Victorian Mourning can be roughly divided into the years before and the years after Prince Albert’s death.However while its often assumed that queen victorias lifelong mourning radically affe…
The complexities of wearing mourning dress took hold as the Victorian era progressed following the death of Prince Albert in 1861. Women bore the greatest burden of these customs. They involved wearing heavy, concealing, black clothing, and the use of heavy veils of black crêpe. The entire ensemble was colloquially known as "widow's weeds" (from the Old English"Waed" meaning "garment"). "For Such is the Kingdom" The 1894 sketch above is called For Such is the Kingdom by Frank Bramley and illustrates the custom of little children dressed in white walking in procession in front of a small white coffin containing a young person. Often four young maidens, also dressed in white attire served as pall bearers for the departed child. The custom of children wearing white to funerals continued well into the twentieth century. Special caps and bonnets, usually in black or other dark colours, went with these ensembles. There was special mourning jewelry, often made of jet and with the hair of the deceased in a locket or brooch. Queen Victoria wore her widow's weeds for the remainder of her long life until 1901, when the Edwardian era began. Many who saw themselves as fashionable, including those in the lower classes, followed their Queen's example. Framed Victorian engraving print of children mourning. By C. W. Nicholls, 1866. "Children at the Tomb of Grace Horsley Darling Lighthouse-Keeper's Daughter". "Somber Little Girl with Doll" Portrait in Pastel ca. 19th century Mourning Fans Vignette of miniature parlour with China Head Doll dressed in Widow's Weeds "Victorian Lady in Mourning," 19th century tintype Heather and Gable Victorian Mourning Dress Widows were expected to wear special clothes to indicate that they were in mourning for up to four years after the death. To change the costume earlier was thought disrespectful to the decedent and, if the widow was still young and attractive, suggestive of potential sexual promiscuity. Those subject to the rules were slowly allowed to re-introduce conventional clothing at different time periods; such stages were known by such terms as "full mourning", "half mourning", and similar descriptions. At half mourning, gray and lavender could be introduced. "Lady in Black" "Gone With the Wind" Vivien Leigh as Scarlett O' Hara "London Fashionable Mourning Wear" 19th century "The Young Widow" ca. 1877 Johnson The young widow, exchanging the wedding gown for mourning. The Victorian preoccupation with death is reflected in the art of the period. Photographs, paintings, death portraits, steel engravings, lithographs, etchings, and other art forms embraced the most sentimental and heartrending portrayals of loss and bereavement. Mourning Hair Ornament "In Memoriam" Madame Alexander's "Scarlett in Mourning" "A Picture is Worth a Thousand Words" "Belle Assemblee in Widow's Weeds" Mourning Cards and Flowers During the mourning period a black edge was applied on all stationary, envelopes, notepaper and visiting cards. Prayer books and bibles had to be bound in Black morocco leather and handkerchiefs edged in black.Mourning was an expensive activity and also wasteful, because it also had to be fashionable. As normal clothes were put away they would often be out of fashion by the time mourning was over so they were sometimes remodelled and often discarded. Victorian Mourning Brooche, ca. 19th century Mourning Dress and Bonnet " Widowed Mother and Child" Ackerman ca. 1809 Mourning Doll Black was the chief mourning colour in the immediate months after a death for deepest mourning. Dull surfaced black fabrics such as crape, plain bombazine, paramatta, merino wool and cashmere were also favoured and used depending on income. "Evening Mourning Dress" Peterson "Old Shepherd, Chief Mourner" by Landseer Animals and children were especially popular as subjects to portray pathos and grieving. "In Memoriam" by Alfred Stevens Wax over papier mache doll dressed in mourning attire. Formal mourning culminated during the reign of Queen Victoria. Victoria may have had much to do with the practice, owing to her long and conspicuous grief over the death of her husband, Prince Albert. Although fashions began to be more functional and less restrictive for the succeeding Edwardians, appropriate dress for men and women, including that for the period of mourning, was still strictly prescribed and rigidly adhered to. The rules were gradually relaxed, and acceptable practice for both sexes became to dress in dark colours for up to a year after a death in the family. By the late 20th century, this no longer applied. Black had been widely adopted by women in cities as a fashionable color.
Weeping ladies. 1880s
Creepy Places of New England: Black Agnes (Green Mount Cemetery), Montpelier, VT Black Agnes, the cemetery statue that kills those who dare sit on "her" lap??? A copper statue located at Green Mount Cemetery in Montpelier, Vermont is that of a male figure, sitting with closed eyes looking upwards, his head covered with a shawl.
Grief hit what may be its peak of glamor between 1815 and 1915. The devastating losses of the Civil War, suppression of women's rights, and Victorian and Edwardian affinity for the macabre resulted in generations of widows spending years in their dour "weeds."
