1830 40


Lord Paget’s Carbine,

In the 18th and early 19th century commonly issued British cavalry carbines were merely shortened versions of the common infantry musket. While the shortened length and lighter weight made the carbine much easier to load from horseback, they didn’t really have any special features which made them cavalry friendly. 

In 1806 the English gunmaker Henry Nock began the development of a new cavalry carbine for British forces fighting in the Napoleonic Wars. Supposedly the famed British cavalry commander Lord Henry Paget contributed to many design elements, however it is doubtful that Lord Paget had that much influence over it’s design. Rather Lord Paget was instrumental in the adoption of the new carbine, using his influence as Britain’s most famous cavalry commander to lobby for the mass production and issuance of the weapon. Thus while the carbine was officially known as the Model 1805 light cavalry carbine, it was popularly known as the Lord Paget Carbine.

The Lord Paget Carbine was adopted in 1808 and instantly became a favorite of British mounted forces. With a 16 inch barrel and weighing around 5 lbs, it was certainly a handy little weapon for cavalrymen. However, the Lord Paget Carbine had other notable features which made it especially popular. One major complaint with cavalry carbines was that it was easy for a cavalryman to lose his ramrod while loading from a horseback, especially during the heat of battle. This problem was solved by attaching the ramrod to the muzzle with a special swivel, thus the ramrod remained attached to the gun but was still available for loading. This feature would become common among cavalry carbines produced by other nations.

Second, the carbine had a hook attached to the left lockplate with a ring. This was so that the carbine could be connected to a shoulder strap, a belt, or even attached to a saddle. The biggest downside of the Paget Carbine was that it was a smoothbore with only a 16 inch barrel, which greatly reduced accuracy and range. However, they were typically loaded with buck and ball cartridges, thus making them into deadly shotguns. Unlike British infantry muskets which were .75 caliber and fired a .69 caliber ball, the Paget carbine was .66 caliber and typically fired a .62 caliber ball.

The Paget carbine was used extensively during the Peninsula Campaign in Spain during the Napoelonic Wars, and continued in use well afterwards. In the 1830′s and 40′s the Paget Carbine was phased out in favor of new percussion lock designs. However the history of the Paget carbine would continue an ocean away. Mexico had recently become independent of Spain and needed cheap weapons to equip it’s new army. Thus Mexico purchased large amounts of British military surplus, including 15,000 Paget carbines. They were typically used to arm cavalry and light infantry, and were common during the Texas War of Independence and the Mexican American War.

Noblesse Oblige


[noh-bles oh-bleezh; French naw-bles aw-bleezh

1. the moral obligation of those of high birth, powerful social position, etc., to act with honor, kindliness, generosity, etc.

1830-40; < French: literally, nobility obliges

“Noblesse oblige; or, superior advantages bind you to larger generosity.”
- Ralph Waldo Emerson

consultinggallifreyanwinchester  asked:

can you review the revolt in France in 1830? thank you!


Absolutely! Here’s a quick overview of the French Revolution of 1830.

  • During the 1830 elections, the liberals are by far victorious. At this point, King Charles X decides to go ahead and seize momentum, and issues repressive edicts.
  • These edicts spark the July Revolution. Barricades rise in the streets of Paris; wealthy liberals form a new government. Charles X runs away and a new government is formed under Louis-Philippe, a cousin of Charles’, as the new king. He was known as the bourgeois monarch because he was put on the throne by the wealthy, revolutionary bourgeoisie.
  • Constitutional changes made sure that the bourgeoisie benefited - suffrage was expanded, the middle class grew. However, the lower classes were disappointed by the terrible conditions and rapid expansion of the 1830s and 40s. There was sporadic violence and unrest.
  • Industrial and agricultural depression shakes France in 1846. The lower classes face hardship, corruption and strife increase, and the government still refuses to extend suffrage any further. This sparks anger in the middle class. Forbidden to stage rallies to spur revolution, they instead have to hold “banquets” - known as the Winter Banquets of 1847-8, the revolution was planned out slowly.
  • Louis-Phillipe realizes what’s happening and really wants to reform the system, but he’s virtually powerless at this point (the real fight is between these two bourgeois politicians Thiers (the Party of Movement) and Guizot (the dominant party, the Party of Resistance.)
  • Louis-Philippe abdicates and a provisional government takes over. This allows us to come full circle from the initial revolution in 1830.

