Showing posts with label 17th century portraits. Show all posts
Showing posts with label 17th century portraits. Show all posts

Sunday, 10 July 2016

A mole on the belly - Michelle Lovric


Some years ago, I was lucky enough to spend a few days immersed in an old book at the British Library. This one was called THE Amorous Gallant's Tongue Tipp'd with GOLDEN EXPRESSIONS OR, THE Art of Courtship refined. It was published in 1741.

At the time, the only place to find a book like this was in the library, but now of course it exists as an Ebook too.

One of the things I liked about the Gallant was that it assumed a healthy interest in sex for both genders, reinforcing my private theory that the 18th century was a good time for women, a time when they were allowed to have a sense of humour and sensuality of their own. If you ask me (and don’t, unless you want hours of hectoring) it was Byron and the so-called Romantics who marginalised us as the bruised-flower victims or mothers of bad-boy heroes.

Because 18th century women could cope with laughing, the love advice in The Amorous Gallant was tailed with a bit of rough humour:- a Canting Academy Or the Pedlar's French Dictionary, a guide to unsavoury expressions.

Without googling, eighteenth century types bent on love had to find other ways to test the suitability, durability and sexual enthusiasms of their future partners. The Amorous Gallant suggested an examination of various physical attributes. Moles were a good place to start, although gaining access to all mole-sites must have entailed a certain amount of enterprise and an open mind, if not bodice and trouser.

According to our Gallant:

 A Mole on the lower Part of the tip of the Right Ear, threatens the party with drowning.

 A Mole on the Belly denotes Whoredom, Luxury and Gluttony.

 A Mole on the Lip signifies the Party to be much beloved and very amorous.

 A Mole on the left Buttock denotes a pleasing person and are very much delighted in the work of Generation.


 A Mole on the Eyebrow signifies speedy Marriage and a good Husband.

A Mole on the Ankle, in a Man, denotes Effeminacy; but in a Woman, a masculine Spirit, and that She shall wear the Breeches.

A Mole on the right Thigh foretells Riches and Advancement by Marriage; and on the private Parts it doth the like.

For further reading on this subject, the Wellcome Library holds a book by Richard Saunders, published in 1653: Physiognomie and chiromancie, metoposcopie, the symmetrical proportions and signal moles of the body, fully and accurately handled; with their natural-predictive-significations. The subject of dreams; divinative steganographical, and Lullian sciences. Whereunto is added the art of memorie. Below is an illustration from it. Perhaps our Gallant studied it before writing his own chapter.


The Gallant also suggested that the lover should pay attention to the Interpretation of Dreams:

To dream of long Hair, and being proud thereof, denotes Good to Women 

The hair of the Seven Sutherland Sisters, who marketed various quack preparations and
were the inspiration for my novel The True & Splendid History of the Harristown Sisters.
As it happened, long hair did not make any of the sisters, real or fictional, very happy.
This was certainly not true of the bearded lady Julia Pastrana, pictured above,
Julia's ruthless husband raised cash by sending her embalmed body
on tour with various circuses after she died.
 To dream you have Hair like Hog Bristles denotes great Affliction and Trouble, not without Danger of Violence.

 To dream of having many Ears, Signifies the Obedience of Wife, Children and Servants.

 To dream that the Eyebrows are hairy, and of a good Grace, signifies good to all, but more especially to Women.

 For a fair Woman to dream of having many Eyes is unfortunate, and betoken she shall have more Admirers than real Friends.

To dream of having a large Nose is generally very good to all; for it betokens Vivacity of Spirit and Prudence in Management of Affairs, and Familiary with Persons of Quality.

If a Woman dreams she hath a Beard it denotes she shall quickly have a kind Husband that will make much of her.

For a man to dream that his breasts are hairy denotes strength and good fortune, but for a woman to dream so betokens widowhood and loss.


