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Links to 1820 Pages on Other Web Sites; Links Last Verified 4/27/4; Last Update 5/1/4
See Wikipedia's 1820 Page and the 1820 Calendar; Brainy History also has a 1820 Page
See paintings and prints made in 1820, such as Louise-Adeone Drolling's Interior with Young Woman Tracing a Flower (c. 1820-1822); Map of New York State
Here are some buildings of 1820: (1) Simsbury 1820 House of Simsbury, CT (2) The Lucy Byrd Chason Cabin in Florida(3) Saltbox 1820 Cottage of Niagara-on-the-Lake, ON (4) Orland House of Orland, ME (5) Long House of Becket, MA (6) The Farm House of Gaysville, VT (7) Buttermilk Falls B&B of Ithica, NY (8) The Nicholson House Inn of Athens, GA
Other sites of interest are (1) the Missouri Compromise (2) Chicago in 1820 (3) Glasgow, Scotland in 1820 (4) 1820 US Presidential Election
Charlton, Mary. Grandeur and Meanness.
Maturin, Charles Robert. (1780-1824) Melmoth the Wanderer: A Tale. The novel is a collection of nested tales rather than a coherent, linear narrative. Some of the tales are truly horrific, featuring disgustingly evil characters. I've never been able to bring myself to reread it, but then I really dislike horror novels and movies. The structure of the novel is very intriguing.
Roche, Regina Maria. (1764?-1845) The Munster Cottage Boy. A Tale London: Minerva Press for A. K. Newman and Co., 1820.
Ashfield, Helen. [Pamela Bennetts] Sapphire. 1985. The Regency Jewel Series 2. NY: St. Martin's P, 1986.
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Print of Queen Caroline from the collections of William H. Helfand and Jack Gumpert Wasserman. The Queen wears a turban with a lace veil over a dress with a v-necked ruff. Permission to reproduce print granted by Jack Gumpert Wasserman. See The End of an English Royal Marriage! George IV and the Trial of Queen Caroline for Adulterous Intercourse: An Exhibition from the Collections of William H. Helfand and Jack Gumpert Wasserman, January 22 - March 21, 1997. New York: The Grolier Club, 1997. |
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Ball Dress, 1820. Clusters of pink roses and bands of white lace trim this pretty ball gown. A wreath of pink roses is the only headdress, while a diamond and ruby necklace adorns the lady's neck. Note how short the skirt is, showing much ankle. |
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Bonnets, 1820. This is actually a scan of a 1920 reprint of the original print and is slightly off in color and line. |
Left: Court Dress. A short point lace overdress in pattern of roses, thistle, and shamrock, tops a heavily trimmed blue satin petticoat. The blue satin petticoat has silver lame and foil trims on ever side of a band of white and pale blue roses. The robe is of blue, and the back corsetted. A profusion of ostrich plumes droop over a pearl bandeau.
Right Evening Dress. Black silk roses and leaves form two large bands around the hem of this dress of white crinkled silk spotted with white satin. The bodice of the dress is fake black velvet. The lady wears a wreath of white flowers in her dark hair. We can imagine how striking this black and white dress appeared at an evening musical. The lady holds her music, ready to approach her instrument to perform. Perhaps she plays the pianaforte, like Elizabeth Bennet and Georgiana Darcy in Jane Austen's Pride and Prejudice, 1813. Or she could play the harp, like Juliet in Frances Burney's The Wanderer, 1814.
Cottage Dress. Part
of the vogue for the simple life, this dress is supposed to be rustic! The fancy
trim of the peach satin ribbon on the "apron," however, points out the complete
impracticality of such a gown for real work. The lady here is flirting with
gardening, in her gown with "peasant's apron." The abundance of peach satin
trim on the hat and gown and the precise care with which the peach hankerchief
is "carelessly" tied around the neck are clues that this is the height of fashion
and not a dress for real work.
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