British aristocrats

Portrait of Dido Elizabeth Belle Lindsay and her cousin Lady Elizabeth Murray, believed to be by Johann Zoffany.

Dido Elizabeth Belle Lindsay (1761-1804) was the mixed-race daughter of a British aristocrat. While she was, under colonial law, born into slavery, she was given a unique position. She was educated and given lavish bedroom furnishings. Her work included multiple responsibilities, the most important being that of her uncle’s correspondence, and companion to her cousin. After her fathers death, she became an heiress as she was included into his will. While many of these facts are considered common decency today, Lindsay’s life was rather shocking to many during her time.

“She was an island, bound to no land, doomed to float in obscurity”

Set in the 1920’s, Laura Stratford, the British aristocrat trapped by family obligation, and Laura Elliott, the strong, beautiful girl, begging for freedom, duel for control. Laura Elliott-Stratford whisked off to Britain after her father’s death, struggles to fit in and to be herself. With the help of Graham, Sarah, and Jeremy, her recently acquainted friends, she just might do that.

I loved this book, and will definitely read it again and again. Claire’s complex and imperfect characters draw you in and the world she builds around them makes you stay. I went in thinking this was an average romance novel and I got to meet this sophisticated yet relatable heroine, who I will miss dearly. I would recommend this book to anyone. With a mixture of historical fiction, romance, and finding oneself, I believe anyone who picks it up will fall in love with it as I have.

Beó an dòchas
Ever hopeful Casey💕

Across the formidable sea
by Claire Laminen


A plethora of Obi-Wan/Satine historical AU portraits!

(if I’m going to draw them repeatedly anyway, might as well involve some historical costuming practice while I’m at it, right?)

From the top:

Medieval AU (~12th century) - He’s a Templar, she’s a princess who opposes the Crusades. Given the eventual fate of the Knights Templar, this thing writes itself, right?

Musketeers AU (1630s) - Swashbuckling, courtly intrigue, seems legit.

Napoleonic Wars AU (early 1800s) - French aristocrat and British officer - he helped her escape France during the Revolution, now the war with Bonaparte is keeping them apart.

Victorian AU (turn of the 19th century) - He’s a philosophy professor, she’s a wealthy suffragette (this one might not be totally angsty as long as absolutely no one has tuberculosis).

WWII espionage AU (1940s) - CYOA if the cassock is a disguise or if he’s actually a priest for maximum angst and forbidden love. (Not sure if she’s holding forged papers or code books - basically, spies.)

anonymous asked:

not royal but I LOVED Pippas tiara/headband. Usually I really dislike Tiaras, only because i hate big chunky sparky things, and imho usually women who wear tiaras look more like they're playing dress up than doing anything else (no offense to Melissa Percy but that's what I thought when I saw pics of her wedding day). But Pippas was perfect, it was small,light and not ostentatious + looked amazing on her. I was surprised that people complained because it looked more like a headband than a tiara

It wasn’t my personal style but it was very pretty and it suited her very well. Missy’s tiara is an old family tiara and it wasn’t made for her. She also didn’t modify it or have a big hairstyle so it just looked quite gaping on her head. It’s a shame as I think it’s a gorgeous tiara but she needed a different hairstyle and it was not worn correctly:

You can see it worn on her grandmother here and it looks gorgeous:

WW1 Movie and TV Show Recs

Finding books about World War One can be pretty easy. Finding movies and TV shows on it, however, can be difficult. After struggling to find good movies about one of my favourite eras to learn about, I finally decided to amass some of my absolute favourites for the others that are having the same problem as me.

My Boy Jack

The first one that I want to talk about is a pretty underrated movie called My Boy Jack. This is a British movie starring Daniel Radcliffe, David Haig, Kim Cattrail, and Carey Mulligan. It is about Rudyard Kipling and his 18 year old son, Jack, who goes off to fight during the first world war. He goes missing, and the family (Rudyard Kipling, his wife, and their daughter) searches for him. This is a beautifully shot movie, and it was so heartrending. I would absolutely recommend this to anyone who is interested in this era, since it shows the war as well as the people left behind, and the costumes are perfectly accurate.

