda also provides care for a paraplegic, double amputee man. She still finds a great deal of enjoyment and satisfaction in creating imaginary worlds only now she does it on paper or rather, at the computer.

19T: You’re one of Love Inspired Historicals most beloved authors for Western historicals. What draws you to Western settings and the nineteenth century?

Linda: I grew up reading about cowboys, horse, and pioneers. My father often took us to museums. My husband rancher loves western movies and when we were dating, I watched many westerns with him. Plus I live in cowboy country so I guess you could say it’s in my blood. I know the good old days were not without their challenges, but I like the idea of a simpler life where family units were strong, where roots went deep, and where a man’s word was his honor.

19T (Regina): I know from working with you on the Lone Star Cowboy League: Multiple Blessings series that you value historical accuracy. What surprised you the most about the late nineteenth century?

Linda: What surprises me the most about this era is how few rights women and children had. How little protection. If a father beat or abused his children, no one had the right to interfere. If a woman was abused or neglected by her husband she had no recourse.

19T: With 14 children, many of whom were adopted, you know the importance of family. How does that play out in your books?

Linda: My stories often have homeless or abandoned children. They frequently contain adults who have never known the security of a forever home. I get to give them all a new, loving family.

19T: What was the hardest thing about writing this series?

Linda: Having it set in Texas. I have never been there. Thank goodness for Google.

19T: What was the easiest thing about writing this series?

The story concept and many of its components are laid out by the editors who created the continuity. That makes it somewhat easier to plot as there are already some perimeters in place.

19T: Tell us a little about The Rancher’s Surprise Triplets.

Linda: Bo finds the abandoned babies. They are sick so he takes them to the doctor’s daughter, Louisa, who is also the doctor’s assistant, to be cared for. Because of a traumatic past he has no plans to marry. Ever. Louisa is also committed to remaining single so she can care for her ailing mother. Not that anyone is particularly interested in her. Not only is she plain, she is old enough to have earned the role of spinster. However, life has a way of upsetting the best laid plans, as these two learn.

19T: What’s next for Linda Ford?

Linda: The third book in my 6-book Big Sky Country series is out in July. It is Montana Cowboy’s Baby—a story about a baby left on the doorstep of the hero with a note saying the baby is his. He knows it’s not. This series is set in Montana—in case you didn’t catch that and features three Marshall young men, their sister and two close friends. Montana Cowboy Daddy was out in Oct. 2016. Montana Cowboy Family was out Jan. 2017. The fourth book—Montana Bride by Christmas—will be released in Oct. 2017. I am really looking forward to that story. It has many sweet elements. At least I think so. I’ve just turned in the fifth book and it’s about Annie Marshall’s friend, Carly, who is prepared to do anything to save her ranch and her home…including marrying a complete stranger.

Following the completion of that series in 2018, I will be doing a 3-book series on travels on the Santa Fe Trail.

19T: Thanks so much for joining us, Linda. Readers, here's how you can learn more about Linda and her wonderful books:

Blog and website: www.lindaford.org

Friday, April 7, 2017

Free This Weekend!

Looking for something to read this weekend? Secrets and Sensibilities, the first book in my Lady Emily Capers, is free through April 9 at all major platforms in the U.S., UK, Canada, India, and Australia. Already have your copy? I’d be honored if you’d suggest it to a friend.

Interested in hearing about more free, discounted, or newly released e-books? Here’s a few e-mail resources that just might be your cup of tea:

E-Reader News Today--25 categories, heavy on fiction, including young adult, women’s fiction, historical fiction, and historical romance.

Author Lauren Royal’s newsletter, with tidbits about her writing as well as free and 99-cent historical romance books, with an emphasis on Regency romances. 

BookBub--39 categories, fiction and non-fiction, including teen and young adult, middle grade, American historical romance, historical fiction, historical mysteries, historical romance, history, time travel romance, and women’s fiction.

Buy a Historical--the latest historical romances, across heat levels and time periods, but not necessarily free.

