Description: The beau monde of Romantic-period Britain, dashing Regency gentlemen, male characters in the fiction of Jane Austen and Georgette Heyer, and in recent films and TV series: all of these become strikingly present through this pristine dark blue coat dating from around 1803. It was made in London by a tailor patronized by George Bryan ‘Beau’ Brummell (1778-1840), foremost among the early nineteenth-century dandies and the inventor of a simple but exquisite way of dressing aimed at enhancing the male physique. The coat brings to life the understated style he and his circle developed. By reinventing male fashion, these men created new modes of presenting and being (in) their bodies: besides demanding the highest standards in tailoring and attention to detail, they were innovative in valuing personal cleanliness and grooming. Though, in the Romantic period, such practices were restricted to a few individuals from the privileged elite, they also anticipated later phenomena up to recent forms of metrosexual or fluid masculine identity. This blue coat has these and other intriguing stories to tell – not least that of its rediscovery.
Description: These slippers were gifted to Sir Walter Scott in 1830 by a friend, Lady Honoria Louisa Cadogan, and her two daughters Augusta Sarah and Honoria Louisa. Like Byron’s and Shelley’s locks of hair, Walter Scott’s slippers are objects which point to the physicality of their owners. They are also signifiers for the appreciation and devotion invested in a revered male Romantic author. When Lady Cadogan and her daughters visited Scott in his home, Abbotsford, in the Borders, they were appalled at the state of his footwear – perhaps Scott’s appearance reminded them of the description of the unkempt Minister Josiah Cargill in St Ronan’s Well (1823), “whose feet were thrust into old slipshod shoes which served him instead of slippers”. Back home, Lady Cadogan’s daughters crafted spectacular slippers for him, allegedly using a centuries’ old tartar design going back to Ghengis Khan which had come through Lady Cadogan’s family. The slippers were sent to Scott with the following note: ‘The only thing we did not admire at Abbotsford was a (pair) of ugly, uncomfortable slippers we saw in (your) study so my daughters hope you will replace them by theirs.’ (https://www.historyscotland.com/news/sir-walter-scotts-slippers-go-on-display-at-the-writers-museum-in/)
Description: Sándor Petőfi (1823–1849) was not just a poet, but also a cultural hero and icon in Hungary. In his lifetime he was already what we might spell with symbolic capital letters: The Romantic Poet. His name could be transformed into a term, as in the case of Byron or Liszt. Of course this “Petőfism” is not so extensive as Byronism or Lisztomania, but still, the main features and attributes of his character could be also be abstracted to many of the same symbolic Romantic meanings, for instance freedom, youth or independence.
This portrait of Petőfi was painted by Miklós Barabás, who was the main protagonist of nineteenth-century Hungarian Art. All the most important figures of the nineteenth century were portrayed by him, so Petőfi’s popularity is underscored by the fact that the lead portraitist depicted him in 1846. As an engraving, it was published first on the cover of Petőfi’s Selected Poems in 1846, which immediately conveys several metaphorical messages. With its opening or initiating function, the picture reinforces the poet’s intention: his aim was to be considered as the embodiment of poetry itself. In his lifetime, and particularly after his death, this image became the most well-known portrayal of Petőfi, and was reproduced extensively. It gives a characteristic glimpse of the method of the construction of Petőfi’s Romantic authorship through symbolic portraits from the nineteenth century.
Description: When we admire the portrait of Mary Unwin (1724-1796) in her lace cap and that of her friend the poet William Cowper (1731-1800) with the lace ruffles at his cuffs that are held in the Cowper and Newton Museum in Olney, we may wonder not only at the skill required to create such lace but also about the conditions in which it was produced. Although we know that this lace cap (OLNCN:1279) was designed by John Millward, we have no information about the maker who executed it, or any such details for these lace undersleeves (OLNCN:1311) which were not worn by Cowper himself, but are later in date. The names of the traditional local patterns (Buckinghamshire point ground border, Bucks point crown) have survived, but those of the craftswomen who worked them have not. All too often these enchanting gossamer-like webs of delicate thread were the results of hours of painstaking and painful labour which was poorly rewarded and took a heavy toll of the maker’s health. With only a rushlight or tallow dip for illumination in their cottages, the lace-makers of Olney either worked by daylight or risked lasting damage to their eyesight.
This lace serves as a reminder of Cowper’s sympathy and support for the local lace-workers and their plight expressed in his letters and verse.