The 18th Century Toilette Versus the Toilet

There are just some subjects that we, as humans, seem to want to shy away from discussing. Often this leads to scant primary source materials and later generations asking "How did they, you know...utilize the facilities?" As a professor I get this question from students sometimes, especially when they look at the voluminous gowns of the 18th century and the structured panniers, and it's quite natural for them to be curious about how people back then handled the call of nature. All euphemisms aside, our ancestors obviously had no greater ability to manage their bladders than we do, and must have had ways of coping with challenging clothing, and the evidence does exist for just how they did it. 

Exhibit A comes to us courtesy of the 18th century fad for utilizing everyday subjects to depict people in states of undress for titillation. Boilly is one of the best artists for getting an idea of the intimate and every day lives of people. As with the image to the left, wherein he immortalizes a woman at her bidet, he also depicted the lower classes such as servants and peasants, and moments that we would otherwise have only artifacts for, and no clear example of their use. Note that the device shown is like a backwards chair, and has a removeable pot so she can wash her most intimate areas. Most upper class women at least would have had something like this in their bedchambers, as this was prior to the introduction of bathrooms as separate spaces.

There was an exhibition back in 2016 that I sadly did not hear about until much later, presented at the Marmottan Monet Museum and entitled "The Toilet, the Birth of the Intimate," or in its original French "La Toilette: La Naissance de L'Intime." This fairly comprehensive collection features works on bathing and rituals of cleanliness throughout early modern history, which is to say from the Medieval period on. Happily, many of the works can still be seen on the website of the Huffpost article about it, including this very typically Boucher oil painting.

Francois Boucher also gave us this little gem called La Jupe Relevee, (circa 1742) which means The Raised Skirt, and if you've ever taken ballet classes you've probably been instructed to "relever" yourself, i.e. to rise up on your toes. Appropriately, however, the woman being depicted is not only raising her skirts but in the process of relieving (very similar word in English) herself into the narrow porcelain jug she holds beneath her skirts and between her legs. It's actually shaped rather like a modern gravy boat, and many show similar little hook handles exactly so as to make them harder to drop. And do we have examples of these types of porcelain jugs from the period? Why yes we do! The name of this surprisingly pretty item is a Bourdaloue, and they could be used either in the privacy of one's own chamber, in a carriage over a long journey, or even as necessity called when visiting with friends (though one suspects a discreet screen would have been provided at the very least as well).

Note the lid to enclose unpleasant odors. While it may have been possible for a lady to utilize this device on her own as in Boucher's image, it would have been made much easier by having a maid relever her mistress' skirts for her, and then take the full container away to empty.

Many of you will be familiar with the French word Toilette as it is used to described a long, drawn out dressing ceremony which began with Louis XIV and then gradually trickled down through his nobles. I like to hold a mock one when teaching this time period with my students. The term is applied to dressing in general, so it's sometimes confusing for English-speakers, especially those, like my students, who think of toilets as being the same in use as a bourdaloue, but obviously the dressing ceremony and the modern word, have little in common- Not that there isn't still the possibility for humorous confusion of purpose! Many years ago my parents were at an antiques auction in England and bid on, and won, a very sturdily-built wooden chair. Bewildered by the elderly gentleman sitting upon it who bemusedly quipped "Mind if I finish using it first?" They later realized that the seat, covered by a cushion, raised to reveal an inset bowl. They had unknowingly purchased a rather discreet chamber pot, which they own to this day.

And We're Back! (With A New Project)

Bonjour world! It's been many (six?!) years since I last updated this blog. In a nutshell, life and work became crazy and difficult and terrible and full of change and renewal. Like many of you, quarantine life has afforded me some time to recall the things that I enjoyed doing and to refocus my energy. For those who enjoyed the Diary entries from my fictional 18th century counterpart, I suspect she'll be back shortly, so look out for more missives coming soon! 