Happy reading!

Tuesday, April 4, 2017

You Just Never Know

A few weeks back when I was writing posts about parasols, I decided to have a quick look at some of the advertising circulars I have from Ackermann’s Repository and La Belle Assemblee, to see if there was any mention of parasols from any of the shops advertising in it. The first one I picked out, at random, was the Advertisements section from January 1811’s Ackermann’s. As I (carefully) flipped though its pages, I noticed an advertisement for books...in particular,

“In a neat Pocket Volume, handsomely printed, and embellished with superb Plates of Ladies’ Dresses, price 5s.; or on fine Paper, with coloured Plates, 7s 6d.


IMPARTING  the Art of combining TASTE, FASHION, and ELEGANCE, with MODESTY, ECONOMY, and JUDGMENT IN DRESS; also the Means of adapting the various ARTICLES OF FEMALE EMBELLISHMENT to different Ages, Forms, and Complexions, and preserving Beauty, Health, and Loveliness throughout Life, without the aid of injurious Cosmetics, or any spurious assistance from the Toilet.

Founded upon Principles agreeing with the Feelings of Nature and the Rules of Propriety.


who has attentively studied what is considered truly graceful and elegant amongst the most refined Nations of Europe."

I will admit that I gave a bit of a jump...because this little gem can actually be found in reprint form at your favorite on-line book retailers (or free to view online at https://archive.org/details/mirrorgracesore00distgoog) It was republished under the name Regency Etiquette  and subtitled The Mirror of Graces (1811)—a rather misleading title, since it has almost nothing to do with etiquette. It was undoubtedly popular back in its day—the advertisement noted that there would be a delay in its release because the bookseller had been forced to go back to press to satisfy the large number of pre-ordered books, and subsequent (and possibly pirated) editions were published in New York, Edinburgh, and Boston. I recommend you have a look—the style can be a little heavy-going (and unintentionally amusing to modern readers) but it’s a fascinating precursor to today’s fashion and beauty magazines and self-help books...and a mirror not only of “the graces”, but also what society’s expectations were of women in that time.

Another book you might have heard of is also due out in reprint form...By Jove is now available in a print edition, if e-books aren’t your cup of tea. ☕ ☺

Friday, March 31, 2017

Move Over Seattle; Make Way for the Railroad

I grew up around Tacoma, Washington, moving back a few years ago. Some people won’t have heard of the town. Whenever anything happens in the entire state of Washington, the news media will claim it’s “near Seattle.” Seattle has the bigger harbor. Seattle has the larger population. Seattle has the sports teams (go, Hawks!) and the concert venues. Seattle is home to the University of Washington. Seattle was the site of the World’s Fair, the location of many popular movies (Sleepless in Seattle, anyone?). Tacoma has always been a poor second cousin to the south.

Except when the railroad came to town.

Seattle was still a hamlet then. Yes, it had scored the Territorial University (which was still more grammar school than university then). Yes, it boasted a steam-powered sawmill. Surely the transcontinental Northern Pacific Railroad would choose Seattle as its terminus on Puget Sound. After all, the city fathers had offered 7,500 lots in town, 3,000 acres along the way, $50,000 in cash, and $200,000 in bonds.

Nope. On July 14, 1873, the mighty railroad notified Seattle that it had chosen the tiny village of Tacoma City located on Commencement Bay instead.

The people of Seattle were aghast, appalled. How could they have been passed over, for Tacoma? They were also a little worried. What would happen to Seattle if all the rail traffic went south? Papers of the time carried ads from merchants, saying “No terminus! And yet alive” and encouraging shoppers to come in for bargains.

Tacoma City was rather puffed up about the whole thing. There was a rush to buy land, position shops where the travelers could access them. Determined to make the most of the opportunity, men chartered another city just to the south along the route, calling it “New Tacoma.” (The two towns were later joined to form Tacoma.) Later, Tacoma would build a grand Union Station, still one of the city’s landmarks.

