#Alexis-Simon Belle

[gogmstuff]

1724 Madame de La Sablonnière et de sa fille by Alexis-Simon Belle (Musée des Beaux-Arts de Pau - Pau, Pyrénées-Atlantiques, Nouvelle-Aquitaine, France). From pop.culture.gouv.fr-notice-mnr-MNR00087; fixed spots w Pshop 2781X3635. This one had many, many spots making it hard to determine what was in between them.

[history-of-fashion]

1714 Alexis Simon Belle - Portrait of Sir Carnaby Haggerston

(National Gallery of Ireland)

[dreamconsumer]

Portrait of Élisabeth Charlotte d'Orléans (1676-1744) and her son, future Francis I, Holy Roman Emperor (1708-1765). By Alexis Simon Belle.

[ourstaturestouchtheskies]

florence + the machine lyrics x colors x textiles in art — yellow/gold

Rabbit Heart (Raise It Up) – Lungs // Portrait of Princess Maria Clementina Sobieska – William Mosman 👑 Only If For a Night – Ceremonials // Isabelle de Bourbon, Infanta of Parma – Jean-Marc Nattier 👑 Over the Love – Over the Love // Portrait of Archduchess Maria Maddalena of Austria – Frans Pourbus the Younger 👑 Over the Love – Over the Love // Portrait of Isabella Charlotte of Nassau-Dietz as Flora – Lancelot Volders 👑 King – Dance Fever // Portrait of Konstancja Krystyna Wielopolska – Pierre Mignard I 👑 Girls Against God – Dance Fever // Portrait of Barbara of Portugal, Queen of Spain – Jean Ranc 👑 Heaven Is Here – Dance Fever // Princess Louisa Maria Teresa Stuart – Alexis Simon Belle

[lauren-adassovsky]

Inspired by Alexis Simon Belle, Van Der Helst, De Largillière

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[charlicpace]

name masterlist: love island uk edition ! some folks like to stick to names that are more 'realistic' & my favourite place to look for those names is reality tv, because... well, that's their names ! so here's a list of every name that's ever popped up on the uk version of love island ( seasons 1-8 ) so all these names are perfect for characters aged 18-40 if we're going off ( uk-based ! ) actual likelihood.

aaron

abigail

adam

afia

alex

alexandra

alexi

amy

anna

andrea

andrew

anton

amber

amelia

arabella

belle

ben

bethany

billy

biggs

brad

brett

callum

cally

camilla

cara

caroline

charlie

ched

cheyenne

chloe

chris

chyna

clarisse

coco

craig

curtis

daisy

dale

dami

dan

daniel

danielle

danica

danny

darylle

davide

dean

deji

dennon

demi

dom

ellie

elma

ellisha

emma

eva

eve

ekin-su

eyal

faye

finn

francesca

frankie

gabby

gemma

george

georgia

grace

greg

hannah

harley

harry

hayley

hugo

iain

idris

ikenna

india

jack

jacques

jade

james

jamie

jake

javi

jay

jazmine

jess

joanna

joe

john

jonny

jordan

josh

kady

kalia

katie

kaz

kazimir

kem

kendall

kieran

lacey

laura

lauren

lavena

lexi

liam

liana

liberty

lillie

lucie

lucinda

luis

luke

malia

malin

marcel

marino

maura

maria

mary

marvin

matthew

maya

max

medhy

megan

michael

mike

molly

montana

nabila

naomi

nas

natalia

nathan

niall

olivia

oliver

ollie

omar

ovie

paige

paul

poppy

priscilla

priya

sam

salma

samira

savanna

scott

shannen

shaugna

sharon

sherif

siannise

simon

sophie

summer

stephanie

stevie

steve

rachel

rebecca

remi

reese

rob

rosie

rykard

tasha

teddy

terry

theo

tina

toby

tom

tommy

tony

travis

troy

tyla

tyler

tyne

wallace

wes

yewande

zara

zoe

[amphibious-thing]

OFMD Stede Bonnet as a Macaroni: Wealth, Gender and Sexuality in the 18th Century Fashion World

Historical Inaccuracy in Our Flag Means Death? Never!

Historical inaccuracy! I hear you cry. A Macaroni in 1717!?! It is true macaroni fashion was really a late-18th century fashion trend, seemingly reaching its peak in the 1770s. However Our Flag Means Death is nothing if not historically inaccurate. Stede’s costumes seem to take inspiration from across the 18th century rather than worrying about what would have actually been worn in 1717.

Early 18th century suits tended to have round necklines, loose-fitting sleeves with wide cuffs, long waistcoats that stoped just above the knee, and coats with full skirts just a little longer that the waistcoat.

[Left: Matthew Prior, oil on canvas, c. 1713-1714, by Alexis-Simon Belle, photo credit: St John's College, University of Cambridge, via Art UK.

Middle: Matthew Hutton of Newnham, Hertfordshire, oil on canvas, c. 1715, by Johannes Verelst, photo credit: National Trust Images, via Art UK.

Right: William Leathes, Ambassador Brussels, oil on canvas, c. 1710-1711, by Herman van der Myn, photo credit: Colchester and Ipswich Museums Service: Ipswich Borough Council Collection, via Art UK.]

As the century continued we get standing collars and turned down collars but round necklines were still around as well, sleeves got tighter with smaller cuffs, the waistcoats got shorter and the coats lost their skirts.

[Left: Thomas ‘Sense’ Browne, oil on canvas, c. 1775, by Nathaniel Dance-Holland, photo credit: Yale Center for British Art, via Art UK.

Middle: Sir Brooke Boothby, oil on canvas, c. 1781, by Joseph Wright of Derby, photo credit: Tate, via Art UK.

Right: David Allan, oil on canvas, c. 1770, by David Allan, photo credit: Royal Scottish Academy/National Galleries of Scotland (Antonia Reeve), via Art UK.]

Stede’s collars are inconstant some are rounded but others are turned down and Ed’s purple suit has a standing collar. Many of Stede’s coats have wide cuffs, but most have little skirt to them. His teal suit from the pilot has a bit of a skirt but its paired with a short waistcoat.