One of the things I have been busy with in the intervening time is buying my first home and fixing it up. It's not a grand chateau or anything (although have you seen the prices of derelict chateaux these days?!? It's enough to make one consider really moving to France.), but it is home and it is mine. It's great in that it is quite enough space for me, but not too much space to take care of; however I have always felt the lack of a fireplace. I'm cold by nature. I was on a tour of Jerusalem a couple of years ago and my guide kindly informed me that cold hands mean a warm heart, I hope he's right. The idea of walking into my home after work on a winter's day, or coming in from gardening in the autumn, to a fire in the hearth is appealing on many levels. So fast forward to a few days ago when I was trawling the internet and stumbled across this absolute find from Vintage American Home.

It's not often that you can find a genuine 19th century antique fireplace for under a few thousand dollars (or pounds in this case); although if you're persistent bargains do pop up sometimes, as in some ebay listings. Just be sure to double-check on shipping costs or pick-up requirements. I've seen many listings where the shipping was more costly than the item!

The next step will be to acquire a fireplace insert, since the house obviously doesn't have a chimney and can't support a real fire. I'm leaning towards one from Wayfair at present, since I have had good experiences with several of their products in the past.

Now, obviously Greek Revival is a mid-19th century style, not in keeping with my 18th century proclivities; but the two time periods share a love of classical elements in part due to the excavations of Pompeii and Herculaneum beginning in the 1730s and 40s. This is why it is not uncommon to find fluted columns and laurel wreaths as motifs in both Neoclassical architecture and Greek Revival. 

The other reason, of course, is that on either side of the pond, both in Europe and in America, there were shifts in social identity. In Europe Rousseau's philosophies were influencing people to look to the past for examples of a simpler style to contrast the ostentatious ornamentation of the Rococo swirls and florals. The Revolutionary French government and its supporters likewise hoped to utilize the imagery of the idealized Greek city state to help legitimize the new regime. 

Meanwhile in America a new sort of gentry was trying to create their own style and legitimacy. Southern landowners saw themselves much as the elites and cultural aristocrats of their new nation, and as the United States moved into the new century they adopted Neoclassicism with their own twist which eventually developed into the Greek Revival style seen so often in plantation homes and civic buildings of the mid-19th century. 

When I saw the dentil molding, fluted Ionic columns, and wreath motif I recognized the Greek Revival style and thought it would suit my sitting room very well. Although it is quite a large piece at 47" x 58" it so happens that the room in question is by far the biggest in the house with a vaulted ceiling and one blank wall between a window and the back door, which is the focal point as soon as you step through the front door into the entry hall. The real bonus is that it had previously been restored with a bit of blue accent painting, which makes it perfect for my already cream and blue theme. 

The next steps will be to sand down the rough and chipped paint, repair the weak areas in the woodwork, and build out the box at the back to accommodate the full insert. It will actually be very hard to find an insert that fills the whole opening, but here a fault is actually an opportunity because I have a small collection of Delft-like blue and white tiles that I will cover an interior section with to create the perfect frame for my new fireplace.

Court Presentation in France- Part 1

While preparing a more detailed post on the event known to us as Presentation at Court, I came across a publication called "Notice Historique sure les Honneurs de la Cour", and yes, it's in French. I'll try to post a translation online somewhere, when my brain feels up to the task of seven pages.

Here are some very basic things to know about court presentation in France in the 18th century:-
1) It was a much more formal event for a woman than it was for a man. He might make his introduction to the king by way of traveling along on a hunting expedition. The level of careful ettiquette required of a woman was a lot higher.
2) Regardless of gender the person to be presented had to prove first that their family had been of the aristocracy as far back as 1400, and they had to find someone who had already been presented at court who could then present them. (For our heroine, Olympe's mother could not present her because she had never been presented at court herself, but her cousin, Marie-Louise de la Tour d'Auvergne, could.)
3) Typically women presented women, and men presented men. It never hurt to have multiple people of high rank in your party during the presentation, regardless; especially if the person being presented was being launched onto the marriage market.
4) There were exceptions to the rule. People who were not of long-ennobled families could apply to be presented if they had other appropriate credentials, such as serving with distinction in the military or trade, being a foreign diplomat, or just having pleased the monarch in some way.

