M.J. Rose

“Thumb” through a beautiful old book from The Public Domain Review…

Women painters of the world from the time of Caterina Vigri, 1413-1463, to Rosa Bonheur and the present day; 1905; edited by Walter Shaw Sparrow; The Copp Clark Company Limited, Toronto.

“A heavily illustrated collection of essays, edited by British art critic Walter Shaw Sparrow, focusing on notable women painters from the 15th century to the beginning of the 20th. Of the eight essays only one is written by a woman, Helena Westermarck, a Finnish artist and women’s historian active in the suffragette movement. From the rather lavish preface by Sparrow :

What is genius? Is it not both masculine and feminine? Are not some of its qualities instinct with manhood, while others delight us with the most winning graces of a perfect womanhood? Does not genius make its appeal as a single creative agent with a two-fold sex?…”

See the rest here.

Plus, a video, below — “a 3-minute journey through 500 years of female portraits” —

…But would you have worn them anyway?

Two skeletons dressed as lady and gentleman in “the Arsenic Waltz,” Etching (1862) (courtesy Wellcome Library, London)

Fatal Victorian Fashion and the Allure of the Poison Garment

by Allison Meier

“Staying stylish in the Victorian period could be a dance of death. While industrialization and mass production made more beautiful fashions widely available, the green dresses were dyed with arsenic-based pigments, the mercury necessary to make shiny beaver top hats drove the hatters insane, and all that tulle and cinched corsets contorting women into airy nymphs would not infrequently cause them to tumble into gas lamps and go up in flames.

Opened this week at the Bata Shoe Museum in Toronto, Fashion Victims: The Pleasures and Perils of Dress in the 19th Century explores the dangers of style not just for the wearers, but for the people who made the clothing as well. The exhibition of over 90 artifacts was organized by Bata Shoe Museum Senior Curator Elizabeth Semmelhack, and Alison Matthews David, an associate professor at the School of Fashion at Ryerson University who is publishing a book next year focusing on deadly fashion. Together the curators explored medical archives and collections in France and England, and delved into the museums’ extensive assortment of 19th century shoes and private collections searching for examples of the “poison garment,” hauling green shoes and shoeboxes to a physics lab to test for their lethal secrets…”

For the complete piece click here.

Meet Count Vlad of the Order of The Dragon: The man on whom the legend of Dracula is based.

‘Dracula’s tomb’ discovered in Italy

Esma ÇAKIR – ROME / Do?an News Agency

Estonian researchers believe they may have finally discovered the whereabouts of “Dracula’s” grave, which is in Italy and not the Romanian Transylvanian Alps as first thought.

The inspiration behind Bram Stoker’s 1897 gothic novel “Dracula” is thought to be Vlad III, the 15th century Prince of Wallachia in Eastern Europe. Known posthumously as Vlad the Impaler, the ruler was known for his brand of cruelty across Europe, which included impaling his enemies.

Vlad’s ultimate enemy were the Ottomans. Depictions of his endless cruelty made history books, securing his reputation as one of the biggest villains in Turkey’s collective consciousness, as written by Emrah Güler of the Hürriyet Daily News in 2012. Vlad’s story was also converted into a ballet last year in Turkey.

Born in 1431, Count Vlad Tepes was part of a noble family who belonged to the Order of the Dragon, a group that was founded as a means of protecting Christianity in Eastern Europe from Ottoman expansion. His father was nicknamed Dracul, meaning “Dragon,” so the young Vlad became known as Dracula, or “son of Dragon.”…

For the rest, click here.