We love our new book train. It’s helping to quickly transport materials from the stacks beneath the Stephen A. Schwarzman upstairs to the researchers who need them!
At first I thought this was really cool. Then I watched it with sound. Morning made.
The last I saw of Count Dracula was his kissing his hand to me; with a red light of triumph in his eyes, and with a smile that Judas in hell might be proud of.
Note - this is some of that antisemitism that @re-dracula so correctly called out in their June 8 episode
Outfit rundown Dress: vintage Ingeborg (Pink House) Shawl and bag: old Axes Femme + vintage bus pass Shoes: old Cobb Hill (defunct brand) Earrings: Akariya Lily of the valley brooch: Pauline Rose Herb shelf brooch: Lotvdesigns Hair flowers: vintage, Innocent World and real lilies of the valley Other brooches: Design Festa and vintage Parasol: old Alice and the Pirates
‘Behind the Scenes’: an 1838 print by Paul Gavarni, showing an actress playing a male role telling her assistants to hurry up (Rijksmuseum). I enjoy the look at her neckwear being tied (and the shirt frill, although this is the twilight of frilled shirts in menswear).
Aside from fancy dress balls, which seemed to be full of women wearing male costumes and Turkish trousers, the stage was where a Romantic-era woman could be found in masculine attire. Many popular actresses were male impersonators.
Madame Vestris (Lucia Elizabeth Vestris) as Little Pickle in The Spoiled Child, ca. 1830 (V&A)
Mary Anne Keeley as Jack Sheppard the notorious highwayman, 1838 (British Museum).
Maria Foote as 'The Little Jockey’, 1831 print of leading ladies (detail). (V&A) This particular character seems to have a lot of merchandise and prints.
I feel like there is something inherently queer about this, despite the long tradition of “Sweet Polly Olivers” in male drag pursuing their lovers in ballads and broadsides. I wonder how the audience perceived these characters.