The golden age of quack medicine, as I have written before, coincided with that of cheap printing. The purveyors of such products often produced booklets with useful advice about health, housekeeping and husband-hunting.
Mother Seigel’s Curative Syrup was one such product. Its nominal function: ‘for tonic and alterative effect. Laxative and cathartic’. It advertised itself as the ‘supreme remedy’ for ‘colic, wind, spasms and every possible ailment of the stomach, liver and bowels’. Moreover, it claimed to tone and invigorate every organ of the body, enabling the system to resist disease and lay the foundation of a happy old age.
 A chemical analysis revealed that the syrup was largely composed of treacle and water with dilute hydrochloric acid, tincture of capsicum and aloes.

Wildly successful, Mother Seigel was marketed all over the world. I have seen one brochure on its virtues – printed in 17 languages.

But, like all quack medicines, it promised a world of cures – on the working principle that sometime somewhere someone who bought this syrup might get better anyway. It was marketed from the 1880s. In my collection of quack ephemera is a booklet of general advice and problem solving published by Mother Seigal. (Most problems could be cured by the syrup, of course).

But Mother Seigel, who also ran to plasters and pills, additionally had advice for lovers.

She told her readers to look at the eyes and the fingernails. (Now that we are into the Victorian period, that was about all that a lover might glimpse of a mate before marriage.)

Here are some of her tips.

A weak constitution is indicated by thin eye-brows and long, curving lashes.

 When the eyes are wide open and set well apart the person who has them will have a rash disposition.

 Blue eyes are taken as a sign of weakness – of will.

Eyes that are upturned are said to denote devotion and sincerity.

 The very red (finger)nail indicates a person with a hasty temper.

The short, broad nail denotes and extravagant disposition, but usually the ability to earn plenty of money.

 Ridges on all the nails of the finger, together with numerous white spots, indicate sadness and an unhealthy state of the system.

 If the nails are long, tapering, and white, the person who has them is at times inclined to be quarrelsome and at times selfish.

Stubbornness, sulkiness and also great determination are said to go with very small nails lying close to the flesh and flattish on top.


Personally, I’m sticking to the Amorous Gallant’s dream manual. Recently my nights have been enriched with (medical doses of ) morphine, and I’ve dreamt of many hairy things …

Michelle Lovric's website.
The True & Splendid History of the Harristown Sisters
 is published by Bloomsbury.

Wednesday, 26 February 2014

FAIR PHOENIX BRIDE… ELIZABETH STUART – Dianne Hofmeyr

© National Portrait Gallery, London
Elizabeth, Queen of Bohemia
by Unknown artist
oil on panel, 1613
30 7/8 in. x 24 1/2 in. (784 mm x 622 mm)
Purchased, 1982
NPG 5529
What a painting – the sumptuous brocaded silk, the diamonds, the pearls big as doves’ eggs, (how many divers drowned gathering these?) the stiffened collar, (how many maids dismissed for spoiling the lace with too hot a tong?) the elaborate hairstyle, the nipped in waistline, the hint of a farthingale, the strands of pearl necklaces (perhaps the ones inherited from her aunt, Elizabeth I?) the face suggesting a certain expectancy, the hunt of a smile curving the lips, serious eyes, the long aristocratic nose with its slightly heavy bridge that is noticeable in all her portraits, said to have been inherited from her mother, Anne of Denmark – as the Stuarts had rather pudgy noses.

When I look at Elizabeth Stuart in this painting of 1613 (for those of you who like a timeline painted just 41 years before Fabritius’s painting in Donna Tartt’s The Goldfinch,) I sense it’s a face one no longer sees in the 21st century. Yet I searched through my own photo files and came across this 21st century girl in 15th century dress celebrating a pageant in Italy, who might have been her sister. The same mouth, the same nose, the same eyes and this changes Elizabeth Stuart into real flesh and blood for me.