Most of Stede’s waistcoats are short with the exception of his suits from both the wedding portrait with Mary and the the family portrait. Both suits are very straight giving him a boxy appearance and are pretty different from most of the suits we see him in.

All in all I don’t think they were aiming for historically realistic clothes but with the collars, short waistcoats, and lack of skirts I get more of a late-18th century vibe.

So what was a Macaroni?

A Classical Dictionary of the Vulgar Tongue (1785), defined macaroni as follows:

An Italian paste made of flour and eggs; also a fop, which name arose from a club, called the maccaroni club, instituted by some of the most; dressy travelled gentlemen about town, who led the fashions, whence a man foppishly dressed, was supposed a member of that club, and by contraction stiled a maccaroni.

The macaroni club was said to have comprised of young men who had gained a taste for French and Italian textiles on their Grand Tour (a traditional trip taken tough Europe by upper class men when they came of age). The earliest reference to the club is from a letter from Horace Walpole to Lord Hertford on the 6th Feb 1764:

at the Maccaroni Club (which is composed of all the travelled young men who wear long curls and spying-glasses),

In his book Pretty Gentleman: Macaroni Men and the Eighteenth-Century Fashion World Peter McNeil suggest the club was actually Almack’s. Almack’s was a private club at 50 Pall Mall that was attended by prominent Whigs including Sheridan, Fox and the Price of Wales. (p52) While the name may have originated from the men at Almack’s it was soon used to describe any man who followed the associated fashion trends.

So what were these trends?

Hair

“Still lower let us fall for once, and pop

Our heads into a modern Barber’s shop;

What the result? or what we behold there?

A set of Macaronies weaving hair.”

~ The Macaroni by Robert Hitchcock

Probably the most iconic aspect of macaroni fashion was the hair. “It was the macaroni attention to wigs that caused most consternation” explains Peter McNeil. The macaroni hair “matched the towering heights of the female coiffure, with a tall toupee cresting at the centre front. The wig generally had a long tail at the neck (’queue’), which when folded double was called the ‘cadogan’, all of which required regular dressing with pomade and powder, sometimes in the colours of pink, green or red.” (p45)

The height of the macaroni hair was a point of particular fascination in macaroni caricature exaggerating it beyond what the macaroni were probably actually wearing. Compare below Tom’s hair in the satirical print What is this my son Tom to the self portrait of Richard Cosway, who was satirised by Mary Darly as “The Miniature Macaroni” (a reference both to his height and his career as a miniature painter).

[Left: What is this my son Tom, print, c. 1774, published by Sayer & Bennett, via The British Museum.

Right: Self-Portrait, Ivory, c. 1770–75, by Richard Cosway, via The Met.]

The way Stede usually wears is hair is not particularly macaroni nor particularly 18th century for that matter. The exception to this is his wig from The Best Revenge Is Dressing Well though even this doesn’t have the iconic macaroni hight.

Interestingly both Stede and Ed are wearing flowers in their hair. While there are certainly depictions of women with flowers in there hair I’m not aware of this being a trend in mens fashion at all. However macaroni were known for wearing large nosegays.

While the tall hair was certainly iconic not all macaroni wore their hair tall. Joseph Banks, who was satirised as “The Fly Catching Macaroni” by Matthew Darly, is depicted in his portrait with a fairly typical 18th century hairstyle. Its not the hair alone that makes a macaroni, it was just one aspect of the fashion.

[Sir Joseph Banks, oil on canvas, c. 1771-1773, by Sir Joshua Reynolds, via Wikimedia.]

Suit

“If I went to Almack’s and decked out my wrinkles in pink and green like Lord Harrington, I might still be in vogue.” ~ Horace Walpole to Lord Hertford, 25 Nov 1764

Menswear of the period consisted of the same basic elements; shirt, stockings, breeches, waistcoat and coat. What differentiated the macaroni from others was the fabric, cut, colour and trimmings of the suit. “At a time when English dress generally consisted of more sober cuts and the use of monochrome broadcloth,” explains Peter McNeil “macaronism emphasised the effects associated with French, Spanish and Italian textiles and trimmings”. Popular amongst macaroni were brocaded and embroidered silks and velvets, sometimes further embellished with metallic sequins, simulated gemstones and raised metallic threads. Popular colours included pastels, pea-green, pink, red and deep orange. (McNeil, p30-32)

Far from wearing “monochrome broadcloth” Stede likes a “fine fabric” and dresses in a range of colours, we see him in teal, pink, purple, green, white, red, peach &c.

Tightly cut French style suits known as habit à la française were popular with macaroni. (McNeil, p14) Stede’s suits vary somewhat in cut but some are very French. The peach suit Stede wears in We Gull Way Back particularly has a very macaroni feel to me. Compare it to the English suit (left) and the French suit (right).

From the back you can see the English suit has more of a skirt to it.

Both Stede’s suit and the French suit are somewhat plain but have been paired with a floral embroidered waistcoat, while the English suit has a matching plain black waistcoat.

[Left: English suit, wool, silk, c. 1755–65, via The Met, number: 2009.300.916a, b.

Right: French suit, Silk plain weave (faille), c. 1785, via LACMA, number: M.2007.211.47a-b.]

Fabric covered button’s were common in the 18th century, you can see them on both the French and English coats above. In contrast Stede wears a lot of metal buttons. Steel buttons were popular amongst macaroni, a trend that was satirised in Steel Buttons/Coup de Bouton.

[Steel Buttons/Coup de Bouton, print, c. 1777, by William Humphrey, via The British Museum.]

Pumps and Parasols

“Maccaronies who trip in pumps and with Parasols over their heads” ~ Mrs Montagu

High heels had been popular amongst men during the 17th century. The Royal Collection Trust explains:

In the first half of the 17th century, high heeled shoes for men took the form of heeled riding or Cavalier boots as worn by Charles I. As the wearing of heels filtered into the lower ranks of society, the aristocracy responded by dramatically increasing the height of their shoes. High heels were impractical for undertaking manual labour or walking long distances, and therefore announced the privileged status of the wearer.