Testament of Youth

This is one of my favourite movies of all time. Based on Vera Brittains autobiography about her time as a nurse on the front lines, this movie has stunning choreography, beautiful costumes, as well as a gorgeous, horribly sad story line. It stars Alicia Vikander as Vera Brittain, Kit Harington, Taron Egerton, and Colin Morgan. This is a movie that I have watched over and over again.

Parades End

This is the only one that I have not seen out of this list, but I have heard and seen some great things about this mini series starring Benedict Cumberbatch and Adelaide Clemens. It is about the relationship between a suffragette (Clemens), a British aristocrat (Cumberbatch), and his wife Sylvia. It is set over a number of years and is based off of the novel by Ford Maddox Ford.

Anzac Girls

I will forever love this TV series about the often forgotten ANZAC girls, or the nurses from New Zealand and Australia. Starting off in Egypt, the story line follows a few nurses through a few years of the war. This is based on a true story, and I absolutely loved every second of it.

War Horse

I watched this one a while ago, but it still leaves a huge impact on me. The story is about a boy and his horse, who both end up being conscripted for the war. The story follows them both as they lose each other and find each other again. This is such a classic, and would recommend it to anyone.

The Crimson Field

The last one on my list, Crimson Field is a TV series about the nurses near the front in France. It talks about the challenges that these women faced, and I wish that they had been able to produce another season. If you liked Anzac Girls, you would also like this one, and vice versa.

If you have any recommendations, let me know! Im always on the lookout for new good period dramas

The Scarlet Pimpernel: Sir Percy Blakeney [ENFP]

OFFICIAL TYPING by Charity / the Mod

Extroverted Intuition (Ne): Percy conceals his feelings behind a veil of indifference, superficiality, and mockery aimed at society’s preoccupation with shallow superficiality; he is quick to banter with others, engage them in “mindless” word games, and entertain them with hilarity, poetry, and pretentiousness. He pretends to indulge in trivialities while working behind the scenes to manipulate circumstances to his advantage. Since his disguises and methods of getting aristocrats out of Paris are never the same thing twice, he drives the French secret police mad trying to anticipate his next move or catch him in the act. His idealism leads him to fall in love with the idea of Marguerite, then reject her when disillusioned. Percy’s imagination and ability to focus on the big picture (saving as many lives as he can) is an asset in his work as the Pimpernel, but also a determent since it makes him unaware of his wife’s unhappiness, much less her true nature.

Introverted Feeling (Fi): When Marguerite expresses concern that they are “moving too fast” in their relationship, Percy retorts, “My heart dictates the pace.” He uses his prejudgment of Chauvelin, and his loathing of the man’s politics, to taunt, tease, and humiliate him, in order to get out his own feelings of contempt. Percy strongly identifies with the French aristocracy (as a British aristocrat) and strives to save them through whatever means possible. His reluctance to control the behavior of the members of his League leads him to make a near-fatal mistake (Fi’s belief that “no one should be forced to do anything they don’t want to do”). Percy reacts strongly on moral grounds when he hears Marguerite has betrayed someone to his death, and feels justified in treating her harshly as a result. When confronted with something he agrees with, rather than lie and defend his wife’s honor, he remains silent.

Extroverted Thinking (Te): Percy frequently loops out of his emotions, preferring to put aside his failing marriage in order to focus on an objective goal: getting the Dauphin out of France. His ability to come up with a plan without much forewarning helps keep him and his friends alive. He uses information always for a reason: to assist him in his goals. Percy organizes a large group of agents in France and England, comes up with rescue plans, and sets limitations and standards for the body as a whole. He undertakes a long-term façade and executes it with precision, taking advantage of each situation, always with an eye on the consequences. But he can be caustic, offensive, and even cruel to Marguerite, when he believes she has behaved immorally.

Introverted Sensing (Si): His entire façade is built around a man preoccupied with his own appearance, fussy about the details of his garments, and entertained by the mundane details of life, parties, and social expectations – but Percy is actively mocking all of these things. When it comes to recalling former situations, or amassing information about people that would help steer his intuition in the right direction, he fails – he believes the lies about Marguerite (attaching to someone else’s story or idea – Ne) rather than forming an impression over their shared interactions (Si). He underestimates Chauvelin. All his mistakes are because he cannot interact well with his sensory environment, in an uncontrolled setting (his failed escape attempt).