I hope this helps! Let me know if you need anything else!


The History Geek



[yoo-bik-wi-tuh s] 

1. existing or being everywhere, especially at the same time; omnipresent:
    ubiquitous fog; ubiquitous little ants.

1830-40; Ubiquitous derives, via French, from Latin ubique, “everywhere,” from ubi, “where.” The noun form is ubiquity.

“The rise of a ubiquitous Internet, along with 24-hour news channels has, in some sense, had the opposite effect from what many might have hoped such free and open access to information would have had. It has instead provided free and open access, without the traditional media filters, to a barrage of disinformation.”
- Lawrence M. Krauss

I thought it might be interesting if I wrote some posts about the historical background of Underground. If you have any questions, corrections, or additional information to add, please send a message!

The most obvious historical element of the show is the Underground Railroad itself. But even its name raises a question: why was it called a “railroad” when there’s obviously no actual train or tracks involved?

Well, it wasn’t called the Underground Railroad at first. Of course slaves had escaped and revolted for as long as slavery has existed, and likewise there were free people who attempted to help. But the Underground Railroad specifically – organized groups of abolitionist collaborators working together to illegally move fugitives out of the reach of slave owners – started around Philadelphia between 1800 and 1804. The term “Underground Railroad” doesn’t appear until the early 1830s, though no one is sure who first used the term. But it spread quickly, and by 1844 there were even Underground Railroad songs:

Before then there wasn’t an overarching term for the Underground Railroad. Small groups who worked together had their own secret terminology, and others were forthright about what they did, but no one had agreed on what to call it.

So where did the name come from?

The United State’s first public railroad for passengers opened in 1830 near Baltimore. The technology expanded quickly over the next few decades. But the idea of railroads spread even faster. It was a brand new way of moving, and it changed the way people thought about their country, about space, about time, and about themselves. And even more they loved the new slang associated with it: lines, cargo, conductors, stations, stationmasters, passengers, engines, trains, “blowing off steam” – all of those and more were picked up by the people who worked on the Underground Railroad.

Basically the railroad in the 1830s and 40s was like the internet of the 1990s and Apple of the 2000s. People love to experiment with new words. Just as we stick an e- or an i- in front of everything we can, or use the word “hashtag” out loud, or talk about “swiping left in real life”, that’s the same thing people used to do with railroad slang.

So why is it called the Underground Railroad? Because people in the past were dorks just like we still are today.

Most of the information in this post comes from Bound for Canaan: The Epic Story of the Underground Railroad, America’s First Civil Rights Movement by Fergus Bordewich, which is a *fantastic* book, both very informative and a page-turner, that I highly recommend if you’re interested in learning more.

miss--kiwi  asked:

i remember a conversation about Elsa's design being overly sexualised and it made me remember something, people screech that her boobs bouncing in that hip sway sexy walk scene is a great part of the animation and amazing realism and detail when i'm pretty sure boobs dont work that way. i know for a fact whenever i walk (and i have a very hip accenting walk ugh) my boobs don't bounce. it's kind of gross when you think about it.

Oh, don’t even get me started on that motherfucking dress.

I hate everything about Elsa’s dress.

I hate the fucking colors. Who the hell pairs turquoise with aqua? What were they smoking to think that those colors went together? It’s the gaudiest, clashiest, most cheap-barbie-knockoff dress I’ve ever seen in my life. Definitely not something I expect to see on a fucking Disney princess.

I hate the stupid slip up the side. Was that really necessary? I’ve never seen a Disney princess dress go so OOC (out-of-century) before. And the glitter. The GLITTER. SO MUCH SHINY GLITTER. I know it’s supposed to be ice and not glitter, but after the glitter explosion Disney has unleashed on the entire princess lineup, I just can’t think of it as anything else.