The portrait of Elizabeth is particularly poignant as it was painted when, within the space of a few weeks she’d lost her adored older brother, Prince Henry, heir to the throne of England, and she’d married Frederick, Elector Palatine of the Rhine, a boy she was hopelessly in love with. Not quite Four Weddings and a Funeral but still a time of huge emotion for a sixteen year old – a beloved brother dead of typhoid, a new husband and a voyage to Europe which would take her away from England forever.

But Elizabeth was used to matters of life and death. She was nine years old when a group of Catholic radicals plotted to blow up the Houses of Parliament to kill her father James I and her brother Prince Henry, and then planned to abduct her and put her on the throne as a Catholic queen. Fortunately their plans were foiled. In the portrait she is dressed with all the grandeur of a young woman who could well have become queen of England, albeit a Protestant one, if her sickly younger brother Charles, who limped from childhood rickets, stammered and was acutely shy, hadn’t lived to become King Charles I.

When I made enquiries about portrait NPG 5529 at the National Portrait Gallery, Catharine MacLeod
 Curator of Seventeenth-Century Portraits had this to say:
“The jewels that appear black in the painting, notably in her hair and in the large setting on her chest are most likely to be diamonds, which are conventionally shown as black in portraits of this period (partly because they were set in such a way that light did not pass through them as it usually does in the kinds of claw settings most commonly used today). The black oval on her shoulder appears to be a black enamelled locket, probably containing a portrait miniature; the black setting suggests that this might be a miniature of the recently deceased Prince Henry. “

I suggested that the white feather in her hair might have been a tribute to him as the Prince of Wales, but it appears not. She wears an armband of mourning and her standing collar and the lace around her neck have the lion and the unicorn, as well as fleur-de-lys and the royal coat of arms, all of which allude to her British (both Scottish and English) royal status.

My story, The Phoenix, for the anthology, Daughters in Time about to be published by Templar, draws on the poem written by John Donne to celebrate the marriage of Elizabeth to Frederick. Donne’s line: ‘Up then fair phoenix bride, frustrate the sun,’ suggests her spirit.

For me this spirit is epitomised in a much earlier miniature of Elizabeth. painted by Nicolas Hilliard. I like to think of it as the one she might have sent to her suitor Frederick in Heidelberg via the English ambassador. I can’t prove this but why be a writer if we can’t imagine.

The portrait shows her looking directly into the eyes of the beholder wearing a simple velvet carnation­-coloured dress, her hair hanging loose and wild… as if to say: this is me… this is what you’ll get. 

One can believe that this is the true Elizabeth. Feisty and strong-willed. The girl who persuaded her father to choose not a wealthy old grump from a list of ten possible suitors but the young man she herself had fallen in love with. The girl who dressed as a boy in order to gain entrance into her brother’s forbidden sickroom. The sixteen year old who married – despite court protocol for elaborate hairstyles – with her hair wild and untamed down her back plaited with tiny jewels and pearls and walked up the aisle at Whitehall smiling into the arms of her beloved sixteen year old Frederick to become eventually the Queen of Bohemia.

www.diannehofmeyr.com

Read the story of Elizabeth Stuart in:
DAUGHTERS OF TIME
By The History Girls Edited by Mary Hoffman
£7.99 Paperback, 9 + years 978-1-84877-169-7 March 2014
Written by some of today’s most exceptional female children’s authors, Daughters of Time is an anthology that shines a new spotlight on extraordinary women in history.

‘“History is about chaps" is still all too true a saying. So it's up to the fabulous History Girls to balance this approach with stories of impressive and inspiring women and girls - we were spoilt for choice.’ - Mary Hoffman

History tells us that there have always been brave, challenging and inspirational women, but unfortunately their stories are often overlooked. Publishing in March 2014, Daughters of Time brings back to life the tales of these remarkable women, helping to inform young people of how women and girls have been important in shaping the world we live in today. Written by a collection of established and bestselling children’s authors who all blog with The History Girls.