IM KEEP FORGETTING but here are all the Puu AUs I’ve made so far: 

1. This is a world where everyone has some sort of special power. Saboor has the ability to control plants (and he sprouts flowers from himself too) and Jameel can control water (and is also blueeeee). Saboor’s a carnatic musician, Jameel is a bharatanatyam dancer. (Part of a larger story that doesn’t focus on Saboor and Jameel as main characters.) 

2. This setting is similar to Puu, but homophobia isn’t really a thing in this world. Saboor is a mafia boss who chews waaaayy too much Paan, and Jameel is an overly strict middle school teacher. (Part of a larger story that doesn’t focus on Saboor and Jameel as main characters.) 

3. This is in British India and focuses solely around Saboor and Jameel. Saboor is a gardener for a British aristocrat with a horrid temper, and Jameel is a yaksha (a plant spirit of some sort, in loose definitions) who lives in the untamable giant rose hedge creeping towards the bungalow. 

Peerage of Ireland

Title: The Rt. Hon. Earl of Carbery, in the County of Cork.

Motto: Simply and Sensibly.

Subsidiary titles: (Peerage of Ireland) Baron Vaughan, of Mullingar in the County of Westmeath (1621, title used by the heir apparent), (Peerage of England) Baron Vaughan, of Emlyn in the County of Carmarthen (1643).

Created: 5th of August 1628.

Seats (former): Golden Grove Mansion and Estate, Carmarthenshire, Wales.

First holder: The Rt. Hon. John Vaughan, 1st Baron Vaughan.

Current holder: *EXTINCT* The first Earl of Carbery was a Welsh courtier and politician. He was succeeded by his son, Richard, the second Earl. He fought as a Royalist in the English Civil War. On the 25th of October 1643, King Charles I created him Baron Vaughan, of Emlyn in the County of Carmarthen, in the Peerage of England, which entitled him to a seat in the English House of Lords. His eldest son Francis Vaughan, Lord Vaughan sat as Member of Parliament for Carmarthen but predeceased his father. Lord Carbery was therefore succeeded by his second son, John, the third Earl. He notably served as Governor of Jamaica between 1675 and 1678 and as President of the Royal Society between 1686 and 1689. He had no surviving male issue and the titles became extinct on his death in 1713.

William Vaughan (Welsh writer in English and a colonial investor) and Sir Henry Vaughan (Welsh politician who sat in the House of Commons variously between 1621 and 1644. He was also a Royalist leader during the English Civil War), both men where brothers of the first Earl, and both gained prominence in their own right.

Heir apparent: *EXTINCT* 

moonlightcombustion  asked:

Hey could you please do a type contrast between ENFP and ISFP because I'm trying to figure out which I am. I think I might be ISFP because I'm pretty sure I have inferior Te because I'm quite impulsive and I don't usually think things through and I used to like to have things in control and to behave according to rules. I've always typed myself as ENFP before though or very initially I also thought I was INXP. I looked on ur type contrast page and couldn't see this one so I thought I'd ask!

Someone out there is laughing at me. My phone literally hit me with this ask 35 seconds after The Scarlet Pimpernel ended and I watched it with an ISFP.

Why does that matter, you might ask? Well, Percy is an ENFP and Marguerite is an ISFP. Go watch it. It’s worth it, I promise. It stars Anthony Andrews and Jane Seymour. The plot is about a British aristocrat (ENFP) who goes under the alias of “The Scarlet Pimpernel” to rescue people from the French Revolution and winds up falling in love with a French actress (ISFP), who is then manipulated by her ex-boyfriend (INFJ) into trying to find out the identity of the Pimpernel.

As a Ne-dom, Percy has a few excellent things going for him, and a few pitfalls.

One, he’s absolutely hilarious and can snark at the drop of the hat. He enjoys manifesting his feelings through barbs, insults, innuendos, and suchlike, often to express his contempt for the current state of French politics (”You should send your tailors to the guillotine!“ he quips, dissing French fashion; Chauvelin says, “We shall send our king instead, and exalt our tailors,” and Percy retorts with, “Alas, then tailors will rule the land and no one will make the clothes. So much for French fashion!”)