Truth vs, Fiction

Olympe is headed back to Paris again, bringing our story more or less full circle from a year ago, but since that time there have been new characters, some whom have fallen out of sight at present and some of whom have died; but how much of this is fiction and how much of it is real?

In 1780 Louis XVI really did declare an end to torture as a means of extracting information from suspects. That year he would also order wounded enemies to be treated with the same care as his own subjects, free serfs from being tied to the land and unable to leave without the will of their lords, and took an interest in the cleanliness of the prisons in his kingdom.

What about Olympe's invitation to the Chateau Saint-Martin-du-Tertre? It's also known as the Chateau de Franconville, and is a real place. The last of the Marquis' to inhabit it and hold the title of Franconville was, however, not Olympe's friend F-, but Adelaide Genevieve Felicite O, who being a woman could not pass the title on after her death 1824. She did, however have a son named Louis Leon Felicite Brancas (whose first wife died at the guillotine in 1794), and if we stretch the truth a little that son born in 1733 had a son named Louis in 1759 who (had he actually lived past infancy) could conceivably have been the F- of our story.

Lastly, that oboe concerto by Handel? Maybe it was this one composed in 1740, making it forty years out of date at the time of Thierry's supper party; but then that is the point.

The Spaniel, Part Deux

Back in February I posted about the spaniel in the 18th century, and since then I have noticed a huge number of portraits that feature them. My attentiveness is probably due to the mind-control exerted by my Queen, Mistress, Owner, puppy; Reinette, "Little Queen". For anyone who hasn't already heard this, "reinette" was the nickname of Madame de Pompadour after a fortune-telller predicted that she would rise to become the mistress of a King.

Some of my favorite portraits:-

Chocolate DrinkersLady at her desk by Boilly

Mme de Pompadour en deshabille by Boucher

Queen Charlotte 1781

The Stationery Search

I promised I would tell you more about my search for 18th century stationery, so here it is.

Stationery, meaning specialized paper products, has been around since the Middle Ages at least and was once the domain of stationers who had permanent shops mainly near Universities and government centers where paper usage was at its highest. They were responsible not only for paper supply, but also for publishing and copyright privileges. While beautiful and customized stationery would not become truly de rigeur until the Victorian era, nice handwriting and good quality papers and seals were still a recognized status symbol in the 18th century.

"You write with ease, to show your breeding."- Richard Brinsley Sheridan

Here are a few modern options for those fine writing supplies you'll need in all of your correspondance.

Sullivan Press has a set of paper, ribbon, quill and ink available in the style of the Revolutionary War era. Includes instructions on creating envelopes and examples of calligraphy. Retails for $7.50.

Want something a little more whimsical? Check out these Marie-Antoinette-inspired cards from Paper Nosh. They are part of an entire series of 18th-century themed stationery; cards, paper, invitations, and postage. They even come custom-wrapped in beatiful boxes with bows for no additional charge.

Got wax? These chess-piece shaped seals are reproductions of 18th century chess pieces and come custom-cut with your very own design. $150.00 each from Wax Works.

Need advice on how to use your new sealing wax and stamper? Jas Townsend and Son have a video tutorial just for you!

My best friend and I still send letters back and forth and it is traditional for us to give each other special stationery for Christmas. Maybe this year I'll add some sealing wax and stamps to the bundle!

The Year 1779

1779 was one day ahead of us in the week, for example if today is a Sunday then for them it was a Monday.

After the entrance of Spain into the American War of Independence (a de facto alliance, though not official), not much happened for the next month in terms of European politics. In America there continued to be battles, but really until the siege of Grenada by the French very little of it would have any impact at all on the life of those back in France.

For anyone reading and interested, like me, in what happened on any given day in history I refer you to the History Channel's website, which can be found by clicking the title at the top of this post.

The painting above is The Love Letter by Fragonard, who remains one of my favorite artists.

Why all the pictures?

Why indeed!?