(Royal Collection Trust, High Heels Fit for a King)

In 17th century France Louis XIV popularised red-heels by turning them into a symbol of political privilege, which in turn spread the fashion to England. But with the sobering of menswear in England around the turn of the century the high heel and the red-heels went out of fashion. (see Bata Shoe Museum Toronto, Standing TALL: The Curious History of Men in Heels)

The high heel had a bit of a resurgence in the 1770s with macaroni fashion. The Natural History of a Macaroni snipes that the macaroni’s “natural hight is somewhat inferior to he ordinary size of men, through by the artificial hight of their heels, they in general reach that standard”. (Walker’s Hibernian Magazine, July 1777, p458)

Red-heels were reintroduced to England by young men returning from their Grand Tours. A young Charles James Fox (satirised by Mathew Darly as “the Original Macaroni”) wore such French style red-heeled shoes. The Monthly Magazine recalls a young Fox as a “celebrated “beau garçon” with “his chapeau bras, his red-heeled shoes, and his blue hair-powder.” (Oct 1806) and The Life of the Right Honorable, Charles James Fox recalls him in his “suit of Paris-cut velvet, most fancifully embroidered, and bedecked with a large bouquet; a head-dress cemented into every variety of shape; a little silk hat, curiously ornamented; and a pair of French shoes, with red-heels;” (p18) And in Recollections of the Life of the Late Right Honorable Charles James Fox B.C. Walpole recalls him as “one of the greatest beaus in England,” who “indulged in all the fashionable elegance of attire, and vied, in point of red heels and Paris-cut velvet with the most dashing young men of the age. Indeed there are many still living who recollect Beau Fox strutting up and down St. Jame’s-street, in a suit of French embroidery, a little silk hat, red-heeled shoes, and a bouquet nearly large enough for a may-pole.” (p24)

Compare the French style red-heeled shoes of Louis XIV to Stede’s red-heeled shoes.

[Left: detail of Louis XIV, oil on canvas, c. 1701, by Hyacinthe Rigaud, via Wikimedia.]

However most macaroni were depicted wearing the more standard late 18th century low-heeled bucked shoes. Where they distinguished themselves was the size and decoration of the buckles. “Such buckles could be set with pate (lead glass) or ‘Bristol stones’ (chips of quartz), or diamonds if you were very rich.” Explains peter McNeil, “The new macaroni fashion was for huge silver or plated Artois shoe buckles which the Mourning Post claimed weighed three to eleven ounces.” (p90)

While certainly not as iconic has his heels Stede also wears these sorts of shoes. Compare below the shoes from a macaroni caricature to Ed wearing Stede’s shoes (I couldn’t get a good shot of Stede wearing them).

[Left: detail of How d'ye like me, print, c. 1772, published by: Carington Bowles, via The British Museum.]

“A great many jewelled accessories accompanied the macaroni look”, writes Peter McNeil, “They included hanger swords, very long canes, clubs, spying glasses and snuff-boxes.” (p68) Tragically we don’t see Stede with a fashionable dress sword or a cane but we do see him with another accessory popular amongst macaroni; a parasol.

Popular in France parasols/umbrellas were adopted by the macaroni. They were popular amongst both men and woman in France but in England they had a feminine connotation. (McNeil, p129) In the 1780s as umbrellas became more popular amongst men there was a cultural pushback to the perceived gender transgression. On the 16th of August 1780 the Morning Post complains of of the “canopy of umbrellas” bemoaning that “the effeminacy of the men, inclines them to adopt this necessary appendage of female convenience”. On the the 4th Oct, 1784, the Morning Chronicle published a letter complaining of “that vile foppish practice of sheltering under a umbrella”. The author of this tirade writes that while “the ladies should be allowed to secure their beauty and persons from the heat of the sun, or the inclemency of the weather,” because “it is natural, and has a striking effect”, that “to see a great lubberly cit, bounce from his shop, with a coat, hat, and wig that are not together worth one groat,” sheltering “from the influence of the solar beam” was “intolerable.” However:

The macaroni being of the doubtful gender, may in part claim a feminine right; his dress is too delicate to bear an heavy shower, perhaps his person is so too; but a coach, if a clean one is to be found would serve his purpose much better, as there would be less likelihood of his being washed away into the kennel, which he deserves to be kicked into for his d-----d affectation.

Wealth

Born from rich young men returning from their tours with a taste for French and Italian textiles macaroni fashion was expensive. Certainly a working class man would not be able to afford Stede’s wardrobe. Both the sheer amount of clothes he has as well has the fabrics those clothes are made of are indications of wealth. However to say that Stede’s wardrobe is only an indication of wealth would be missing part of picture.

Most rich upper class English men (including colonial) wore plain monochrome suits. Even amongst the gentry macaroni fashion was not the norm. Compare bellow George Washington (left) who was a wealthy planation owner, but notably not a macaroni, to Richard Cosway (right) who was a famous macaroni.

[Left: George Washington, oil on canvas, c. 1796, by Gilbert Stuart, via Pennsylvania Academy of the Fine Arts.

Right: Detail of The Academicians of the Royal Academy, oil on canvas, c. 1771-72, by Johan Zoffany, via The Royal Collection Trust.]

In spite of the expense macaroni fashion was not exclusive to the upper classes. “Macaroni dress was not restricted to members of the aristocracy and gentry,” writes McNeil, “but included men of the artisan, artist, and upper servant classes, who wore versions of this visually lavish clothing with a distinctive cut and shorter jackets. Wealthier shopkeepers and entrepreneurs also sometimes wore such lavish clothing, particularly those associated with the luxury trades, such as mercers and upholsterers -” (p14)

It was possible to copy certain aspects of macaroni fashion on a cheeper budget. The hairstyle in particular was achievable without braking the bank. And there were ways to replicate the effects of certain expensive fashion trends for cheeper prices. For example patterns could be printed rather than embroidered.

[Left: printed waistcoat, cotton, c. 1770–90, via The Met, number: 35.142.

Right: embroidered waistcoat, silk, c. 1780–89, via The Met, number: 2009.300.2908.]

The Town and Country Magazine complains “we now have Macaronies of every denomination, from the colonel of the Train’s-Bands down to the errand-boy.” (McNeil, p169) The Morining Post mocks macaronies that couldn't financially keep up with the trends:

The macaronies of a certain class are under peculiar circumstances of distress, occasioned by the fashion, now so prevalent, of wearing enormous shoe-buckles; and we are well assured that the manufactory of plated ware was never known to be in so flourishing a situation.