Two, he keeps the larger picture in focus at all times and manages to stay one step ahead of his adversary – this is Ne/Te, allowing him to innovate on the fly just enough to keep ahead of Chauvelin; he engages “plans” and easily sets them into motion, he delegates tasks to subordinates, and he argues rational reasons why they must remain a small group and incognito.

Three, he can revise his plans and abandon all former ones at the drop of a hat, which in the end saves his neck because he had a few minutes to scheme.

Four, he is largely concerned with philosophical abstractions – even though he is using them for mockery much of the time, the real focus of his jabs is the sensory world (he’s pretending to be “the most idiotic fop” in England, for the greater good, because he self-identifies with the French aristocracy - Fi) – fussing about clothing, mocking French fashion, and over-exaggerating his feminine traits to throw people off (emphasis on low Si).

Being so laid back and trusting his ability to get himself out of messes has its disadvantages – Percy almost gets himself killed because he permits one of his League to disobey his orders – his strong sense of Fi (“I am not your boss, and you must do what you believe is right”) is almost his undoing, and his lower Te prevents him from stepping in to lay down the rules, which would have been for everyone’s greater good. His Ne is naive and idealistic – he underestimates how dangerous Chauvelin is due to personal dislike (Fi), and underestimates how dangerous individual situations can be. His Ne’s “we’ll wait and see what happens, and I can revise it later if need be” isn’t always in his favor.

His low Si is also a pain when it comes to believing a piece of information about the woman he loves. Percy has such a poor connection to his own sensory impressions that he cannot contrast and compare what he’s told about her actions with the woman he knows (stronger Si required) and thus believes the ideas he hears (Ne) and retreats into himself, emotionally – he tries to hide “his contempt” but cannot really manage it (Fi).

Since there are two introverted feelers at the heart of this story, there’s a huge presence of misunderstandings, lack of communication, the inability to be frank with one’s feelings as things happen, and the inevitable frustration that comes from each person pulling away from the other to process their feelings, when it might resolve everything if they just… talked.

If Percy is the idealist, Marguerite is the realist who sees more than Percy because she pays attention with Se and interprets with Ni. Early on, strangely drawn to him despite his foppish behavior, she asks him, “Are you an actor too, playing in some strange charade?” She knows he’s lying to her, and to society, but cannot put her finger on why; she senses the shift in him when he believes something about her that isn’t true and says he “wears THE MASK (his fake self) in private now, as well as public.” This is her Fi/Ni loop, sensing Percy is not being authentic to his true self in others’ presence and intuiting his reason why – he must be hiding something because he doesn’t trust me.

Her intuition isn’t quite strong enough to figure out that he’s the Pimpernel, until she sees a visual representation of the Pimpernel symbol and associates it with her husband (Se). She is willing to accept him as he is, though it frustrates her (Fi-dom, disinterested in changing another person; Percy expresses his open disapproval in a much more brutal tert-Te manner, intended to punish her for her perceived wrongdoing and in so doing, change her). She reacts to his coldness by pulling away. Marguerite is offended that he will say nothing in her defense when the accusations become public – society’s opinion matters to her less than that he doesn’t believe her, nor intend to forgive her; and instead of telling him it’s all a lie, she stops confiding in him altogether. Since she isn’t an extrovert, she’s far less confrontational and cutting than he is, when she’s upset (she never confronts him with aggression or demands answers for his strange behavior, but rather tries to appeal to his better Fi-nature).

She isn’t as good at innovating on the run as he is, because he’s an extrovert and has stronger Te, but her impression of who she is, who he is, and who Chauvelin is, is much more grounded and realistic than his (”You shouldn’t tease Chauvelin; he’s very important in the government” = he’s dangerous, Percy, and whatever game you are playing, you need to stay out of his way).

She aligned with the Revolution until it became something she disagreed with, and could no longer morally support, then her Fi slammed on the brakes and she ceased any involvement. She refuses to pretend to be anything she is not. Percy is more willing to compromise who he is, behind a facade; he puts aside his pride and loops out of his emotions as much as he can, in order to deal with what is in front of him (even as his marriage falls apart, Percy focuses on “getting the Dauphin out of France”).