Supposedly the editor of the paper took great joy in rubbing the matter in Seattle’s face. Indeed, in early April 1875, the Tacoma Tribune even ran a story about the tragic fate of a thespian troop that had left Seattle by ship for Port Madison on the other side of the Sound. The ship sunk, with all hands and passengers gone. The problem? The accident never happened! The actors and their gear made it safely across the Sound.

I thought perhaps the Tacoma editor was trying to sell papers by making up more “interesting” stories. The editor of the Puget Sound Dispatch thought otherwise. He claimed the Tacoma editor was trying to denigrate Seattle.

“Four lies to one truth is far better than an average with the Tribune in mentioning any matter connected with Seattle and its harbor … But then, we have the charity to remember, that the humiliation which Tacoma has suffered in view of its utter and hopeless failure and the success of Seattle, has been an awful strain upon the patience of those who had built their hopes upon Tacoma as a rival town.”

It seems the rivalry I knew growing up is actually more than a century old. And counting.

Tuesday, March 28, 2017

Queen Victoria’s Big Brother

No, I’m not referring to our favorite queen mind-controlling her subjects in an alternate dystopian 19th century England, but to the not-very-well-known fact that Queen Victoria did indeed have a brother—an older half-brother—just as we’ve seen she had an older half-sister. Unlike her strong sisterly feelings for Feodore, however, Victoria did not feel much closeness for her brother—for good reason.

Carl Friedrich Wilhelm Emich was the elder child and son of Prince Emich Carl of Leiningen and his wife Princess Victoria of Saxe-Coburg-Saalfeld, born on September 12, 1804 in the tiny principality of Leiningen. Prince Emich was much older than his wife, and did not live to see his children grow up, for young Carl became Prince in 1814, at the age of ten. His mother became regent for him until he reached his majority at age 18...and that same year, married her second husband, Edward, Duke of Kent.

In 1819, when the new Duchess of Kent was nearing the time to deliver Carl's new sibling, the whole family left Leiningen (where it was much cheaper to live) and went to England for the birth. Thereafter, Carl (or Charles, as he was known in England) seems to have moved back and forth between the two...after all, he was the prince of Leiningen and had responsibilities to his principality as well as rapacious paternal cousins to keep at bay. But during his visits to England, he became friendly with his mother’s comptroller, Sir John Conroy...and was drawn into that slithery opportunist's camp, supporting his and the Duchess of Kent's efforts to keep Victoria firmly under their thumbs. To be fair, he probably saw nothing wrong with his mother being regent for Victoria--after all, she'd been regent for him for ten years in Leiningen (and interestingly, relied heavily on her household steward, a Herr Schindler, to run things. Hmm.)

In 1829 Charles married Countess Maria von Klebelsberg, who bore him two sons, but he still found time to visit England...and was on hand during the fraught first half of 1837 when a desperate Sir John Conroy was seeing his chances of power slipping through his fingers. Charles at first supported their efforts; but when their Uncle Leopold, King of the Belgians, sent over his eminence grise Baron Stockmar to intervene, Charles began to realize that his little sister was indeed about to become queen, on her own terms...and when just days before the death of King William Conroy stated that Victoria "must be coerced" he did some back-pedaling and advised his mother to do no such thing.

Unfortunately, it's hard to find much about what he did after that, but I was able to find some information: Charles spent some time serving in the Bavarian Army, but Leiningen did not provide much of an income and his family seems to have relied on a pension from Victoria; he and his family were on good terms with Victoria and Albert, and were frequent visitors to England. During the politically restless years of the 1840s in Germany, he became involved in politics, surprisingly on the liberal side, and was (briefly) in 1848 the first prime minister of the first freely-elected parliament for all of Germany, the Frankfurt Parliament. In 1855, he suffered a stroke; a second one the following year proved fatal and he died in November, with his sister Feodore at his side. He was succeeded as prince of tiny Leiningen by his elder son Ernest, who was also an officer in the British Navy.