And yeah, the boob jiggling doesn’t make any fucking sense.

I mean maybe it’s just me, but the material of this corset-thing doesn’t look soft enough to allow for boob jiggling. It looks like a form-fitting corset, not a soft, pliable fabric. You can’t texturize a fabric to look hard and durable, but then turn around and alter the physics to give it the pliability of soft fabric. imo, that’s a total mindfuck.

Elsa’s dress is filled with contradictions; not just in the material itself, but also in that it just never seems to truly belong on Elsa. The personality we see from Elsa throughout the entire movie (aside from “Let It Go”, where her personality does a complete 360) doesn’t match the personality of this dress. At all. As someone who is actually a fan of Elsa, I will maintain that assertion until the day I die.

What pisses me off even more about this dress is that the fan-made redesigns look a million times better than the one supposedly designed by Disney’s best and brightest.

Artist’s description: “Unpopular opinion time, I don’t really care for Elsa’s dress. Don’t get me wrong, it’s beautiful (and easily marketable), but it’s like a modern prom dress and just… throws my suspension of disbelief for the film.

Artist’s description: “Oh, Elsa. What are we going to do with you. Frozen is purportedly set in the 1830’s-40’s, but I’ve been obsessed with finding a style that could marry her coronation gown with her ice gown more seamlessly; the open robes you see during the Regency era, including those being worn by Scandinavian royalty at the time, seemed a particularly apt analog for her…weird underarm-cape. Thing.

Just…fuck the dress they put her in. I hate it. Elsa deserved better. The whole damn movie deserved better. /rant


Alison Rossiter

Artist Alison Rossiter sources expired photographic papers dating back to World War I to create “found photograms.” These small studies evoke moody landscapes, Abstract Expressionist paintings, and the earliest photographic experiments from the 1830s and ‘40s.

Some of the tones, patterns, colors, and textures come from her darkroom experiments pouring and pooling developer. Others reflect the history of the vintage paper, which has been exposed to light leaks over decades in its original packaging.

Kilbourn Acme Kruxo, exact expiration date unknown, about 1940s, processed 2013, 2013, Alison Rossiter. Gelatin silver print, 5 x 7 in. The J. Paul Getty Museum, Purchased with funds provided by the Photographs Council. © Alison Rossiter

Haloid Platina, exact expiration date unknown, about 1915, processed 2010, 2010, Alison Rossiter. Gelatin silver print, 5 x 7 in. The J. Paul Getty Museum, Purchased with funds provided by the Photographs Council. © Alison Rossiter

Rossiter is one of seven contemporary artists featured in the exhibition Light, Paper, Process: Reinventing Photography.

Waldszenen, Op. 82, No. 1
Jorg Demus
Waldszenen, Op. 82, No. 1

Waldszenen, Op. 82, No. 1 : Entritt ( Entry )

By Composer Robert Schumann

Jorg Demus, Pianist

Robert Schumann was a poet as well as a composer — and he held an exalted opinion of both. Actually, until he was about 20, he was leaning towards becoming a writer. He continued to write all his life, primarily as a music critic in the 1830s and ‘40s, but also writing occasional (and unpublished) poetry, plays, and short stories. 😉


The Brown Bess Sea Service Pattern Musket,

Issued between 1778 and 1854, The British Sea Pattern Musket was the standard arm of the Royal Marines.  In the 18th and 19th century it was the duty of marines to guard the ship and conduct boarding actions.  Because naval warfare often involved combat in the tight confines of a ship, the Brown Bess Sea Service Pattern was specially made to be smaller and lighter than the standard service infantry musket.  With a barrel length of 37 inches and an overall length 53.5 inches, it was ten inches shorter than the Long Land Pattern Musket.  It was also 1 to 1.5 pounds lighter than other infantry muskets issued to the British Army.  

With the development of the percussion ignition system in the 1830’s and 40’s, many were converted from flintlock to percussion.  They would be discontinued in 1854 in favor of newer Enfield rifled muskets.