You may have noticed that at the start of each diary entry the picture is of some article of clothing, a full outfit, or an original painting from the 18th century. All of these date to the 1770s or early 1780s, in accordance with our year of 1779, so I like to think of them as what Olympe is either wearing or seeing in her world.

It is interesting to note the continued use of the robe a la francais, which was at the zenith of its popularity when Olympe was born, but which remained in use long after, especially for court occasions. Though supplanted by the more fitted robe a l'anglais, the francais could be easily looped up to convert it into the style of a polonaise, which was extremely popular in the 1770s. So when Olympe talks about having her dresses remade, this is exactly what she intends; for even the rich knew it was less-expensive to adapt clothing than to have all new ones made.

The whole idea of the blog is, after all, to get a better sense of what the life of someone in her position would have been like on a very personal level. There is a lot of research still to do, always, but I find that to be part of the fun!

Saint Saturnin and other estates

Olympe, what is that beautiful picture at the top of your blog?

So glad you asked! (Even though you didn't) It is the Chateau of Saint-Saturnin, ancestral seat of the De la Tour family, who were, in actuality, Counts and Countesses of Auvergne.

Auvergne, as a region, is located sort of in the lower middle of France. It was a very volcanic area eons ago, and so there are a lot of mountains and good, black volcanic earth for growing crops.

There are four major regions within the province, and it can get confusing sometimes when researching Auvergne because the boundaries now aren't quite the same as before the revolution. Shocker.

Saint-Saturnin the village, is located in the area known as Puy de Dome, referring of course to those aforementioned dead volcanoes. Technically the de la Tour family bred too many girls and lost the County and castles to the French crown when Catherine de Medici inherited their claims, but in my alternate history they continued to hold it at least up until Olympe marries and transfers it to the control of her husband's family. They could, on the other hand, make an agreement similar to many others (like the Bowes-Lyons of England) and insist that any man marrying her has to take their family name as well, hyphenated of course. This was quite common, which is how you get people with names like 'Cretien de la Motte de Viviers Sur la Loire, Comte de Provence" Okay, I made that one up, but it happened.

The page for Saint Saturnin is http://www.route-chateaux-auvergne.org/Chateau_de_Saint_Saturnin_anglais.htm I bookmarked the English version for you, so enjoy. Of course, in my version since the family continued to hold it, the castle has undergone slightly more renovation, but I imagine the outside would look largely the same.

Naturally, holding the whole region, they have other castles, but this one is their seat and remains Olympe's preference, outside of Riom (the capital of Auvergne), and Versailles (ostensibly the capital for french nobility at the time). For information on other possible castles see http://pagesperso-orange.fr/chateau.de.la.vigne/en/index.htm http://www.chateau-de-val.com/ http://www.route-chateaux-auvergne.org/Chateau_de_Lespinasse_anglais.htm http://www.route-chateaux-auvergne.org/Chateau_Opme_anglais.htm

Or for a complete list of the castles of Auvergne itself (not necessarily related to the family), see http://www.route-chateaux-auvergne.org/liste_anglais.htm.

And you thought knowing which fork to use was confusing?

Brought to you by our friends at Historic Foods, this excerpt not only traces the development of the "dessert" and "fruit" courses at the end of a meal, but also illuminates the etymology of the words themselves. Like all the best English words, they're French. Naturellement!

"The Court Dessert in Eighteenth Century France"

"The elaborate dessert course of the eighteenth century was a direct descendant of the voidée, a court ritual of the medieval period, when the sovereign rose at the end of the meal to consume sugared anise and carraway seeds (dragées) and spiced wine (hippocras). As well as these medicinal aids to royal digestion, he also ate a wafer (gaufre) with the sweet wine, as a eucharist-like thanksgiving. After washing his hands the king then left the table, which was cleared. Both the verbs voider and desservir mean to clear the table - so dessert is a later synonym for voidée. However, in the eighteenth century the word dessert was considered to be a bourgeois term, the correct name at court for this final service of the meal being 'fruit'."

Be sure to follow the link to their website and check out the full article, not mention their incredible displays!