Friday, March 24, 2017

Where's Mother? Hint--Look Under the Chair

My publisher loves babies. Not necessarily to raise, but in the books. Apparently readers have written in gushing over how much they love babies too. So, my June book features 10-month old triplets (as you can see), my September book includes a serious 4-month-old, and my December book has a cheery 6-month-old among the cast. And I am in the enviable position of having to look up 19th century baby pictures to show the cover artists. In doing so, however, I learned that there’s often someone else hiding in the pictures.


These so-called “hidden mother” pictures appear to be fairly common. Even Harper’s Bazar teased at the process in its early May 1888 issue, although Father gets the honor in this one.

The idea was simple. A family wanted a photograph of their little darling, but said darling was a bit too young, or too roly-poly, to sit still for a portrait, particularly with the long exposure times needed back then. So, someone had to hold the baby in place.

Now, you would think that Mother could be in the photo too, but apparently not. Mothers had to be present, but not seen. Here are some examples.

This one isn’t too bad. Mother's just offstage. But why not let her be onstage?

You can see most of Mother in this one. Why not show her face?

This is a little more severe. Can you spot the baby’s mother? Look at the floor, and you’ll see her skirts and shoes. Otherwise, she appears little more than part of the furniture.

And in this one, she seems to have been swallowed by a tapestry!

Now, I will admit, when we had the first professional photographs taken of our oldest son, he tipped backward right off the stand! Luckily, he did a flip on the way down and landed on his well-padded posterior. But I can understand the need to make sure your baby was safe.

Still, to pose as furniture? I’m not certain I’d be willing to do it. How about you?

Tuesday, March 21, 2017

Accessories, Part 8: More Parasols

We’re back for another installment in our fashion series on NineteenTeen focusing not on dresses and gowns (gorgeous as they are) but on the little things that complete a fashionable ensemble—hats, shoes, gloves, purses, and other accessories

Back in February we looked at parasols from the first two decades of the 19th century; here are examples from the next fifteen years. Look for lots of images rather than commentary, though I’ll try to supply original text if I have it—the point is to be able to examine multiple examples of each item. Images are drawn from my collection of prints from British publications including Ackermann’s Repository, La Belle AssemblĂ©e, Lady's Magazine, and the Court Magazine. However, Ackermann’s had the most detailed plates, so the majority of images you’ll see will be from that publication.  These date from 1819-1834.

Walking Dress, Ackermann's Repository, May 1819.  Notice that this parasol has a full handle grip and a band of fabric to keep it furled when not in use.

Walking Dress, Ackermann's Repository, September 1821.  Note the tiny hooked end of the handle.

Walking Dress, Ackermann's Repository, April 1822. Here you can clearly see a ring on a ribbon to help keep the parasol furled when not in use.

Public Promenade Dress, La Belle Assemblee, October 1824.  An elaborately turned shaft, hooked handle, and ring furler.

Promenade Dress, Ackermann's Repository, July 1825. A finely machine-turned shaft--and two colors!

Morning Promenade Dress, Lady's Magazine, July 1825. "Chinese parasol of grass-green edged with white." 

Sea Side Dress, Lady's Magazine, August 1825. Either the artist lost track of his scale, or that is one large parasol!

Garden Costume, Ackermann's Repository, November 1825. "...rose-colour parasol, lined with white, and an antique wreath round the edge."

Walking Dress, Ackermann's Repository, July 1826. The finial looks lethal!

Sea-Side Costume, Ackermann's Repository, September 1827. The shaft appears to be of bamboo.

Walking Dress, La Belle Assemblee, June 1832.

Morning Dress, The Court Magazine, September 1832.

Public Promenade Dress, The Court Magazine, October 1833. What a pretty one! Note the ring up near the finial to keep it furled.


Walking Dress, The Court Magazine, October 1834. Printed fabric for parasols seems to be a trend.