We visit Death Becomes Her, the Metropolitan Museum of Art's look at widows' weeds in America and Great Britain On the Saturday after Thanksgiving, we went to "Death Becomes Her", the exhibition of Victorian mourning clothing and jewelry at the Metropolitan Museum's Costume Institute which is on display until February 1, 2015. Foolishly, we picked a holiday weekend when the show and the museum were jam-packed with people, many of them tourists from out of town. But, being troopers who are used to crowds, we rallied and were able to view each item and read its signage. Behind us is the mannequin depicting Queen Victoria, the British monarch who ruled from 1837 to 1901 and raised the act of mourning to an art form. When her husband Albert died of typhoid in 1861, Victoria spent the next 40 years of her life in mourning, giving birth to an entire industry devoted to mourning clothing and jewelry. She subjected her court to three years of full mourning dressing. Mourning clothing became an intricate part of 19th century life. Mourning had its own language of colors, fabrics and behaviors. Full mourning ran for one year and one day during which the widow wore dull black and no ornamentation; a black crepe weeping veil was the most visible sign. The second mourning period ran for nine months during which minor ornamentation, fabric trim and mourning jewelry could be introduced. The main dress was still of lusterless cloth but the veil could be lifted and worn back. Half-mourning ran an additional three to six months, marked by elaborate fabrics and trims and all manner of jewelry. Full "widow's weeds" consisted of a crepe dress with plain collar, broad weepers cuffs of white muslin; bombazine (silk and wool) mantle or cloak and crepe bonnet with veil outdoors and widow's cap indoors. The veil was made of gummed, tightly twisted silk threads, volatile and hazardous. Rain made it shrivel and practically disintegrate. In these American mourning clothes dated circa the 1840s, black extends to everything, even the children. But mourning is not the only message here. As noted in the accompanying label, "Mourning dress served as a visual symbol of grief and of respect for the deceased while simultaneously demonstrating the wearer’s status, taste, and level of propriety." These people are shown in the first and deepest stage of mourning - no jewelry, no luster, no color. Even the elaborate shawl (second from left), ordinarily in a variety of colors, is a mourning shawl, in shades of black and gray. An entire industry sprang up around mourning wear. Jay’s of London, specializing in mourning wear, "published richly illustrated catalogues of the latest fashions, available in materials appropriate for mourning. Jay’s emphasized that the dictates of mourning and fashion could coexist…". This British black moire evening dress, dated to 1861, might have been worn during "the period of General Mourning ordered after the death of Queen Victoria’s consort, Prince Albert, in 1861." In the outfit below, the untutored eye sees a woman in deep mourning. But an American in the 1870s, when this was made, would have detected a fashion statement, particularly in the highly decorated hem, popular at the time. The exhibition room is lined with quotations about mourning wear, including this stunning statement: "So many eyes have been injured by the persistent wearing of crape veils, that physicians forbid them. The eyes that survive the bitterness of tears succumb to the poisonous rasping of crape." - The Delineator, 1895. (Editors' note: we were both perplexed by the seemingly interchangeable use of crepe and crape. There may be a difference. If anyone can fill us in, please do. In the meantime, we are using the spellings as we found them in the Museum's texts.) This walking costume consists of a jacket in mourning crape and a skirt of bombazine, both mourning fabrics. Bombazine was woven of silk warps and wool wefts. The wool helped mute the inappropriate luster of the silk. (While the name bombazine has a brash sound to it, it originates in the Greek and Latin for silk.) Note how much detailing has gone into the skirt, despite its being mourning attire. Before the rise of the mourning wear industry, ordinary clothes might be dyed black. Little of the exhibition is devoted to men's mourning wear. As noted in the Museum's labeling, "During an era when most men habitually dressed in dark, uniformly subdued fabrics, the attire of a man in mourning scarcely changed. The increasingly sober nature of menswear throughout the nineteenth century lay in stark contrast to the exuberant and rapidly changing styles of womenswear and reflected the status of the wearer more subtly, through nuances of cut and fit. Mourning was likewise signified through subtle alterations to a man’s wardrobe, such as a hat with a deep black band, often accompanied by black accessories, including gloves, cufflinks, and neckties. Mourning-dress requirements were more loosely defined for men than for women, and a man was less likely to be censured if he chose not to wear mourning. " This American costume, dating to the late 1890s, also reflects the first and deepest stage of mourning, but has nevertheless kept up with all the latest fashion trends. Before the perfection of chemical dyes, black had been a very expensive color to dye, and as a result had formerly been worn by the wealthier classes. Early black chemical dyes faded to blue or black, and was a concern that makers of mourning wear had to address. This suit dated 1915 very much reflects the fashions of the times. After the first year in all black, a woman was allowed to introduce color into her wardrobe. This Gay '90s period dress, in purple and black silk velvet, black and white silk satin, white silk faille and gold metallic thread, consists of fabrics, embellishments and colors consistent with "half mourning". The Museum labeling points out that "[t]he availability of an expanding range of ready-made goods for women was facilitated by the invention of the