(14 Jan, 1777)

In 18th century England, class was about more than just how much money you had. It was about pedigree. “English society was particularly alert to those whom it felt were using clothes to achieve a social status they did not merit” explains McNeil. Richard Cosway was a famous macaroni from modest background. Born to a Devonshire headmaster he was sent to London to study painting at 12. He became a very successful miniature painter and grew rich from the patronage of the Prince of Wales (later George IV) and Whig circles. In Nollekens and his Times J.T. Smith writes of Cosway:

He rose from one of the dirtiest boys, to one of the smartest of men. Indeed so ridiculously foppish did he become that Mat Darly, the famous caricature print-seller, introduced an etching of him in his window in the Strand, as ‘The Macaroni Miniature Painter’

(McNeil, p105-14)

But it was not only the Darlys that satirised Cosway Hannah Humphrey mocks Cosway as a social climber in A Smuggling Machine or a Convenient Cos(au)way for a Man in Miniature which depicts him standing under the petticoats of his much taller wife Maria. In the background there is a picture of Cosway climbing a ladder that rests upon a woman (she is believed to either be Angelica Kauffman or the Duchess of Devonshire). Below this reads:

Lowliness is Young Ambitions Ladder, Whereto the climber upward turns his Face But when he once attains the upmost round He then unto the Ladder turns his back, Looks unto the clouds - scornin [sic] the base degrees By which he did assend. Shak. Jul. Caesar.

[A Smuggling Machine or a Convenient Cos(au)way for a Man in Miniature, print, c. 1782, by Hannah Humphrey, via The British Museum.]

Another famous macaroni not born into the aristocracy was Julius Soubise. Brought to England from the West Indies as a slave he was taken in by Catherine Hyde, the Duchess of Queensbury. She gave him a leisured childhood, in which he was taught to play and compose for the violin, was taught to fence by Domenico Angelo, and learned oration from David Garrick. “Macaroni caricatures of Soubise parodied a foppish upstart whose outfits and entertainments, financed by the Duchess, affronted both racial and social expectations of an African male.” Writes Petter McNeil, Soubise was satirised as “a Mungo Macaroni” an “offensive term meaning a rude or forward black man.” (p118)

[Left: A Mungo Macaroni, print, c. 1772, by Matthew Darly, via The British Museum.

Right: The D------ of [...]-- playing at foils with her favorite lap dog Mungo after expending near £10000 to make him a----------*, print, c. 1773, by William Austin, via Yale Center for British Art.]

The expense of Stede’s wardrobe is a key part of the narrative. Stede has nice fancy luxurious things. Ed wants nice fancy luxurious things. Ed was born a poor brown boy and while he may be rich now he can never truly change his class. He could be as rich as Richard Cosway or Julius Soubise but to the gentry he will always be that poor brown boy.

Gender

As we have already seen in the tirade against men using umbrellas the macaroni was perceived as being of “the doubtful gender”. (The Morning Chronicle, 4 Oct, 1784)

The Natural History of a Macaroni writes that there “has within these few years past arrived from France and Italy a very strange animal, of the doubtful gender, in shape somewhat between a man and monkey,” that dresses “neither in the habit of a man or woman, but peculiar to itself”. The author states that “they are in no respect useful in this country”:

that the minister of the war department would give orders to have them enlisted for the service of America: we do not mean to put them on actual duty there. Alas! they are as harmless in the field, as they are in the chamber, but they may stand as faggots to cover the loss of real men.

(Walker’s Hibernian Magazine, July 1777, p458-9)

A “faggot” being “A man who is temporarily hired as a dummy soldier to make up the required number at a muster of troops, or on the roll of a company or regiment.” (see OED)

[The Masculine Gender & The Feminine Gender, etching with touches of watercolour, c. 1787, Attributed to Henry Kingsbury, via The Met.]

The macaroni wasn’t just considered effeminate because of the way they dressed but also because of their interests and the way walked and talked. Famous for playing fops and macaroni, the actor David Garrick did a lot to establish the character of the macaroni in the public mind. In his poem The Fribbleriad Garrick mocks the men who were offended by his performances asserting, perhaps accurately, that they were offended because it was them he mocked. He portrays a group of angry effeminate men meeting in order to seek revenge on him for his portrayal of them:

May we no more such misery know! Since Garrick made OUR SEX a shew; And gave us up to such rude laughter, That few, ’twas said, could hold their water: For He, that player, so mock’d our motions, Our dress, amusements, fancies, notions, So lisp’d our words, and minc’d our steps,

The macaroni had become more than simply an effeminate man, he had become a new sex. Something not quite man or woman. Something in-between. A new description of a macaroni asks the question:

Is it a man? ‘Tis hard to say - A woman then

          - A moment pray -

So doubtful is the thing, that no man

Can say if ‘tis a man or woman:

Unknown as yet by sex or feature,

It moves - a mere amphibious creature.

(McNeil p169)

Sexuality

Much like today in the 18th century effeminacy was associated with homosexuality. Men who had sex with other men were known as mollies. A Classical Dictionary of the Vulgar Tongue (1785), defined a molly as “A Miss Molly; an effeminate fellow, a sodomite”. In the History of the London Clubs (1709), Ned Ward characterises mollies as follows:

There are a particular Gang of Wretches in Town, who call themselves Mollies, & are so far degenerated from all Masculine Deportment or Manly exercises that they rather fancy themselves Women, imitating all the little Vanities that Custom has reconcil’d to the Female sex, affecting to speak, walk, tattle, curtsy, cry, scold, & mimick all manner of Effeminacy.

“By the 1760′s,” explains Peter McNeil, “too much attention to fashion on the part of a man was read as evidence if a lack of interest in women”. (p152) 

Macaroni were often portrayed as incapable or simply uninterested in sexual relations with women. This attitude is expressed by Mr. Bate in the following dialogue from The Vauxhall Affray; Or, the Macaronies Defeated:

Mr. Fitz-Gerall: I always though a fine woman was only made to be looked at.

