Showing posts with label Historical Research. Show all posts
Showing posts with label Historical Research. Show all posts

Saturday, June 10, 2017

Western Wear: The Cowboy


I hope you enjoy this excerpt on western fashion from the Victorian/Old West section of the Historical Research Companion to Everything of Interest to a Romance Writer:

As legendary and as romantic a figure as a medieval knight he may be, the cowboy would be embarrassed by all the fuss. He was generally not fancy, not like the Wild West shows of the 1890’s would depict, and his clothing reflecting the austerity of his life of hard work. The cowboy’s coat, trousers and vest of the 1860s was generally what was available at the general store, and there weren’t a lot of choices. Mail order became an option in the 1870s when Montgomery Ward established the first catalog in 1872.
Jeans? Not so much. Although canvas or denim work trousers, such as Levi Strauss’ Levi’s were available in the 1870’s (the first Levi Strauss blue jean in 1873), wool was considered most durable for ranchers, while duck and jeaning (denim) was more popular for farmers and miners.

Belts? Another no. Not to hold up your pants anyway. The purpose of a belt was for securing pistols. In an article by G. Daniel Deweese for True West Magazine, he notes that belt loops were rare on pants until the 1920’s and goes on to say:

“Men wore suspenders, attached to waistband buttons, to keep high-waisted, loose-fitting trousers from falling to the wearer’s ankles. Ditto the adjustable cinch straps on the backs of old-time britches.”
Vests were also practical in nature for holding small items, although, as noted by G. Daniel Deweese, they were partly “a Westerner’s nod to Victorian propriety.”

“The vest—that sleeveless upper body garment meant to be worn under a topcoat—was the Westerner’s nod to Victorian propriety, which dictated that gentlemen wore vests over their shirts. Indigent cowboys, well-heeled card sharps, ornery outlaws and stalwart lawmen alike might shuck the morning coat, but at least a few of them didn’t go out in public without a vest.”
There were, of course, preferences for hats, boots and riding gear.

First, let’s talk about those boots. The cowboy boot evolved partly due to a change to a narrower stirrup in the mid-1870s which required higher heel to prevent the cowboy’s foot from sliding through.
The higher heel also changed the posture and gait of the cowboy when walking. Deweese, in an article on the cowboy boot, notes:

“If you watch a buckaroo walk in boots with 2½-inch heels, he’ll have a slight roll in his gait. Or he’ll have an exaggerated swagger, if he’s walking like John Wayne.”
A popular style of boot was the stovepipe boot, preferably custom made to measure. The stitching that we see on modern cowboy boots would not have been as ornate on the early boots, but they would have rows of stitching from top to bottom on the uppers to stiffen and strengthen the tops. By the early 1880s fancier stitching on the uppers began to appear. As noted in I See by Your Outfit by authors Tom Lindmier and Steve Mount:

“In 1885, Montgomery Ward offered for the first time “Cow Boy’s Boots” which were all calfskin boots with a fancy top, scalloped and stitched fifteen-inch leg and a two-inch heel.”
For the hat, a Stetson, of course. As noted in I See by Your Outfit:
“Stetson is credited as the originator of the cowboy hat. Stetson was forced to move west from Philadelphia for his health. While residing in Colorado in the early 1860s, he conceived of the basic design for his western style hat which he later called “The Boss of the Plains.” In 1865, with his health improved, he returned to Philadelphia and began production of his western hat. The original “Boss of the Plains” had a four-inch brim and four-inch crown, was “natural-colored” and weighed two ounces. Around the base of the hat crown was a leather strap for a band. In the early 1870s, Stetson’s hats were produced in only one grade of felt (two ounces) and sold for five dollars.”

Additionally…“The Boss” was not formed in the factory. Shaping was dependent upon the individual whim of the cowboy, who provided his own style of crease in the style and roll of the brim.”
Bandanas were perhaps the most utilitarian article of clothing a cowboy owned. The most obvious use of a bandana was for protection from dust or cold, but it was handy for lots of other things as well. Also from I See by Your Outfit:

“Bandanas could be used to hold a hot cup or as a rag while working around a camp fire. They were equally practical for use as a bandage or to cover the eyes of a skittish horse while it was being saddled. Basically, the bandanna was a cloth of many uses.”
Horse equipment was a major investment for the cowboy, and when it came to purchasing a saddle, it is one area where the cowboy chose to buy from local saddle shops or reputable saddle making firms who were willing to customize. In addition to the saddle, riding and horse gear essentials included chaps (leggings), spurs, quirts (a short, heavy whip made of rawhide and loaded with lead shot) and ropes. The articles at the related links go into wonderful detail on these items.

