Yes, finished! And just in time, too! The braid arrived in the mail three days before the Spencer was wanted, and fortunately I had finished the garment by then, and the baking could take care of itself after a while, and I managed not to get eggs beaten with sugar on any lovely wool or mohair.
I think it looks well enough with the gown and bonnet, though I am fairly certain the darts are too far to the sides in this iteration. How that happens when you use the same pattern twice I do not know.
As mentioned previously, the cuffs are pieced, but this is a perfectly accurate way to deal with a shortage of material and/or cuffs.
I’m fairly pleased with how it turned out, and very pleased with how warm it is. Over the cotton gown, the Spencer was plenty warm– and I certainly wished I had it after we left the house and went down to the river!
On the whole, I suppose I’m pleased…as pleased as I ever am …which means you can expect pattern revisions in the future!
The Romps, by William Redmore Biggs. (c) Leeds Museums and Galleries
What Cheer Day is around the corner, and while we won’t have the delight of the babies this time, when browsing the BBC’s Your Paintings site, I found this painting by William Redmore Biggs. It pretty well captures the level of activity I’d like to bring to the museum–or at least a level just short of spilled ink.
As always, I’m looking for what working women wore, and in this image, I think we see the mistress of a dame school with her charges, who have clearly been romping in earnest.
The details abound, from the portfolio on the mantle to the baize on the floor and the ink spots on the little girls apron. The room is simply furnished, but we get a sense of domestic and dress details. The shortest girl in the front trio is disheveled, her sash undone and her gown slipping from her shoulders. (What a romp they’ve had!)
The Frail Sisters, 12 May 1794. British Museum, 2010,7081.1077
Here’s the British Museum’s description of this print: “Two young women dressed in fine clothes in a room with decorated wallpaper, one sitting in front of the window looking onto the street, with a pet squirrel on her lap, turning to smile towards the viewer and pointing at herself, while the other stands behind her chair on the right. 12 May 1794.” It’s good to get the pet squirrel question out of the way.
This is another print that’s hard for us to read completely: you might wonder why they’re called the Frail sisters. Is Frail a proper noun, an adjective, or something else? It’s probably code: frail here may well refer to the strength of their morals rather than their biceps.
There’s another Frail Sisters drawing, also 18th century, probably late 1780s-early 1790s. This is appears to be a ‘straight’ drawing, but I don’t know: it could be an artist’s portrait of three prostitutes at play. Or it could be actresses (they weren’t so very far from prostitutes and courtesans).
Mrs Frail appears in William Congreve’s Love for Love; do these images also reference characters first seen in Restoration comedies? This is stuff I haven’t thought about in a long time, so I can’t yet unpack how the title and meaning of the print relate to what the women are wearing. And I might be over-thinking things a bit, so let’s step back and just look.
What is the standing sister wearing?
A half-robe, indoors. Time of day, indeterminate, but perhaps morning.
The Farmer’s Door. George Morland, London: Published by J. R. Smith, King Street, Covent Garden, Aug. 4, 1790
A somewhat easier image to read is the print after George Morland’s The Farmer’s Door, from 1790. This genre painting presents the romanticized vision of humble life, with the farmer’s wife and her children (note the blue stays on the seated child).
Is the farmer’s wife wearing a half-robe over a quilted petticoat and apron? The quality of the images I can find is poor, and the coloring questionable.
In another version here, the kerchief is clearer and seems to go over a long-sleeved garment with a short skirt.
Selling Carrots by George Morland Date painted: 1795 Oil on canvas, 76 x 63.5 cm Collection: Brighton and Hove Museums and Art Galleries
In Selling Carrots, there is another short-skirted garment with long sleeves worn over a petticoat and with a kerchief.
Without getting overly distracted by titles and meaning, I think there are clues to how these half-robes or jackets are worn by women of different classes, aspirations, and locations. For rural women who are not gentry, these appear to be comfortable working clothes worn all day. For urban women, they seem to be worn early in the day, and sometimes out of doors, perhaps even to the lending library.
Kirsten Hammerstrom 
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