Mr. Bate: Just sentiments of a macaroni. You judge of the fair sex as you do your own doubtful gender, which aims only to be looked at and admired.

Mr. Fitz-Gerall: I have as great a love for a fine woman as any man.

Mr. Bate: Psha! Lepus tute es et pulpamentum quæris?

Mr. Fitz-Gerall: What do you say, Parson?

Mr. Bate: I cry you mercy, Sir, I am talking Heathen Greek to you; in plain English I say, A macaroni you, and love a woman?

Mr. Fitz-Gerall: I love the ladies, for the ladies love me.

Mr Bate: Yes, as their panteen, their play-thing, their harmless bauble, to treat as you do them, merely to look at

While lack on interest in woman does not necessarily mean attraction to men, Matthew Darly takes the implication there in his 1771 set of macaroni caricatures which induces a print entitled Ganymede, a reference to Zeus’ male lover of the same name. Ganymede is believed to be a parody of Samuel Drybutter who had been arrested for attempted sodomy in January 1770. Darly also includes the character Ganymede in Ganymede & Jack-Catch. Jack-Catch is a reference to the infamous English executioner John Ketch. In the print Jack-Catch says, “Dammee Sammy you’r a sweat pretty creature & I long to have you at the end of my String.” Ganymede replies, “You don’t love me Jacky”. Jack-Catch is holding a noose with one hand and stroking Ganymede’s chin with the other. Jack-Catch is soberly dressed in typical 18th century menswear, while Ganymede’s dress is distinguished by his lace ruffles and styled wig. The print is not only suggesting that macaroni are sodomites but making a joke of the execution of them. The punishment for a sodomy at this time in England being death by hanging.

[Left: Ganymede, print, c. 1771, Matthew Darly, via The Met.

Right: Ganymede & Jack Catch, print, c. 1771, Matthew Darly, via The British Museum]

An anonymous letter to the Public Ledger (5 Aug, 1772) says blatantly what others had already implied. “The country is over-run with Catamites, with monsters of Captain Jones’s taste, or, to speak in a language witch all may understand, with MACCARONIES”. The writer warns macaroni who have “escaped detection” as sodomites and “therefore cannot fairly be charged” that they have not avoided suspicion:

Suspicion is got abroad-the carriage-the deportment-the dress-the effeminate squeak of the voice-the familiar loll upon each others shoulders-the gripe of the hand-the grinning in each others faces, to shew the whiteness of the teeth-in short, the manner altogether, and the figure so different from that of Manhood, these things conspire to create suspicion; Suspicion gives birth to watchful observation; and, from a strict observance of the Maccaroni Tribe, we very naturally conclude that to them we are indebted for the frequency of a crime which Modesty forbids me to name. Take warning, therefore, ye smirking group of Tiddy-dols: However secret you may be in your amours, yet in the end you cannot escape detection;

Bows on His Shoes

18th century shoes were typically buckled, laces and ribbons were simply unfashionable. As mentioned previously macaroni were distinguished by the size and decoration of the buckles. So are Stede’s bows simply ahistorical? Well there are references to 18th century men wearing laces and ribbons.

Towards the end of the 18th century laces started to come into fashion. Appeal from the Buckle Trade of London and Westminster, to the Royal Conductors of Fashion (1792) complained that despite how “tender and effeminate the appearance of Shoe Strings” the “custom of wearing them has prevailed.”

Perhaps the most intriguing reference is that of Commissioner Pierre Louis Foucault’s papers where he details the surveillance, investigation and entrapment of "pederasts” in Paris. It is important to note that the word “pederasty” was used synonymously with “sodomy” in the 18th century and did not denote age simply sex. An Universal Etymological English Dictionary (1726) defines “A pederast” as “a Buggerer” and “Pederasty” as “Buggery”.

Foucault and the men working with him identified particular clothing worn by men seeking sex with other men that he called the “pederastical uniform”. In Foucault’s papers men are described as being “attired in such a way as to be recognized by everyone as a pederast”, “clothed with all the distinctive marks of pederasty”, or simply “dressed like a pederast”. This “uniform” generally included “some combination of frock coat, large tie, round hat, small chignon, and bows on the shoes.” Jeffrey Merrick in his article on Foucault speculates that these men dressed this way to signal to each other. However when questioned by police they would understandably deny such a purpose, one man when questioned about his outfit responded that everyone “dresses as he sees fit”. (Jeffrey Merrick, Commissioner Foucault, Inspector Noël, and the “Pederasts” of Paris,1780-3)

Conclusion

I’m not saying Stede is intended to be a macaroni. If that were the case they would have given him the iconic macaroni hairstyle. However the costuming team has clearly pulled from fashion trends that were associated with effeminacy and homosexuality. While OFMD is evidently wholly unconcerned with creating period accurate costumes the costumes are still clearly inspired by historical fashions. Perhaps the curtains really are just blue but maybe Stede wears bows on his shoes because he’s gay.

[simena]

Alexis-Simon Belle (detail)

[vs120shound]

A quintessential keepsake unabridgment of SF entertainment!

OUTSIDE-THE BOX: FIRST POST OF TWO

HOURS UPON HOURS (5:08:53) OF SMOKING FETISH NIRVANA | FEATURING SMOKING SWEETIES, SMOKING-MODELS, USA SMOKERS

COMPILATION MADNESS OVERLOAD | "WeAll SmokeHere" YouTube | OUR FIFTH INSTALLMENT (No. 5)

★ ★ ★ ★ ★ + | Five-Plus "Stars"

From vs120shound staff | ★★★★★ (L)

A rather simple and basic concept being realized here on a YouTube webpage showcased on our brand before, "WeAll SmokeHere," with its video titled Cigarette Smoking Compilation (Best of #6-20). Compilation No. 1 for "WA SH" was released in 2020 and No. 20 was published in May 2023. Amid that line of production, "WeAll SmokeHere" also interspersed the production and publishing of four specialty videos between April and February 2023. There are 60 scenes within the 308 minutes and 53 seconds of action in our post's video. So the typical scene/clip/snippet lasts an average of a bit north of 5 minutes. More than three-quarters of the action is shared among three Mega-SF websites: Smoking-Models (U.K.), USA Smokers (Arizona, U.S.A.) and SmokingSweeties (Spain). There is some Britney Pink Angel mixed in as wall as Lindsey Tingles, Kissing Girls Smoking Girlz and the self-deactivated Mega-SF site from Australia whose name rhymes with Camden Flaps.