Related Links:
Note: Most general searches for western wear bring up numerous commercial sites. This is fine and dandy for visuals, but I decided against adding those to the link resources. Fortunately, I found sites like True West Magazine and the blog Sweethearts of the West that have some wonderful historical articles in their archives.

Articles by G. Daniel Deweese at True West Magazine:
The Evolution of Western Wear: How the Cowboy Introduced America’s Only Indigenous Fashion Category –.

Head Over Heels – more on boots.
Vested Interest –on vests.

This is a Hold Up – on the belt’s purpose.

***
Blog posts from Sweethearts of the West: Authors Writing Romance Set under the Western Skies:

Spurs – by Sandra Crowley
The Cowboy Uniform – by Cheri Kay Clifton

Print Resources:

Lindmier, Tom and Mount, Steve (1996) I See by Your Outfit: Historic Cowboy Gear of the Northern Plains, High Plains Press, Wyoming

Saturday, June 3, 2017

Love Story in Nature


I  love writing romance stories and I love studying nature and biology.  Every once in a while it seems like the two come together.  Here's an example of how!

This is how the male Vogelkop Bowerbird attracts a female.




Pretty cool, right?  :)

In this case, this Vogelkop Bowerbird inspires some thoughts on the definition of "bower" that moves neatly into some historical uses and brings to mind a couple of medieval era connotations. 

Bower - can be 1) a lady's private apartment in a medieval hall or castle or 2) an arbor, a shady garden retreat, often with vines and climbing plants such as roses.  (See:  Come to the Bower - The Medieval Garden Enclosed, The Metropolitan Museum of Art, New York)

No matter from which perspective the word is used, I love how the bower is a place where a suitor hopes to tempt his lady with every comfort.

Now back to writing some romance...

Sunday, February 5, 2017

Historical Research Companion Excerpt: Revolutionary Times/Georgian

Popularity as a Romance Setting (Revolutionary Times/Georgian)

