Sunday, December 31, 2023

18C Women Around the World


Costumes de Differents Pays, by Jacques Grasset de Saint-Sauveur (France, 1757-1810) c 1797 Hand-Colored Engraving from the Los Angeles County Museum of Art.

By the end of the 18C, worldwide exploration & colonization by Europeans were fairly commonplace, enabling the late 18C & 19C public to catch a glimpse of the clothing & customs of other peoples.

Saturday, December 30, 2023

Early 17C British Women

 

 1653 Agnes Impel was the wife of Sir Jacob Astley

 Anne Babington of Rothley Temple thought to be by Daniel Muytens and from 1645

 By William Dobson, thought to be his second wife Judith.

 Cornelis Janssens van  Ceulen elizabeth-holte-c-1605-after-1670

 Cornelius Janssens van Ceulen Elizabeth Lady Coventry

 Cornelius Johnson Lady Ann Fanshawe 1625-1680 Wife of Sit Richard Fanshawe

 Elizabeth Cromwell Mother of Oliver Cromwell Painted by Robert Walker, sometime between 1640 and 1655.

 Henry Giles in 1639 Catherine Lucas, Lady Pye

 Isobel Heyton 1634 by Thomas Leigh wife of Thomas Heyton

 Lady Elizabeth Fane 1640

 Margaret Conyers or Mrs John Buxton of Tibbenham, painted about 1640

 Painted by Gilbert Jackson in 1638

 Sir Peter Lely Unknpwn Lady

style of Peter Lely c 1650. Anne was in her own right Lady Anne Clifford, she was a diarist, landowner married Richard Sackville, Earl of Dorset and Philip Herbert 4th Earl of Pembroke.

Friday, December 29, 2023

18C Women Around the World

Costumes de Differents Pays, by Jacques Grasset de Saint-Sauveur (France, 1757-1810) c 1797 Hand-Colored Engraving from the Los Angeles County Museum of Art.

By the end of the 18C, worldwide exploration & colonization by Europeans were fairly commonplace, enabling the late 18C & 19C public to catch a glimpse of the clothing & customs of other peoples.

Thursday, December 28, 2023

Making a Fine Living in 1647 England by Identifying & Torturing Female Witches 

 

Frontispiece from Matthew Hopkins' (c. 1620-1647) The Discovery of Witches (1647), showing witches identifying their familiar spirits

Folks in 17C England & her British American colonies often dealt with hardships by looking for a scapegoat to blame, much as we do today. Witchcraft was a convenient superstition to latch onto during this period. Witchcraft had been illegal since 1563, & hundreds of people, mostly women, were wrongly accused. 'Proof' of being a witch could be a third nipple, an unusual scar or birthmark, a boil, a growth, or even owning a pet (a 'witch's familiar', or potential embodiment of an evil spirit). Witch-finder Matthew Hopkins employed Mary Goody Phillips who specialized in finding "witch marks" on the bodies of accused females.Confessions were often made under torture or duress. After a trial, victims were often hanged.

Professionals who exposed witches could make a lot of money, as local magistrates paid the witch finder the equivalent of a month's wages. And the busiest tradesman of all was Matthew Hopkins, a shadowy figure who called himself 'Witchfinder General' & had scores of women executed in East Anglia during the turmoil of the English Civil War in 1645 & 1646.John Stearne (c. 1610–1670) was another associate of Matthew Hopkins. Stearne was known at various times as the witch–hunter and "witch pricker." A family man & land owner from Lawshall near Bury St Edmunds, Stearne was 10 years older than Hopkins. Within a year of the death of Matthew Hopkins, John Stearne retired to his farm & wrote A Confirmation and Discovery of Witchcraft.

During the year following the publication of Hopkins' book, trials & executions for witchcraft began in the New England colonies with the hanging of Alse Young of Windsor, Connecticut on May 26, 1647, followed by the conviction of Margaret Jones. As described in the journal of Governor John Winthrop, the evidence assembled against Margaret Jones was gathered by the use of Hopkins' techniques of "searching" & "watching". Jones' execution was the first sustained witch-hunt which lasted in New England from 1648 until 1663. About 80 people throughout New England were accused of practicing witchcraft during that period, of whom 15 women & 2 men were executed. Some of Hopkins' methods were once again employed during the Salem Witch Trials, which occurred primarily in Salem, Massachusetts in 1692–93.

Although torture was unlawful in England, Hopkins was said to have used a variety of torture techniques to extract confessions from his victims. His favorite was sleep deprivation. Although Hopkins claimed to never use the swimming test, some argued that witches floated, because they had renounced their water baptism when entering the Devil's service. James VI of Scotland (later James I of England) 1566-1625 claimed in his Daemonologie, that water was so pure an element that it repelled the guilty. Suspects were thrown into water, & those who floated were considered to be witches. Or the alleged witch might also be bound at the hands & feet & thrown into a body of water. If the body floated to the surface, that was proof, that the accused was indeed a witch (at which point they might execute her by some other means). If she sank to the bottom & inevitably drowned – she was innocent but also dead.