So, in short:

Percy’s Ne is naive and idealistic and he relies on it a lot, reasoning he’ll deal with that problem when he gets there; he falls back on strong Te to get things done, but all the mistakes he makes are sensory-based (underestimating people and situations, making failed escape attempts, etc). His lack of a strong connection to a stable Fi (it’s under Ne’s influence) means he can dismiss his love for Margot, and show her nothing but contempt, disapproval, or a false side of his nature (Te and Ne).

Marguerite prefers to take things at face value (Se) unless something tugs at her subconscious awareness and informs her that this person is dishonest, hiding part of themselves, pulling away from her, or malicious in nature (Fi/Ni). SHE is the one who tells Percy that their romance is moving too fast (he responds, “My heart dictates the pace” – aw, such a romantic sap he is), and because personal integrity is so important to her, it pains her a great deal that he is being inauthentic to himself and to others (Fi) until she understands why.


Consuelo Vanderbilt reads as a lady of leisure dressed for the day with a blouson blouse under a coat with a spectacularly overlaid collar and lapels (1902).

Vanderbilt, from one of the world’s richest families, married destitute British aristocrat Charles Spencer-Churchill, 9th Duke of Marlborough. Guy Fortescue later described how he and his friends were captivated by her “piquante oval face perched upon a long slender neck, her enormous dark eyes fringed with curling lashes, her dimples, and her tiny teeth when she smiled.”

actually, though, now that I’m thinking about him: the fact that they dressed Tom Riddle in a suit in that scene is so important

because he’s not just a halfblood, he grew up in an impoverished London orphanage: he’s low status according to everyone’s class prejudice. He’s not a Malfoy, he’s not a product of British aristocratic privilege. He probably even changed his accent over the course of Hogwarts

and here he is, seventeen with his slick backed hair and nice suit, hobnobbing with Horace Slughorn. The fact that Tom chooses for his Horcruxes objects that don’t just represent magical power but also aristocratic lineage is so fucking central to his character. Voldemort is vicious, defensive and cruel in a way Lucius Malfoy can never be, because he values blood and power and style and had to acquire all of those solely on his own merits (or demerit, as it were)

Actually, what it really points to is a lack of identity. It’s no wonder he’s willing to destroy his own soul: Tom Marvolo Riddle doesn’t have anywhere to exist. His self-certainty and style are class markers he has no right to: his actual origins are unacceptable to him, disgustingly human, horribly grounded in the powerlessness of childhood poverty. 

‘Blood Will Out’ Reveals Secrets Of A Murderous Master Manipulator

Let’s say you meet a Rockefeller — Clark Rockefeller — and suddenly you have this connection to a world of wealth and privilege. Or so you think, because one day you find out he’s an imposter. And not just an imposter — a murderer.

That’s what happened to Walter Kirn, and Kirn’s a smart guy — he’s a journalist and the author of two novels that have been adapted into films, Up In The Air and Thumbsucker. How he was deceived, and what the consequences were, is the subject of Kirn’s new memoir, Blood Will Out.

On how Rockefeller manipulated people

“Here is the secret of a master manipulator and liar: They leave lots of blanks for you to fill in. For example, when he was living in San Marino and pretending to be a British aristocrat — and this came out of the trial — he told one young woman, “Oh, you know, I have an aunt in England, her name is Elizabeth.” Then at another point he said, “I have to go visit my family in Windsor.” This person thought, “Oh my lord, he’s related to the queen! The queen is named Elizabeth and she lives in Windsor.”

He was always doing that. He was always dropping breadcrumbs because he knew that if you put the story together in your own mind you’d be more convinced by it than if he told you the whole story …

When I first met him, he took me out to a very fancy dinner atop a skyscraper in Midtown Manhattan. We looked down on Rockefeller Center. At one point he said, “Let’s go take a private tour of it, I have the key in my pocket.” … I think I said “Oh, sure,” but … he said it in a way that’s like how people say, “You must come and stay at my house for a week.” And you say, “I’d love to,” but you don’t ever take them up on it? He’s making a social gesture here, but do I really want to go through the sub-basements of Rockefeller Center with this character at 10 o'clock at night? He made a lot of offers he knew you wouldn’t accept.”

[Originally broadcast March 2014, now in paperback]