Pirates. It’s really the first thought to come to mind when I think of Revolutionary Times. I also think about the tall ships, the highwaymen, and the clothing -- low-cut gowns and powdered wigs. I’ll get to all of that, of course, but in the backdrop there is a Scientific Revolution; the period of Civil War in England (basically a conflict between the king and parliament, 1642-1651), an execution of a king (King Charles I is beheaded on January 31, 1649); a brief, kingless Commonwealth government followed by the Restoration of the Monarchy (1660), plague (The Great Plague of 1665); the Great Fire of London (1666), witch hunts and trials of note such as the Salem Witchcraft Trials of 1692; the Jacobite Rising in Scotland (1745) of the supporters of James II who, almost 60 years after James II’s exile to France, tried to reclaim the British throne; and also the French (1789-1799) and American (1775-1783) Revolutions.
English Monarchs
The Stuarts (1603-1714)
James I (1603-1625)
Charles I (1625-1649)
The Commonwealth (1649-1660)
Charles II (1660-1685)
James II (1685-1688)
William& Mary (1689-1702)
Anne (1792-1714)
The Hanoverians (1714-1910)
George I (1714-1727)
George II (1727-1760)
George III (1760-1820)
George IV (1820-1830) who is Prince Regent from 1811-1820
***
This is also a time period when France dominates as a major political and cultural leader. The influence of the French would continue in grand style during the reign of Louis XIV (1643-1714), the Sun King, who has the longest of any monarch of a major country in European history. Readers are notably familiar with a French setting from the infamous Three Musketeers, Dumas’ historical adventure novel set in Louis XIII time of 1625-1630ish. This story gave us an appetite for rakish heroes who somehow mix chivalry with comedy. We also become acquainted with the term libertine, which means one devoid of most moral or sexual restraints. The libertine philosophy often followed by the aristocracy and monarchies of England and France would be in stark contrast to prominent religious sects of the time.
In England, following the sober constraints of the Commonwealth years, the Restoration of the monarchy with Charles II in 1660 brought with it a return of flamboyant revelry and previously banned celebrations. The theaters reopened and Puritan restrictions on “pagan” festivals were lifted, reinstating things such as maypoles and mince pies. The Restoration ‘rake’ earned his reputation and so did the king, becoming known as ‘the merry monarch,’ notorious for his mistresses.
By then, many of the Puritans had left England for America. Settling mainly in New England, they would inspire the settings of Hawthorne’s Scarlet Letter and Miller’s The Crucible. The settlement of Salem would also be the location of the very real Salem Witchcraft Trials of 1692.
The late eighteenth century and technically up to 1830, which covers the Regency also, is also known as Georgian, spanning the reigns of the four Hanoverian kings all named George. Romance writers and readers, however, are accustomed to breaking out the Regency as a separate category. Georgian, therefore, is really more grounded in the eighteenth century. For a visual feast of all things Georgian, you might like to visit author Lucinda Brant’s Pinterest Boards.
So before we get to the Regency, we have the iconic heroes of Revolutionary Times who contribute greatly to the appeal of an action-filled historical romance set in the seventeenth and eighteenth centuries…like pirates.
Of course, we all know historical romance readers have been fans of the pirate theme long before Jack Sparrow and the Pirates of the Caribbean solidified the genre’s mainstream appeal. There is a lot to be said about the appeal of a pirate, and some of it will be said again when talking about the appeal of the Viking Age setting. They too were considered pirates by some.
The pirate romance offers something a reader might not find elsewhere and that is action. Historical romance writer Marsha Canham, who knows a thing or two about writing an adventure on the high seas, says this on The Allure of the Pirate Romance, a Write Byte at All About Romance:
“The appeal is in the very romance of history itself, the romance of something we can only imagine from the safety of a burglar-proof house with its indoor plumbing, thermal pane windows, and refrigerators that dispense ice in cubes or crushed pieces. It is the notion of stepping, however briefly, through a door in time and being transported to another place not quite so safe, where the air is filled with the acrid scent of smoke and gunpowder, where your ears ring from the firing of a full broadside and your feet slip out from beneath you, when the deck lurches and your toes lose their grip on the mixture of blood and ash on the planking. It’s the taste of the salt spray on your lips and the sting of undiluted rum in your throat. It’s the glimpse you get of the sun setting in a blaze of red across the horizon and the experience you share of climbing into the rigging at night when the sky is such an immense vault of endless space, filled with the magic of so many stars and constellations, it should shame the writer who settles for: it was a dark night and the stars were twinkling overhead. It is the pure, exhilarating adventure of meeting the men and women who survived by performing reckless, dangerous, and yes -- heroic deeds, without a thought toward the morality or the political correctness of their actions. They were thieves and reckless adventurers, and both kinds of men have always fascinated us, especially if they manage to escape unscathed.”
Diana Gabaldon’s enormously successful Outlander series was also set during this adventurous time period around the years of the Jacobite Rising of 1745. (To be accurate she moves about in time quite a bit, as shown in this timeline of the Outlander series.) She describes what she thought to include in this series on her website:
“…owing to the fact that I wrote the first book for practice, didn’t intend to show it to anyone, and therefore saw no reason to limit myself, they include…
history, warfare, medicine, sex, violence, spirituality, honor, betrayal, vengeance, hope and despair, relationships, the building and destruction of families and societies, time travel, moral ambiguity, swords, herbs, horses, gambling (with cards, dice, and lives), voyages of daring, journeys of both body and soul…
…you know, the usual stuff of literature.”
That pretty much explains why this is a popular time period! And not bad for “practice,” don’t you think? Outlander became (by far) the most popular historical romance time-travel novel ever written.
But wait…there’s more! Adding to the popularity of the time period is the romantic period drama Poldark, which is set in the 1780s when Poldark returns to England after fighting in the American Revolutionary War. All I can say is the remarkable Aiden Turner as Poldark is fast overtaking my The Hero Board on Pinterest!

