ALL THINGS GEORGIAN : TALES FROM THE LONG EIGHTEENTH-CENTURY
By Joanne Major and Sarah Murden
Pen & Sword Books. 170 pages. £16.99. ISBN 978-52675-785-2
HOGARTH : PLACES AND PROGRESS
An exhibition at the Sir John Soane’s Museum,
TWO LAST NIGHTS! : SHOW BUSINESS IN GEORGIAN
An exhibition at The Foundling Museum,
Reviewed by Jim Burns
The “long eighteenth century” ran from the late-seventeenth century
to the eighteen-thirties, according to the authors of this book. And
it’s probably fair enough to accept that, from the point of view of
manners and morals, there was a kind of continuity of behaviour that
marked the period concerned. After 1830 or so things began to
change. Queen
It may be that, because things appeared to be much more on display
in the eighteenth-century, there is a greater level of material to
be drawn on when surveying the relevant years. Think of Hogarth,
Rowlandson, Gillray, and others. Artists satirised the antics of the
upper-classes, and in Hogarth’s case laid down morality tales about
wastrel young men disposing of their inheritances in riotous living,
and innocent young women being drawn into lives of depravity. The
lower-classes didn’t come off any better and were shown as addicted
to drink and cruel sports. It could all be made to seem great fun,
as in Pierce Egan’s Life in
London, which chronicles the “rambles and sprees” of Jerry
Hawthorn, Corinthian Tom, and Bob Logic.
All Things Georgian
doesn’t claim to be a complete history of the Georgian era, but
instead selects certain individuals and incidents to illustrate
certain aspects of a time when society was in a state of flux,
cities were rapidly expanding, and it was often easy for those with
a flair for flamboyant persuasion, and the gift of the gab, to
re-invent themselves. Sarah Wilson was a kitchen-maid in a “grand
home in Leicester Fields (now
When she re-appeared, it was in Great Budworth in
Her mistake appears to have been that she returned to
Con-artists are known in every age, of course, but Sarah perhaps
succeeded easily with her frauds because communications were limited
in the late-eighteenth century, and once out of
Actresses frequently crop up in
All Things Georgian where
they beguile earls and dukes, and become mistresses of princes and
even kings. Elizabeth Hartley “was a striking red-headed beauty with
a lively disposition”.
Like some other celebrated females, she seems to have spent some
time working in a brothel run by a Mrs Kelly. Emma Hamilton, who
later married Lord Nelson, also functioned as one of Mrs Kelly’s
girls. The celebrated painter¸ Sir Joshua Reynolds, painted
Hartley’s portrait while she was living with Kelly, but she soon ran
off with a young man who frequented the establishment. When they
were short of money she was persuaded to go on the stage, an
occupation which wasn’t looked on as respectable in polite circles,
even if wealthy and titled men competed for the favours of
actresses. She had more than one affair, and there was even the
threat of a duel being fought over her, but when her health declined
she retired and lived quietly until she died at the age of 73.
She wasn’t as colourful as Lavinia Fenton who was said to have been
a “whore, waitress and barmaid” before taking to the stage, where
she was a great success in John Gay’s
The Beggar’s Opera. She
attracted the attention of the Duke of Bolton, and Hogarth portrayed
them both, she on stage, he looking on, when he painted a scene from
the opera. She lived as
Every age has its characters, but the eighteenth century seems to
have abounded in them. The “wicked” Lord Lyttelton “enjoyed a
reputation as both a libertine and a politician”. Like many men of
his kind he was always on the lookout for a woman with money, and he
married a wealthy widow primarily for the £20,000 she had. When the
ceremony was over he promptly left for
It’s not all flighty women and money-grubbing men. The parade of
oddballs and eccentrics includes Sir Joseph Banks, a botanist and
naturalist with a place in history. He accompanied Captain Cook on
one of his voyages to the Pacific where, when they landed in Tahiti,
Banks found himself a compliant female companion despite having left
behind a fiancé in
Arsonists, including one, a religious maniac, who attempted to burn
down York Cathedral, make an appearance. And there was Jenny
Cameron, a “Female Imposter” who wore male clothing and claimed to
have fought alongside her husband, an officer in Bonnie Prince
Charlie’s army when the Jacobite cause received its death blow at
Culloden. There were attempts to assassinate Royalty which were
usually the actions of deranged people who went to the asylum and
not the gallows. And the “Resurrection Men”, or body-snatchers as
they were commonly known, who specialised in digging up fresh bodies
and selling them to medical schools so student could practice
dissection. If caught, the common thieves were usually punished
while the surgeons and others who encouraged the practice were
invariably never prosecuted. They even justified it as a necessity.
Coffee-houses, balloon-flights, a zebra given as a gift to Queen
Charlotte, which became an object of attention, (Stubbs did a
painting of the animal) and was popularly known as “The Queen’s
Ass”, smugglers, and
much more can be found in the pages of this entertaining, if
capricious (in terms of the selection of material) book. It’s
anecdotal, and anyone wanting a deep survey of social and economic
factors relating to Georgian Britain will need to look elsewhere.
But it is lively and well-illustrated, and in a small way can be
quite instructive about social class and its effects. The means by
which women, in particular, were very much at the mercy of men are
easy to discern as their stories unfold. Brothels and/or the stage
were often how to avoid poverty and sometimes climb higher up the
social ladder. When a woman had money and position she was
frequently a target for adventurers, and could easily be stripped of
her fortune and then deserted. The Georgian Age had its colourful
side, but also its darker aspects which are too easy to overlook.
It makes me wonder whether the unnamed woman made pregnant by Joseph
Banks had occasion to visit The Foundling Hospital where unwanted
babies could be handed in and cared for? An exhibition at the
William Hogarth was well-aware of the pitfalls facing many people in
London, and his series of paintings, “A Rake’s Progress” and “A
Harlot’s Progress”, had a moral purpose as they traced the downfall
of a young man foolishly squandering his inheritance in brothels and
gambling dens, and a similar story of a naïve country girl arriving
in the city and being enticed into prostitution. Hogarth painted
other series, including “The Humours of an Election” and “Marriage a
la Mode”, and they are all to be seen in the small exhibition at the
Soane’s Museum. There are also gems such as the familiar “
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