The Video!

The Breakdown!

A list starting with elapsed time into the Mega-Video of who appears in this soon-to-be historic classic video post within the Greater SF World Community. This is not for the weak-hearted or squeamish. This is for hard-core SF aficionados who dedicate prime chunks of their time, energy, focus and passion into getting their daily fix of watching BHYSWs (Beautiful Hot, Young Smoking Women) with their cigarettes in videos, photographs, GIFS or slideshows for each and every day:

00:00 - Rosy and Desiree; 02:28 - Rosy, Iveta, Marta, and Anna MC; 06:01 - Rosy; 13:37 - Simone Toon; 16:59 - Catharine; 19:42 - Sophia and Citlali; 20:52 - Sophia; 29:29 - Citlali; 33:35 - Crystal King; 38:38 - Sarah Jane; 54:46 - Anna MC; 56:07 - Amber; 58:36 - Ava Grey and Amber; 59:36 - Anna MC; 1:02:14 - Anastasia; 1:06:39 - Anna Zapala; 1:19:51 - Eugenia; 1:20:43 - Rebecca and Jemma; 1:31:32 - Jemma; 1:33:40 - Maggie; 1:34:25 - Maggie and Jojo; 1:35:55 - Belle; 1:41:19 - Bailey; 1:49:07 - Molly and Chanel; 1:49:59 - Chanel; 1:54:06 - Molly; 1:59:08 - Bree; 2:01:36 - Lucy Fox; 2:05:54 - Vanessa; 2:07:09 - Amber; 2:19:17 - Mary; 2:21:47 - Pixie; 2:26:54 - Alyssa; 2:28:55 - Alyssa and Christie; 2:30:56 - Christie; 2:32:53 - Jade; 2:28:09 - Britney Pink Angel; 2:47:02 - Nuria; 2:48:13 - Marlo; 2:59:36 - Sasha Jo; 3:03:39 - Sarah Arnold; 3:18:40 - Iveta; 3:20:44 - Kennedy; 3:28:29 - Cassidy; 3:33:59 - Charlotte Hurding; 3:36:46 - Charlie and Stephanie; 3:38:41 - Jasmine; 4:06:11 - Lindsey Tingles; 4:08:21 - Von Wager; 4:11:59 - Luisa; 4:21:14 - Danielle K.; 4:25:26 - Porsche Alexis; 4:31:01 - Lorena and Porsche; 4:31:51 - Carrie and Faye; 4:34:03 - Unidentified duo from Kissing Girls Smoking Girlz; 4:37:08 - Naomi and Petra; 4:44:35 - Karina and Cody; 4:53:17 - Dani and Lacey; 4:59:43 - Sabrina and Havana; 5:04:08 - Lolly Badcock and Michelle Moist . . . THE END!

Congratulations! Now you've finished watching this classic and intense video. Did you do it in one sitting? Probably not. That's too much to expect. Proud of yourself? Now go check out the latest on vs120shound, lostlighter23, vs120shound-2 and lostlighter23-darkside. If you did it in one sitting, you missed the unimportant. Yes, Trump said something unbecoming and not factual again and Biden had one of his typical "foul-ups" and stumbles as well . . . and Sleepy Joe did not get any younger! Oh, and some of your teams won their games; some of them did not. The Beatles remain No. 1 all-time, as does Messi and Pelé . . . Vladimir Putin sucks, though Lev Ivanovich Yashin ("The Black Spider") might edge out Gordon Banks as the greatest goalkeeper of all-time . . . and we still cannot figure out how our Brigitte Bardot Photo of The Day blog still has only 5 positive notes (likes/re-blogs)!. We, we will try again with Ms. Bardot:

Brigitte Anne-Marie Bardot, POTD from August 11, 2023 (ask someone who was aware of her supreme aura during her Heyday, from the 1950s well into the 1970s, and what you are told should convince you to take a second look at this Ultimate Sex Symbol) . . .

[lolitapremiummmm]

https://linktr.ee/charlotte231

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[i-will-sing-no-requiem]

You Pick I Vid [Closed]

I saw something like this on youtube and it looked like fun so I thought I'd try one here

How it works: this is the video I'm gonna be editing

comment a ship from my list and a part and I'll make a fanvid of the ones chosen it'll be first come first serve and I'm not repeating couples

Part 1: Roy x Keeley (for @obsessivedaydreamer) Part 2: Sawyer x Juliet (for @obsessivedaydreamer) Part 3: Kate x Toby (for @unorthodox-oblivion) Part 4: Hazel x Augustus (for @ur-average-farp) Part 5: Jack x Kate (for @unorthodox-oblivion) Part 6: Luke x Lorelei (for @theycallme-thejackal) Part 7: Midge x Lenny (for @theycallme-thejackal) Part 8: Lane x Dave (for @ethereal-veggie and רחל דב on youtube) Part 9: Sookie x Jackson ( for רחל דב on youtube) Part 10: Josh x Donna (for @theycallme-thejackal)

list of ships i'll do under the cut

Anne with an E Anne x Gilbert

Brooklyn 99 Jake x Amy Holt x Kevin

Community Troy x Abed Jeff x Annie

Fantastic Beasts and Where to Find Them Newt x Tina

The Fault In Our Stars Hazel x Augustus

Gilmore Girls Luke x Lorelai Rory x Jess Lane x Dave Sookie x Jackson

The Good Place Eleanor x Chidi Janet x Jason

Harry Potter Harry x Ginny Ron x Hermione

Heartstopper Nick x Charlie Tara x Darcy Tao x Elle

The Hunger Games Katniss x Peeta

Juno Juno x Paulie

Looking for Alaska Miles x Alaska

Lost Sawyer x Juliet Jack x Kate Claire x Charlie Kate x Claire Desmond x Penny Daniel x Charlotte Sun x Jin Sayid x Shannon Sawyer x Kate