Tuesday, December 9, 2014

The Appeal of the Medieval Period: Sample from the upcoming 2nd Edition of the Historical Research Companion

It's almost ready! The 2nd Edition of The Historical Research Companion to Everything of Interest to a Romance Writer (the "HRC") will be available within the next few weeks. As I have mentioned previously, this edition will mean a big change because I will be "untying" the blog from the book. By this, I mean I will be removing the historical posts from the blog, so this is a "head's up" notice! :) More details and a preview of the new "forward" of the 2nd Edition can be found on the HRC page.

One of the new topics I've enjoyed including in the 2nd Edition has been an overview of the "popularity as a setting" for each historical time period and for many sub-categories. Whether it was the opportunity to delve into the appeal of arranged marriages or the appeal of opposing cultures, each topic increased my enthusiasm for the possibilities of a historical setting. Below is a partial sample on the topic of popularity as a setting for the Medieval Period:

The feudal system of the early middle ages provides the backdrop for perhaps the second most popular historical romance setting (after the Regency) – the medieval romance. Why do readers love a medieval romance?
In the article The Allure of Medieval Romance, author Regan Walker offers this explanation:
“Perhaps it is the notion of chivalry, a valuing of womanhood and virtues such as truth, honor and valor. A knight who rises to duty, and the maiden who would take her place at his side.”
Walker goes on to predict a comeback for the medieval-set historical romance and notes the resurgence is driven in part to the rise of self-published medieval romances, which may be ahead of the market interests of traditional publishers.
There are many more reasons for the appeal of medieval romances, one of them being arranged marriages. Readers love, love, love arranged marriage stories.  And, although an arranged marriage is not a trope exclusive to the medieval time period, it is certainly a setting in which it applies. As later discussed in more detail, marriage in medieval times, at least for the nobility, was primarily an alliance of land, wealth and lineage. But from this less than romantic beginning arises a story that defies the odds when it comes to finding love.
On the appeal of arranged marriages, author Madeline Hunter, in her article with USA Today, Romance Unlaced: Historical Authors on Arranged Marriages, says:
“…an arranged marriage can be among the most romantic and even most empowering situations in which to put a romance's main characters.”
Other writers expand upon what appeals about a forced marriage between strangers:
“Even before sex, or without sex in the book, the two people are forced to leap a lot of normal stages of intimacy. Cut to the chase, in fact. This is particularly powerful in historicals where society's taboos against intimacy could be so much stronger." – Jo Beverly
5
“… since we always make our heroes sexually appealing, it adds to the 'thrill' of the situation. Who hasn't dreamt of having permissible sex with a hot stranger?" – Callie Hutton
5
“The appeal of these stories centers around hopefulness, the idea that individuals can learn and grow and that a couple can evolve.” – Jo Goodman
5
"They're really high-stakes stories — strangers forced into a relationship who must figure out a way to make it work. All relationships are hard work, but arranged marriages especially so. And the trope sure keeps the relationship front and center in the book.” – Vanessa Kelly
All this and more make an arranged marriage trope part of the medieval romance’s appeal.
The medieval setting covers a long and event-filled time period. While some medieval stories have a vague sense of time and place, others are intertwined with very specific events.
***
The Medieval Scottish Highlands setting is also enormously popular. Although, to be accurate, many of the popular historical romances set in the Scottish Highlands take place much later, such as with Diana Gabaldon’s  Outlander, which is set during the Jacobite risings of the 18th century. But many others are set in the medieval times. Undeniably, the Scottish Highlands, and especially a Highland hero, the Laird, holds vast appeal, and I cannot resist this delicious quote that sums up why:
“They are hunkalicious, wear provocative skirts and have sexy accents .”
Yes, that about says it all. In another excellent USA Today article by historical romance writer Madeline Hunter, Romance Unlaced: Exploring the Appeal of Scottish Heroes, there is this inclusion of an intriguing quote by author Paula Quinn:
"As a writer and a reader, there's nothing more intriguing than a Highland hero. It's association by terrain, by culture, and by sound. Scotland is a land of rugged, timeless beauty and windswept moors, resilient against centuries of subjugation. The terrain makes Scottish heroes hard, tough and robust. Their culture makes them proud, fearless and loyal. In my opinion, a Highlander is the ultimate alpha male, confident in his own power and appreciative of the strength in his woman ... His deep, melodic burr doesn't hurt his appeal either."
Ah, yes, that Scottish burr. Writing an accent is often one of the most challenging techniques a historical romance writer will come across. Quinn and others give advice on how to handle the accent and dialect. The consensus seems to be to use sparingly, if possible, for a variety of reasons. As author Jennifer Ashley points out:
“First, I didn't want to see my manuscript page peppered with apostrophes. Second, educated, upper-crust Scots don't always speak with heavy Scottish accents. Many people confuse the Glaswegian accent with the Highland, and it's very different.”
All this, the dialogue, the highlander’s passion and loyalty for his (or her) clan, the drama of the historical backdrop and more is why a Scottish historical romance appeals.