sewing machine, increasing standardization of dress patterns, and the rise of department stores that capitalized on these innovations." This satirical cartoon by Charles Dana Gibson, dated 1900, comments on the highly fraught status of widows. Convention dictated that she dress to show that she was unavailable, but widowhood also left her unprotected, and a target of criticism and gossip. The politics of death in the United States and Britain had a major impact on mourning clothes. In one of those rare circumstances where the Museum was given the background story along with the donation, it appears that this was a wedding dress "worn in 1868 in West Virginia, the half-mourning colors chosen in honor of those who died during the Civil War", although neither the bride nor the groom had lost family members. As mentioned above, the death of Prince Albert in 1861 had repercussions for decades. The queen's widow's cap. Below are two half-mourning dresses, one in mauve, the other in purple, worn by Queen Alexandra in 1902 in deference to the passing of Queen Victoria in 1901. Queen Alexandra's decision not to prolong full mourning as Victoria did reflects not only the differences in their personalities but changing views toward mourning as well. (As an aside, inquiring minds want to know how garments from Queen Victoria's and Queen Alexandra's wardrobes came into U.S. hands. Surely some breach of protocol was involved?) In 1910, Edward VII passed away shortly before the annual Ascot races. Custom would ordinarily have demanded that the races be cancelled, but Edward had been a great aficionado of horse racing. So it was determined that Ascot could proceed, with the proviso that everyone wear mourning attire. It was with the advent of World War I that the mourning industry began to fade. The Museum's labeling reads: "The war accelerated the abandonment of strict codes of mourning etiquette, particularly in Britain and the United States, where the mass casualties of the war and women’s changing roles prompted a reevaluation of elaborate mourning rituals. As women were joining the workforce and contributing to the war effort, periods of seclusion tied to traditional forms of mourning dress lost their relevance. After the war, fashion coverage of mourning diminished, yielding to increasing freedom regarding how, or whether, to display personal grief. " The Metropolitan's choice of a weeping willow tree at the entrance to the exhibition was particularly apt. In the mourning clothes industry, accessories played a large role. This vitrine contained a mourning veil, parasol and fan, all encased in black crepe. The Met's signage indicated that the accompanying veil is composed of "mourning crape". Mass production of this material was perfected by English manufacturers during the first half of the nineteenth century. In order to achieve the fabric's distinct texture and finish, undyed gauze made from highly twisted silk yarns was first passed through a pair of rollers; one was engraved with a pattern that was impressed upon the textile. Next, the fabric was soaked in a hot liquid, relaxing the twisted threads and creating a crimped effect. It was then dyed and dressed with a gum or starch, giving it a stiff body and the dull appearance required of deep mourning. The American parasol (ca. 1895-1900) is made of black silk mousseline, black silk crape, black silk taffeta, wood, metal and tortoiseshell; the American mourning fan (dated 1880-1885) of black plain weave silk and ebonized sandalwood; all are from the Brooklyn Museum Costume Collection. The parasol's canopy of black taffeta is overlaid with mourning crape, surmounted by rusched mousseline de soie and bands of lace. This application echoes the rich layering of airy fabrics characteristic of feminine garments of the period. This closeup photograph of the parasol gives you an idea of the intricacies of the fabrics. Decorations on deep mourning hats were matte. Even the grapes on this hat are colored charcoal. This light and airy egret feather hat would have been worn much later in the mourning period. Valerie gets into the mood of the exhibition. Fashion journals of the times detailed what women might tastefully wear. Below are mourning dresses from 1809 Ackerman's Repository of Arts etc. (British, 1809-29) A walking dress. Hair of a loved one was often incorporated into the jewelry as a cherished memento. This late 19th century mourning necklace and locket are made of gold, onyx, seed pearl and hair. It was a pleasant surprise to read on the label that this gold, enamel, diamond and hair brooch from 1810 was courtesy of Lynn Yeager, our favorite Vogue writer and woman-about-town. It was inscribed on the reverse, reserved in gold on black enamel "Charles James Ob: 30 April 1810/Phillip Ob: 7 April 1808". Engraved "In memory of 17 May 1859" on the back, this gold locket contains a curled lock of hair behind glass. This elaborate diamond and agate brooch from 1874 also incorporates hair. Chains of finely braided hair of a loved one were woven into necklaces and watch fobs as the ultimate remembrance. This jet and metal British necklace is circa 1860. Whitby jet was considered the best quality. Matte black bog oak was often carved and engraved and worn during periods of deep mourning. This cross, a gift to Jean several years ago from Kirsten Hawthorne, is a classic example. Cameos were also a popular image incorporated into mourning jewelry. This black and butterscotch Bakelite cameo pin belonged to Jean's Scottish grandmother. This black Bakelite cameo pendant with an identical image also was inherited from Jean's grandmother. Likewise, this carved ivory and silver pin was passed down through her family. If you are interested in adding some Victorian jewelry to your own collection, be aware that examples of mourning jewelry, such as this carved gutta percha pin, are available on web auctions. (Fun fact: gutta percha was also used inside early golf balls.) Hope you enjoyed this post. Send us your comments. Cheers!