The Marvelous Mrs. Maisel Midge x Lenny Midge x Joel Joel x Mei

Modern Family Haley x Andy Phil x Claire Mitch x Cam

New Girl Nick x Jess Cece x Schmidt Winston x Aly

The Newsroom Will x Mac Don x Sloan Jim x Maggie

Once Upon a Time Emma x Killian Snow x Charming Mulan x Aurora Robin x Alice Regina x Robin Hood Rumple x Belle

Parks and Recreation Leslie x Ben April x Andy Ron x Diane Tom x Lucy Ann x Chris

Pitch Perfect Beca x Chloe

The Princess Bride Westley x Buttercup

Rosaline Rosaline x Dario

Schitt’s Creek David x Patrick Ted x Alexis Moira x Johnny

Love, Simon Simon x Bram

Ted Lasso Ted x Rebecca Roy x Keeley

This Is Us  Kevin x Sophie Kate x Toby  Jack x Rebecca Randall x Beth

Timeless Lucy x Wyatt Rufus x Jiya

The Vampire Diaries Damon x Elena Klaus x Caroline Katherine x Stefan

Wednesday  Wednesday x Enid

The West Wing Josh x Donna

[gogmstuff]

Early 1730s dresses and portraits (from top to bottom) -

ca. 1732 The Beautiful Greek (La Belle Grecque) by Nicolas Lancret (Wallace Collection - London, UK). From their Web site 1429X1960, The complex sleeves open at the top like they would in Russian court dresses a century later.

ca. 1732 Watson-Wentworth and Finch Families by Charles Philips (Yale Center for British Art, Yale University - New Haven, Connecticut, USA) persons. From Wikimedia 4902X3094. The décolletage-filling fichu would become prominent in the Louis XVI era, but just about every grown up woman wears one along with a fastened bodice, round skirt, and apron. The heads of every female are covered by a cap, veil, or hat.

1733 Marie-Geneviève le Tonnellier de Breteuil by French school (attributed to Alexis Simon Belle) (auctioned by Sala de Ventas).From invaluable.com/auction-lot/18th-century-french-school-alexis-simon-belle-a-646-c-2074af1b03 1940X3362.Round skirts flourish on both shores of the channel.

ca. 1730-1735 Lady by Joseph Highmore (National Gallery of Art - Washington, DC, USA). From their Web site 1148X1495. The cuffed outer sleeves are stuffed by under-sleeves and the dress lining has a very subdued pink contrasting with the gold color of the other layer.

1734 Princess Sophie Dorothea with Friedrich Wilhelm by Antoine Pesne (location ?). From Wikimedia1633X2611. Textiles with large patterns characterize the early 1700s. Her dress has a square neckline.suggesting French influence.

ca. 1734 Wilhelmine of Prussia, Margravine of Brandenburg-Bayreuth by Antoine Pesne (location ?). From Wikimedia 829X11221. The silver brocade over-bodice has a deep V neckline filled in with scoop neckline.

1734 Madame Marie du Tour Vuillard (1695- 1759), née Robin by Louis Michel Van Loo (Tajan - 12-12-12 auction Lot 37), From their Web site; fixed spots & flaws w Pshop 2487X3151.

[history-of-fashion]

1703 Alexis Simon Belle - Portrait of François de Troy

(Palace of Versailles)

[pridepages]

Books Read on PridePages

Under the cut: find all the writing I’ve done on books I’ve read so far. (up to date as of 4/24/24).

Below is the Master List of all the books I’ve read and written about on Pride Pages.

WLW Books:

Imogen, Obviously by Becky Albertalli

Leah on the Offbeat by Becky Albertalli

Our Wives Under the Sea by Julia Armfield

Legends and Lattes by Travis Baldree

The Fiancee Farce by Alexandria Bellefleur 

Written in the Stars by Alexandria Bellefleur 

The Monster of Her Age by Danielle Binks

The Unbroken by C.L. Clark

Kiss Her Once for Me by Alison Cochrun

The Untimely Undeath of Imogen Madrigal by Grayson Daly

Last Girls Standing by Jennifer Dugan

Tell Me Again How a Crush Should Feel by Sara Farizan

Undergrounder by J.E. Glass

Mortal Follies by Alexis Hall

An Island Princess Starts a Scandal by Adriana Herrera

Delilah Green Doesn’t Care by Ashley Herring Blake

Astrid Parker Doesn’t Fail by Ashley Herring Blake 

This is How You Lose the Time War by Amal El-Mohtar & Max Gladstone 

A Million to One by Adiba Jaigirdar 

In the Event of Love by Courtney Kae

Youngblood by Sasha Laurens

I Await the Devil’s Coming by Mary MacLane

A Restless Truth by Freya Marske

Gearbreakers by Zoe Hana Mikuta 

Godslayers by Zoe Hana Mikuta

Out of Character by Jenna Miller

Gideon the Ninth by Tamsyn Muir

Harrow the Ninth by Tamsyn Muir

Nona the Ninth by Tamsyn Muir

Even Though I Knew the End by C.L. Polk 

Sunshine and Blood by Roxie Randall

The Society for Soulless Girls by Laura Steven

The Comedienne’s Guide to Pride by Hayli Thomson

Lies We Sing to the Sea by Sarah Underwood

Mistakes Were Made by Meryl Wilsner 

City of Shattered Light by Claire Winn 

City of Vicious Night by Claire Winn

MLM Books:

This Way Out by Tufayel Ahmed 

Simon vs The Homo Sapiens Agenda by Becky Albertalli

My Dear Henry by Kalynn Bayron

The Charm Offensive by Alison Cochrun

Last Call: a True Story of Love, Lust, and Murder in Queer New York by Elon Green 

Boyfriend Material by Alexis Hall

Husband Material by Alexis Hall

Paris Daillencourt is About to Crumble by Alexis Hall

In the Case of Heartbreak by Courtney Kae

The House in the Cerulean Sea by TJ Klune

Under the Whispering Door by TJ Klune

In Deeper Waters by FT Lukens 

A Marvellous Light by Freya Marske

A Power Unbound by Freya Marske

Red, White, and Royal Blue by Casey McQuiston 

The Song of Achilles by Madeline Miller

The Rest of Us Just Live Here by Patrick Ness

My Government Means to Kill Me by Rasheed Newson 

Heartstopper (vol 1-4) by Alice Oseman 

This Winter by Alice Oseman 

The Sun and the Star by Rick Riordan & Mark Oshiro

Any Way the Wind Blows by Rainbow Rowell (bonus: “Snow for Christmas”)