For a fascinating update on the truths, lies, and exaggerations containted in books written by these two witch finders in the mid 17C see The Discovery of Witches and Witchcraft: The Writings of the Witchfinders by Matthew Hopkins, John Stearne. Edited with an introduction and notes by S.F. Davies (Sept 2007) Published: Brighton: Pucknel Publishing. A critical, scholarly reprint of the writings of the Witch Finder General and his accomplice.S. F. Davies researches witchcraft writing at the University of Sussex. He also has edited Puritan preacher George Gifford's (1548-1600) Dialogue concerning witches and witchcrafts(2007).

Also see
"The Reception of Reginald Scot’s Discovery of Witchcraft: Witchcraft, Magic, and Radical Religion" by S.F. Davies
Journal of the History of Ideas, Volume 74, Number 3, July 2013, pp. 381-40 This article considers the reception of Reginald Scot’s (1538-1599) skeptical Discouerie of Witchcraft (1584). As well as the surprisingly mixed reception of the 1st edition, this article examines the publication of the 2nd edition. The latter appeared in 1651, long after Scot’s death; the possible reasons for its publication have never been examined. Not only interest in witchcraft but other kinds of magic and even religious radicalism may have been involved.
Woodcuts dealing with water, witches, and "scolds."

The always surprising Alice Morse Earle found a 1st-hand account of the Dunking Stool in her 1896  Curious Punishments of Bygone Days. Francois Maximilian Misson, a French traveler and writer, recorded the method used in England in the early 18th century: The way of punishing scolding women is pleasant enough. They fasten an armchair to the end of two beams twelve or fifteen feet long, and parallel to each other, so that these two pieces of wood with their two ends embrace the chair, which hangs between them by a sort of axle, by which means it plays freely, and always remains in the natural horizontal position in which a chair should be, that a person may sit conveniently in it, whether you raise it or let it down. They set up a post on the bank of a pond or river, and over this post they lay, almost in equilibrio, the two pieces of wood, at one end of which the chair hangs just over the water. They place the woman in this chair and so plunge her into the water as often as the sentence directs, in order to cool her immoderate heat.

Wednesday, December 27, 2023

18C Women Around the World


Costumes de Differents Pays, by Jacques Grasset de Saint-Sauveur (France, 1757-1810) c 1797 Hand-Colored Engraving from the Los Angeles County Museum of Art.

By the end of the 18C, worldwide exploration & colonization by Europeans were fairly commonplace, enabling the late 18C & 19C public to catch a glimpse of the clothing & customs of other peoples.

Tuesday, December 26, 2023

17-18C Women as Diana Goddess of the Hunt

 

1765 Carle or Charles-André van Loo (French painter, 1705-1765) Luise Henriette Wilhelmine von Anhalt-Dessau as Diana.  She has a dog, an animal-skin wrap, a bow & quiver, & a crescent moon in her hair.

Early European portrait artists sometimes painted their contemporaries as allegories.  Allegorical portraits remained popular for several centuries, as they expanded to show the female sitter as a Biblical figure, a Greek or Roman goddess, or nymph or muse in in a rustic setting.  Diana is a Roman goddess of the hunt, the moon, & nature, associated with wild animals & woodland.  Diana was known as the virgin goddess of childbirth & women. Diana was originally considered to be a goddess of the wilderness & of the hunt, a central sport in both Roman & Greek culture. 

1751 Pompeo Girolamo Batoni (Italian artist, 1708-1787) Sarah Lethieullier as Lady Fetherstonhaugh, as Diana.  She has a crescent moon in her hair, a bow & a dog.

Early Roman inscriptions to Diana celebrated her primarily as a patron of hunters. Diana was often considered to be a goddess associated with fertility & childbirth, & the protection of women during labor.  Her care of infants also extended to the training of both young people & dogs, especially for hunting. Unlike the Greek gods, Roman gods were originally considered to be divine powers of presence that did not necessarily have physical form. The idea of gods having anthropomorphic qualities & human-like personalities & actions developed later, under the influence of Greek & Etruscan religion.  Diana was not only regarded as a goddess of the wilderness & the hunt, but was often worshiped as a patroness of families.

1765 Francis Cotes (English Painter, 1726-1770) The Honourable Lady Stanhope and the Countess of Effingham as Diana, and Her Companion.  Diana has a hunting spear & a crescent moon in her hair.
"... people regard Diana & the moon as one & the same. ...her name Diana derives from the fact that she turns darkness into daylight. She is invoked at childbirth because children are born occasionally after seven, or usually after nine, lunar revolutions ..." -- Quintus Lucilius Balbus as recorded by Marcus Tullius Cicero & translated by P.G. Walsh. De Natura Deorum (On the Nature of the Gods), Book II, Part ii, Section c.

1700s Unknown French artist, Portrait of a Lady as Diana, Goddess of the Hunt.  She wears a crescent moon in her hair and has an animal-skin wrap, a dog, a quiver & a bow.

1773 after François-Hubert Drouais (French artist, 1727-1775) Marie-Joséphine-Louise de Savoie (1753–1810), comtesse de Provence, as Diana with her faithful hunting dogs, Syrius & Phocion.   She has a bow, & an animal-skin wrap.

