anonymous asked:

When did women start to wear the crinoline?

The Crinoline Period in western women’s fashion runs from 1850-1869. Though similar constructions to the hoop skirt/cage crinoline were used to hold out elaborate skirt styles (such as the panniers used to support wide mid-18th century court mantuas,) their general revival began when the increasing bell or dome-like shape of skirts from the end of the Regency up to the beginning of Victoria’s reign required many more layers of petticoats to hold out their shapes, which became oppressively heavy for women to wear and move in comfortably. That’s where the cage crinoline came in. Crinoline itself was a stiff petticoat fabric used in conjunction with the hoops or cage network of tapes, bands, and wires worn beneath the full skirts, and eventually the term came to encompass the whole structure.

In the late-Georgian and Regency periods, slimmer skirt styles meant that fewer petticoats were required to create a distinctive shape much beyond the natural lines of women’s legs. On the screaming edge of fashion, drapings of the lightest muslins even had the opposite problem to the Crinoline Period women: in an effort to get the sheerest effect, some women courted constitution-ruining chills and reputation-ruining scandal by wearing very few or no petticoats. Perhaps not such a a big deal in Southern Europe among dissipated aristocrats, but the cooler, damper climes of the English would not suit such extremes of fashion, at all!


The True Companion

Manufactured either in the US or in France/Belgium c.1869~1870′s - serial number 204.
.32 cap and ball twin-shot cylinder, single action with spur trigger, brass knuckle folding handle, brass frame, blued cylinder.

A very streamlined version of Louis Dolne’s more famous Apache pepperbox, without the useless folding blade and with a noticeably slimmer profile due to its reduced cylinder capacity. There’s no way to know if that gun was a copy or a production of Dolne himself, but the lack of name and the use of a caplock firing mechanism indicates it might have in fact been an American production.


Repetiergewehr Vetterli, Modell 1871

Designed by Johann-Friedrich Vetterli, manufactured by SIG in Neuhausen, Switzerland c.1871-80′s - serial number 85177.
10,4x38mmRF eleven-round tubular magazine, bolt action repeater.

The short, copper-cased, rimfire 10mm round used by this rifle was - on paper - surprisingly enough barely inferior to the large Chassepot cartridge. With its large capacity magazine, the Vetterli would have swept the floor with any of the remaining Minie rifle armies.
Among the other oddly forward-thinking features of this rifle, the Modell 1871 did away with the magazine cutoff of the Modell 1869, a feature that would remain in most other military rifles until WW1.

Gustave Doré - London: A Pilgrimage (1872).


In 1869 the journalist Blanchard Jerrold joined forces with Gustave Doré to produce an illustrated record of the Victorian London.

They visited night refuges, cheap lodging houses and the opium den described by Charles Dickens in the sinister opening chapter of The Mystery of Edwin Drood; they travelled up and down the river and attended fashionable events at Lambeth Palace, the boat race and the Derby. The ambitious project, which took four years to complete, was eventually published as London: a pilgrimage with 180 engravings.


Cooper Navy 2nd Model revolver

Made by Cooper Firearms Manufacturing Company in Frankford, Philadelphia, Pennsylvania c.1864-69 - serial numbers 3878 (top) and 14111 (sheriff).
.36 cap and ball five-round cylinder, double action, creeping loading lever.

It’s a double action Colt 1849 Pocket, oh my stars. I want one.

1869 wedding portrait of Mathilda Taylor Beasley, a free woman of color who risked her own safety by opening her door to local Savannah, Georgia children of color to teach them to read and write. After the death of her husband in 1877, she donated all of her assets to fund an orphanage and became the first African-American nun in the state of Georgia.