So are you with me? Bring Back the Parasol!

Friday, March 17, 2017

All the News That Was, and Wasn't

I’m doing research. Lovely, lovely research. When I’m starting to plot a new Frontier Bachelors book, I read newspapers from the months in which I’m thinking about setting the tale. I like to see what was happening in Seattle, from a citizen’s point of view (or at least an editor on the other side of the Sound). I discovered the germ of the idea for A Convenient Christmas Wedding that way. I was fairly sure Beth Wallin’s story would be set in the spring of 1875, and I’d seen a mention online that there’d been a diphtheria epidemic in March. I never did find mention of the epidemic, but what I did find amazed me.

Much of the news wasn’t exactly news. 

Take this gem from the March 25, 1875, issue of the Puget Sound Dispatch:

“A Philadelphia youth was recently married to a girl who had refused him eighteen times. He wishes now he hadn’t asked her but seventeen.”

Or this

“We call the attention to Mr. Bergh [authority in the school system at the time] to the fact that the wolves are in a starving condition in Wisconsin. Any children sent there will be forwarded from Milwaukee.”

Or this

“Julia Ward Howe is organizing a literary club in Washington [D.C.]. In conjunction with it will be a free night school for carpet-bag representatives who cannot spell words of more than two syllables.”


The Weekly Argus of around the same time included a short story called Eurella, about a girl who put on airs because of her fancy first name and lived to regret it.

Then there was this, supposedly taken from a paper in Vineland, New Jersey:

“Mr. Carruth, editor of a paper published here, was fatally shot this morning by Chas. K. Landis, known as the father of Vineland. The affair rose out of an article in the paper, which Landis tho’t referred to him, but in which no names were mentioned.”

Maybe there’s a reason the Dispatch editor chose to use more stories without local people in them!

That issue does go on to describe massive parades celebrating St. Patrick’s Day in Chicago, Philadelphia, and New York.

So, Happy St. Patrick’s Day!

Tuesday, March 14, 2017

Not Regency Fabric, Part 2

Since Rudolf Ackermann sold not only prints in his shop but art supplies as well, it’s hardly surprising that he should make use of his own magazine to get a little advertising in for that side of his business. Back in April of last year we saw samples of fancy papers for crafters; in this issue, we have samples of paper for artists. I don’t pretend to the least technical artistic knowledge, but I’ll comment to the degree that I can to give you a better picture (I hope!) of the thickness and texture of these papers...and maybe the artists among you can chime in. Don’t forget that painting in water-colors was thought to be a necessary skill for young ladies pretending to any degree of gentility, to demonstrate their refinement and properly “feminine” education (I hope that Regina will say a word or two about that!)...definitely the audience Ackermann was targeting.

The overall condition of the page and samples is excellent, considering it is over two hundred years old. I operate under the assumption that the now-cream-colored paper samples were once much whiter but have yellowed due to the acid content of their material, just as the pages of Ackermann’s Repository themselves have done.

In the annexed print, No. 1, is a newly manufactured white cartridge paper, of very superior quality. Those of our readers who have practiced painting in water colours, know that the two great faults of drawing papers are, either that the surface is so smooth, and the texture so hard, that a wash cannot be repeated without disturbing the tint beneath; or, that the paper is partially absorbent, and dries in spots and patches. These evils are completely removed in the paper referred to: it is sufficiently absorbent, it receives the colour freely, and it dries in the flattest tints; and yet, from its granulated surface, it enables the artist to introduce all those accidental varieties, which give to a work of art so much of the sentiment and character of nature. We cannot too warmly recommend this paper, as we are confident, from experience, that it will give universal satisfaction.

My comments:  First things first, what is cartridge paper? It's a heavy paper used for drawing and illustration, according to the dictionary...but was originally used to make cartridges for firearms before metal cartridges came into use...who knew?  This paper sample is definitely textured--it reminds me almost of some of the hand-made craft papers I've seen--but the texture is very even. The weight is similar to cover-stock.