The Darkness Outside Us by Eliot Schrefer (second post)

The Queer Principles of Kit Webb by Cat Sebastian

The Problem With Perfect by Philip William Stover

Darkhearts by James L. Sutter Napkins and Other Distractions by MA Wardell

Mistletoe and Mishigas by MA Wardell

Teacher of the Year by MA Wardell

Asexual/Aromantic Books:

I Am Not Your Chosen One by Evelyn Benvie

Aces Wild by Amanda Dewitt 

Loveless by Alice Oseman

Solitaire by Alice Oseman

Trans/NonBinary Books:

The Feeling of Falling in Love by Mason Deaver 

Glitter and Concrete by Elyssa Maxx Goodman

A Lady for a Duke by Alexis Hall

Spell Bound by FT Lukens

Self-Made Boys by Anna-Marie McLemore 

Outlawed by Anna North

Most Ardently by Gabe Cole Novoa

I Was Born For This by Alice Oseman

Queer Books:

Ace of Spades by Faridah Àbíké-Íyímídé 

Ninth House by Leigh Bardugo

Hell Bent by Leigh Bardugo 

The Atlas Six by Olivie Blake

The Atlas Paradox by Olivie Blake

Gwen and Art Are Not in Love by Lex Croucher

Who We Are in Real Life by Victoria Koops

Lavender House by Lev AC Rosen

The Bell in the Fog by Lev AC Rosen

[ourstaturestouchtheskies]

taylor swift lyrics x colors x textiles in art – gold

Tied Together with a Smile – Taylor Swift // Portrait of Archduchess Maria Magdalena of Austria – Frans Pourbus the Younger 💛 The Best Day – Fearless // Amarillis Crowning Mirtillo – Jacob van Loo 💛 Castles Crumbling – Speak Now // Madame Sophie of France – Jean-Marc Nattier 💛 State of Grace – Red // Louise, Queen of the Belgians, as Marie de Bourgogne – Jean Baptiste Madou 💛 End Game – Reputation // Princess Louisa Maria Teresa Stuart – Alexis Simon Belle 💛 So It Goes… – Reputation // King Gustav III of Sweden and His Brothers – Alexander Roslin 💛 Dancing with Our Hands Tied – Reputation // Noble Lady – Moritz Stifter 💛 Dress – Reputation // Portrait of Jemima Crew, Countess of Kent – Workshop of Godfrey Kneller 💛 Daylight – Lover // Portrait of Frances Theresa Stuart, Duchess of Richmond and Lennox – Peter Lely 💛 invisible string – folklore // Princess Margareta – Oscar Björck 💛 invisible string – folklore // Portrait of Eleanor Maria Josepha of Austria – Benjamin Block 💛 gold rush – evermore // Portrait of Doge Francesco Venier – Titian 💛 coney island – evermore // Portrait of Princess Louise Marie of France – attributed to François-Hubert Drouais 💛 long story short – evermore // King Gustav III of Sweden – Alexander Roslin

[mermaidsirennikita]

hi there! Do you ever read any sapphic romances? Curious if so because I would love a recommendation :)

Yeah, I do! I would say that I read m/f most, f/f second, and then m/m last.

One I've really liked recently is Sierra Simone's novella in the Villain I'd Like to F... anthology (if you buy the whole anthology, it also has 3 m/f novellas and a mmf novella). It's called The Conquering of Tate the Pious, and it's a medieval romance in which this abbess of a very... interesting nunnery is basically taken captive by a lady viking type who's taken over her husband's army since his death. She's a villain protagonist, it's very erotic but also quite romantic, I would say that the dubcon is pretttyyyy light (Tate is down to clown) and there is some fucking with the hilt of a knife........

If you want something lighter, The Lady's Guide to Celestial Mechanics by Olivia Waite (who also writes other sapphic historicals) is lovely. One of the ladies is a widow, she hires the other to translate her dead husband's astronomy text, it is ON.

Mistakes Were Made by Meryl Wilsner is a really fun contemporary in which one of our ladies is a college girl who hooks up with a milf in a car--and it's supposed to be a one time thing, but said milf turns out to be her new best friend's mom!!!! Much secretive hooking up occurs. Obviously, you've gotta be down for some age diff stuff, but if you are, I'd recommend.

Queen Takes Rose by Katee Robert is a modern Sleeping Beauty retelling with a Maleficent/Aurora angle. Aurora basically has a contract with "Maleficent" (Malone), it's almost up, and oops, suddenly she has to go serve.... As a side note, the Beauty and the Beast retelling in this series is mmf with Belle, the Beast, and Gaston (not named Gaston lol) in a triad. There is a fairly extended scene in which they (especially Belle) play with Aurora. It's..... very hot. There's also non-commital sapphic content in Desperate Measures, which is an Aladdin retelling with Jafar/Jasmine in which Jasmine fucks Megara (from Hercules... who has her own mmf book with Hades and Hercules, naturally). The Sea Witch is a mff triad book with Ursula, Ariel, and Eric. Basically, the Wicked Villains series is a modern "what if the villain won" erotic romance series. A lot of people are polyamorous or open. Pretty much everyone is queer. It's fun.

I did recently read an ARC of Lex Croucher's Infamous, which is a sapphic historical romance out in March (I'll be posting my review soon). It was a 3/5 for me, but if you're looking for something that is closed door, friends to lovers, and a bit lighthearted, you might enjoy it. I prefer a bit more sex in my romances, plus some higher drama.

In April, Alexandria Bellefleur has a sapphic contemporary called the The Fiancee Farce about a romance novel cover model entering into a fake engagement with another girl--I haven't read it yet but I have an ARC and will be reviewing it! I also have an ARC of Mortal Follies, Alexis Hall's sapphic historical which is out in June and features a bad girl witch.