The art of mourning in Nineteenth and early Twentieth centuries: a look at post-mortem and memorial photographs and memorabilia.
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Cabinet 2008-40-6-871
Despite the current ubiquity of cameras, we rarely pause in our flurry of social media sharing to document one of the most significant events in all our lives: death.
Sophia Haine's Handiwork from 1797 Photo: Chronica Domus A dozen or so years ago, during one of our journeys to London to visit my relatives, my husband and I did what we do on each of our visits there; we spent the day pleasantly trolling some of the city's antiques shops. Walking along Church Street, close to where I formerly worked on Marylebone Road, we popped into a little antiques shop to take a look at what was on offer. At the time, I recall the walls of our drawing room being quite bare, and we were both eager to remedy that situation. Young & Sons, the shop into which we had wandered, had a vast selection of art pieces dating from the late 18th to early 19th centuries. The proprietor was very knowledgeable and guided us to several pieces that might possibly fit our needs. It was not until we went downstairs, into the basement level that resembled an Aladdin's cave, that we found it. In the corner of the shop was a piece of art that we both silently knew was going home with us. And, I'm happy to report, it did. That was our initial introduction to the fascinating world of memorial art and all that is held within its symbolic meaning. We have been on the prowl for more ever since. Today's post will deconstruct some of the features that constitute a piece of artwork, such as the one we purchased, dedicated to the business of mourning in the late Neoclassical period. This example is of English origin, but other countries once memorialized their dead in a similar fashion. Firstly, we do not know the relationship between the artist and Howard, the dearly departed gentleman who is the subject of this particular memorial. Clearly the piece was created with great sentimentality as the artist, Sophia Haine, took the time to sign and title her work. On the wooden backboard, she has inked an inscription that reads "Philanthropy at the tomb of Howard, Sophia Haine's work, finish'd Dec 15th, (1797)". The artist's inscription Photo: Chronica Domus This tender dedication makes me long to know just as much about the artist as her deceased subject. Miss Haine not only shows great skill through her use of the needle and paintbrush (or would that be ink pen), but also her strong sense of caring and humanity is evident in the words she carefully chose to title her work . Detail of Philanthropy at the tomb of Howard Photo: Chronica Domus The piece depicts the central character, a young female with flaxen hair and blue eyes, looking forlorn as she mourns alongside Howard's tomb. Delicate silk and wool felt are the primary materials used to construct the scene, whose features are embroidered with a variety of stitches showcasing the talents of the artist. The woman's face and hands, together with the letters on the plinth, are made of vellum that has been carefully cut to shape, and skillfully embellished with either watercolor paint or colored ink. Miss Haine was surely an accomplished young lady to not only have mastered painting, but also embroidery to such good effect. I assume the artist was indeed young as it was the norm to study the feminine arts as part of one's well-rounded education. Strong sepia tones dominate the whole scene, with the occasional touch of deep blue to emphasize the eyes and the inky trunk of the willow tree. There are many symbols of mourning present in this piece. As was typical of the Neoclassical period of mourning art, a dominant weeping willow tree, symbolic of grief and sorrow, arches gracefully over the urn and plinth of Howard. Another tree, possibly an oak, is shown with a broken branch to signify the loss of life. Brown earth tones beneath the female mourner portray decay and mortality. The urn, made of felt, is a strong Neoclassical motif related to death and still in use to this day. It is a feature repeatedly seen in mourning pieces and is as central to the picture as the mourner. The fact that this particular urn is draped could possibly tell us that an older person is being mourned, perhaps a father figure to the female character. The urn sits atop a plinth, yet another mark of bereavement, and aids in elevating the urn skyward. Philanthropy at the tomb of Howard Photo: Chronica Domus This, our first piece of mourning art, has slowly evolved into a small collection that graces the walls of our home. Those pieces, however, are composed of an entirely separate element of mourning, something that would perhaps be considered macabre by many in today's world; human hair. I plan on featuring some of them in future posts. I hope you'll agree with me that this "long dead" genre of mourning our deceased, by way of such personal expression of creativity, is a fascinating subject. I feel honored to be the steward of Miss Haine's work; at least for this generation.
Victorian Mourning can be roughly divided into the years before and the years after Prince Albert’s death.However while its often assumed that queen victorias lifelong mourning radically affe…
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