 Stay tuned for more news to come!

Friday, October 9, 2009

Marriage Customs in Georgian and Regency England

NOTE: As this was one of the most popular historical posts on the blog, I'm leaving this one up as a SAMPLE of the resources found in the Historical Research Companion. See the link at the right for more information.

Update: Several outdated and broken links were deleted on 11/14/21. Sorry about that! Information changes and I appreciate being informed on what is not working. I will try to replace with new information. - Melissa

Courtship
The hunt for a husband in Georgian and Regency England was serious business and the upper class families would likewise invest serious money to give their daughters a 'season' in London.
Almack's, that exclusive club of the social world, became known as 'the Marriage Mart' as it was the essential venue for introducing a young lady into society.

Marriage Requirements and the Ceremony

According to Hardwicke's Marriage Act of 1753:

  • a couple needed a license and the reading of the banns to marry;
  • they needed parental consent if under the age of 21;
  • the marriage must be performed in the morning hours between 8 and 12;
  • it must take place within a public chapel or church by authorized clergy; and
  • the marriage had to be recorded in the marriage register with the signatures of both parties, the witnesses, and the minister.
This new law put an end to the 'Fleet Marriages' that had allowed a couple to be legally married with only an exchange of vows (1694-1754). However, after 1754, there were ways to get around the new marriage requirements.
  • Elopement to Gretna Green in Scotland allowed a couple to be married without parental consent.
  • You could also purchase either a common/ordinary license from a local clergyman or at Doctors' Commons in London to 'skip the banns' or a 'special license,' issued by the archbishop of Canterbury, permitting the couple to marry after noon and at a location other than the church. Because of the expense, marriage by special license was reserved for the very wealthy and well connected.
There are other "can't do thats" to consider regarding marriage laws including the fact that prior to World War I, it was illegal in England to marry a deceased spouse's sibling.
Wedding Fashion Note: It was not yet essential for the bride to wear white, although white was gaining popularity. Alternatively, she might wear another light color such as silver or blue, and she would also wear her bonnet inside the church.

Related links: 

the archive for the 'regency wedding' category at Jane Austen's World. 

Marriage, Hardwicke Act and Dissolving a Marriage - by Nancy Mayer, Regency Researcher

Marriage at Gretna Green - by Jane Lark

Marriage and the Alternatives: The Status of Women - from the site Jane Austen: Pride and Prejudice (pemberly.com).

Jessamyn's Regency Costume Companion: Regency Wedding Details & History - great information covering traditions such as The Engagement, Making It Legal, The Invitations, The Ceremony, The Wedding Ring, Bridesmaids, The Wedding Clothes, Flowers and Other Decorations, The Wedding Cake, The Wedding Breakfast, and Music.

The English Bride: Marriage in Eighteenth Century England

The Quest for Mr. Right - meant to be an interactive experience of attending an 18th century ball from choosing your dress to proper etiquette, but one page seems to be missing if you proceed in order - use the links at the bottom of the page.

Regency Weddings: The White Wedding Dress

Regency Weddings: St. George's, Hanover Square

Eloping in Regency England

If Walls Could Talk: An Intimate History of the Home, Lucy Worsley -- at Jane Austen's World.  Not just the home...also a very interesting post on the courtship practice known as bundling.

A Regency Marriage Primer - Kristen Koster

Gretna Green and the Runaway Regency Bride - SD's Random Fresh Ink

Print Resources:

Pool, David (1993) In What Jane Austen Ate and Charles Dickens Knew, pp. 180-186. Simon & Schuster, New York.


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