No. 2 is an excellent brown cartridge, which will be found occasionally useful, though not so generally serviceable.

My comments: Pardon my cynicism, but I’m guessing this paper was sold more cheaply than the first. It’s actually a bit sturdier and heavier in weight than the first sample, with a less uniformly fine texture.

No. 3 is a wove vellum paper, of excellent quality. It is here introduced to prevent any misunderstanding on the subject of the first paper. It must be obvious, from the coarseness of the textures of the cartridge, that it cannot be used for any subject which requires accurate detail and delicate execution. Fruit, flowers, shells, and other objects of that nature, then, will require a paper of this kind and quality.

My comments: Definitely much smoother in texture than the first two samples, comparable in weight to, say, a lightweight cover stock (and a little bit lighter than No. 1.) It almost reminds me of construction paper.

In No. 4 we have given a specimen of a good silk paper, for chalk or crayons. It is of an agreeable negative hue, and, by means of red, black, and white chalk, a flesh tint may be produced, the colour of the paper furnishing the harmonizing ground.

My comments: Another sturdy paper, not as smooth as No. 3 but not as heavily textured as the other samples. I'd love to know if this has faded with time or not--right now it's a nice darkish gray color, and would be lovely for chalks or pastels.

Would any artists out there care to comment?

Friday, March 10, 2017

A Cabin in the Wilderness

When I first started writing my Frontier Bachelors series, I envisioned everyone living in sturdy log cabins surrounded by fir trees. Maybe that vision sprang from Laura Ingalls Wilder’s Little House in the Big Woods. Maybe it was my (obsessive) devotion to Here Comes the Brides, the television program loosely based on the Mercer Girls who form the cadre of heroines in my books. Regardless, the more I researched, the more I discovered there are cabins and there are cabins.

Pioneers have ever made use of what was on hand to carve out homes. Early settlers on the plains made sod houses. Some used hollowed-out tree stumps. Here in the Pacific Northwest, it was logical to use logs to construct homes. After all, you had to clear those one hundred and sixty acres you’d claimed. Might as well use the timber for something while you were at it. Waste not, want not.

Most of these houses were square and small, with neither porch nor full-sized second story. The one above was no more than 10 feet square inside, with a sleeping loft overhead accessed by an iron ladder against one wall. Seeing those tight quarters gave me a whole new appreciation for the term “cabin fever.”

Yesler’s mill began sawing that timber into boards in 1852. Many of those boards were shipped south to San Francisco, but some stayed in the area to build homes and businesses. One of the cabins from which I drew my inspiration for the Wallins’ home was made from planed timber. The one at the right appears to be as well.

As time passed and people became more affluent, fancier houses were built. The house owned by Arthur and Mary Denny with its wide porch and bric-a-brac edging the roof  fascinates Maddie O’Rourke. Simon will build such a home for Nora on the ridge above the main clearing. Look for it in Levi’s story next December. Of course, some still built log cabins, bigger and better.

Yeah, I’ll take that cabin in the wilderness.

Tuesday, March 7, 2017

1810, What a Year It Was, Part 4: Poor Princess Amelia

1810 was not a good year for Britain’s royal family. As we saw in this post last year, the Duke of Cumberland came close to losing his life in May; in November his youngest sister Princess Amelia would lose hers...with far-reaching effects.

Amelia was the fifteenth and last child of George III and Queen Charlotte, born August 7, 1783, just as the American Revolution was coming to a close and just a few months after the death of her brother Octavius, who had been the apple of his father’s eye. Amelia (named after the king’s aunt) came to somewhat take Octavius’s place; she was by all accounts a charming, beautiful child, adored by all her older siblings.

Amelia grew up mostly in the company of her elder sisters Mary and Sophia, grouped in a triad as were her eldest three sisters, Charlotte, Augusta, and Elizabeth. They received the what seems to have been a watered-down, less intellectual version of the education their elder sisters had received, and were much less directly supervised by the Queen than their elders had been.