1700-10 Nicolas de Largillière (French artist, 1656-1746)  Portrait of Lady as Diana with her faithful hunting dogs, Syrius & Phocion. She has a bow & quiver nearby.

1771 Robert Hunter (Irish artist, fl. 1748–1780) Lady Margaret Butler Lowry-Corry (1748–1775), as Diana.  She has a dog & carries a hunting spear.

1688 Francois de Troy Lady Mary Herbert (1659–1744-1745), Viscountess Montagu, Previously the Honourable Lady Richard Molyneux, and Later Lady Maxwell, as Diana. She has a crescent moon in her hair, a dog, & an animal-skin component to her costume.

1680s Jacob Huysmans (Flemish artist, c 1633–1696)  Elizabeth Cornwallis (d.1708), Mrs Edward Allen, as Diana the Huntress with her faithful hunting dogs, Syrius & Phocion. . She has a hunting spear, & an animal skin decoration, & feathers in her hair.

1670s-90s Giovanni Battista Gaulli (Baciccio) (Italian artist, 1639-1709) Diana the Huntress with her hunting dogs, Syrius & Phocion.  Her bow & quiver lay on the ground.

1674 Jacob Huysmans (Flemish artist, c 1633–1696) Portrait of a Lady as Diana.  She has dogs, a bow & quiver, a hunting spear, & feathers in her hair.

Style of Peter Lely Peter Lely (English artist, 1618-1680) Ann Fanshawe (b.1654), Daughter of Sir Richard Fanshawe as Diana with a dog or a deer.

1670s Copy of  Peter Lely (English artist, 1618-1680) Mary II (1662–1694), when Princess Mary of York, as Diana.  She has a crescent moon in her hair, a bow & arrow & only the head of her dog companion is visible.

1666 Giovanni Maria Morandi (Italian painter, 1622-1717)  Claudia Felicitas of Austria as Diana.

1650 Jan van Mijtens (1613-1670) Lady as Diana. She has a tiny lap dog/hunting dog & carries a quiver on her back.

1650 Charles Beaubrun (Charles Bobrun) (French artist, 1604–1692) Portrait of a lady as Diana. She has a dog & a bow.

1640-50s Attributed to Giovanni Domenico Cerrini (Italian artist, 1609-1681) Christina, Queen of Sweden Alexandra Maria Vasa (1626-1689) as Diana. Here she has her dog & a hunting spear. The crescent moon hangs in the sky above them.

1640 Willem van Honthorst (Dutch artist, 1594-1666) Henriette von Nassau as Diana with her faithful hunting dogs, Syrius & Phocion.   She has a bow & quiver with feathers in her hair.

1630 Claude Deruet (French artist, 1588–1660) Marie de Rohan, Duchesse de Chevreuse as Diana the Huntress.  She has dogs, a bow & quiver, a hunting horn, & a crescent moon in her hair.

Jan Mytens (Dutch artist, 1614-1670) Lady as Diana

1667 Claude Lefèbvre (French painter, 1633–1675) Louise de La Vallière as Diana. She has a quiver & bow as well as her faithful hunting dogs, Syrius & Phocion.

Monday, December 25, 2023

18C Women Around the World


Costumes de Differents Pays, by Jacques Grasset de Saint-Sauveur (France, 1757-1810) c 1797 Hand-Colored Engraving from the Los Angeles County Museum of Art.

By the end of the 18C, worldwide exploration & colonization by Europeans were fairly commonplace, enabling the late 18C & 19C public to catch a glimpse of the clothing & customs of other peoples.

Sunday, December 24, 2023

17C Golf for Girls & Boys

 

1595 Dutch Artist Adriaen van der LindE c 15060-1609

Thinking of one of my daughters in Florida & Scotland...

1603 Attributed to Adriaen van der Linde (Dutch artist, 1560-1609) Three-Year-Old Boy with Colf Stick

1626 Jan Anthonisz van Ravesteyn (Dutch painter, 1572-1657) Young Boy with a Golf Club and Ball

Artist Bartholomeus van der Helst, ca. 1658-1659

1600s Unknown Artist

1615 Unknown Artist

1640 Unknown Artist

 1613 Marinus Molenaar Kanters Boy aged four and a half

 1620-30s Paulus Moreelse (Dutch artist, 1571-1638) Portrait Of A Four-Year Old wiith Club And Ball

1624 Nicolaes Eliaszoon Pickenoy (Dutch painter, 1588-1656)  'Boys Playing Kolf on a Road.' Detail

1626 Adriaan Pietersz van der Venne (Dutch Genre Painter, 1589-1662). Man with Boy playing golf wearing ice spurs

 1631 Wybrand de Geest (Dutch Artist, 1592-1661-65) Portrait of a Boy with a 'Colf' Stick

 1635 Wybrand de Geest (Dutch Artist, 1592-1661-65) Portrait of two brothers

1650 Peter Lely (English Artist, 1618-1680)  The Children of the Markgraaf de Trazegnies

1660 Pieter de Hooch (Dutch Genre Painter, 1629-1684) The Little Golf Players