By her mid-teens, Amelia was a tall, buxom, handsome young woman...but her handsome, sturdy appearance was misleading. In the summer of her fifteenth year, she was stricken with an inflamed knee that kept her partially bed-ridden through Christmas. Although she apparently healed, the likelihood is that this illness was the first manifestation of tuberculosis.

Amelia’s life continued its sheltered path, like that of all her sisters...until she fell in love, at eighteen, with one of her father’s equerries, the Honourable Charles Fitzroy. He was more than twenty years her senior, but her affections seem to have been returned. Amelia dreamed of marrying her Charles, but of course this was quite impossible...but that didn’t stop her from carrying on a passionate correspondence with him, holding hands with him under the card table and sneaking whatever private moments they could, or ordering silver engraved with their initials for the home she hoped to have with him someday. She kept her hopes up by planning for her 25th birthday, for according to the Royal Marriages Act, members of the royal family could marry at that age without the king’s permission, so long as they gave Parliament a year’s notice of their intentions. But by that time, the King’s health, both mental and physical, had become sufficiently precarious that she knew she could never go through with it lest the shock destroy him.

Moreover, Amelia’s health remained difficult, necessitating frequent visits to the seaside to recover. By her mid-twenties, royal physicians realized that the princess was indeed consumptive...and by 1809, she was almost incapacitated by a terrible pain in her side, which her doctors tried to cure by inserting a drainage tube.  At the beginning of the new year she was afflicted with a painful skin infection, erysipelas, which just made matters worse. It was clear that Amelia was not long for the world; she made a will, leaving all her worldly goods to her beloved Charles Fitzroy. In September 1810 she begged her physician, Sir Henry Halford, to ask the king if she could be allowed to marry Fitzroy. Halford refused to intercede...and the poor princess continued to decline, ravaged by a further outbreak of erysipelas. Her elder sister (and devoted nurse) Augusta did manage to sneak Fitzroy in for a visit sometime in October, when it was clear that the end was coming.

But Amelia wasn’t the only member of the royal family whose health was of concern. The king, now nearly blind, had been giving his ministers and courtiers great cause for worry, for symptoms of the fits of madness he’d suffered in previous years seemed to be returning. When poor Amelia breathed her last on November 2, the loss of this beloved daughter seemed to provide the final push...and by January, the king would be declared incompetent and a regency declared.

Friday, March 3, 2017

The Gentleman's St. James's

It’s no secret that St. James’s in London was accorded an area for gentlemen. Some say a lady could not be seen there after a certain time of the day without being considered fast. As Marissa and I have mentioned, it is the location of one of the famous gentlemen’s clubs, White’s. It stands at Numbers 37 and 38. Another club, Boodles, was at Number 28, and Brooks was at the corner of Park Place.

But there were other reasons this street was so very male-oriented. Lodging, for one. It was the street that housed Fenton’s, a hotel where visitors from out of town might stay. Some gentlemen had permanent lodging there. In addition, some of the buildings had flats above street level as well. Lord Byron rose to fame in his lodgings there in 1811. James Gillray the caricaturist lived there from 1808 until his death in1815.

St. James’s also featured shopping of a particularly gentlemanly nature. D.R. Harris and Co. has been operating just down the street from White’s since 1790. The chemists specialized in lavender water, men’s colognes, and English flower perfumes as well as shaving gear and items for tending mustaches.

Not too far away was Lock’s Hatters, where a gentleman might buy a silk top hat or cockade. Lord Nelson and Beau Brummel were among its patrons. On the opposite end of the street was Berry Brothers and Rudd, wine merchants and home of one of the largest scales in London. It was a lark to weigh oneself on it.

So, would you have been brave enough to stroll down St. James’s while the gentlemen were at play?

Drawing of Fenton's Hotel courtesy of Wellcome Library, London. Wellcome Images images@wellcome.ac.uk