Technology, Self-Fashioning and Politeness in Eighteenth-Century Britain

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Last month saw the publication of my new bookTechnology, Self-Fashioning and Politeness in Eighteenth-Century Britain: Refined Bodies (London: Palgrave, 2015). By way of introducing it, I thought I’d write a post to introduce some of its main themes.

The eighteenth century saw dramatic changes in attitudes towards bodily alteration. Once, impaired bodies were viewed as a fait accompli, their owners condemned forever to endure whatever vagaries God or Nature had seen fit to send. In the early part of the century, debates raged about the dangers of pride and vanity, as well as the morality of trying to interfere with God’s work. But by the mid 1750s there were changes in attitudes. Where once managing appearance, including treating deformities and visible impairments, symbolised vanity and pride, new enlightened themes like ‘improvement’, self-control and mastery made conquering the body a noble and justifiable endeavour.

At the same time as these broader social and cultural changes, new technologies in metallurgy opened up a range of possibilities for products aimed at shaping the body. What might be termed ‘technologies of the body’ proliferated. These encompassed everything from large apparatus for altering bodily shape, posture and gait, as well the smallest, quotidian items of personal grooming such as tweezers and nail nippers. In some cases new technologies transformed the design of instruments; in others, it was the instruments themselves that took on important new meanings as vectors through which individuals could aspire to changing ideals of the body.

This was the age of ‘politeness’, where ‘polite’ manners and behaviours were entwined with the ownership of the right goods, wearing of the right clothes and attendance of the right social events. Whilst conversation, education and manners were essential to early conceptions of polite behaviours, appearance and form were also important. In this sense dress, appearance and adornment acted as vectors to project politeness onto the body. Could, however, politeness extend to the bodily fabric itself?

Artofdancing

(‘The Art of Dancing, 1724)

Some like the Swiss physician Samuel Tissot thought so, and he dedicated an entire chapter to ‘disorders most frequent in people of fashion’ and drew a distinction between the hardy body of the labourer, through its constant exposure to the harsh elements, versus the somewhat slight, fey body of the gentleman. If this latter was physically slighter, however, it was also delicate and refined.

While contemporaries never directly referred directly to bodies as being polite, they did acknowledge the role and importance of the body in articulating it. An essay on the characteristics of politeness in the Universal Magazine in 1775 argued that it was a holistic concept governing not only ‘temper of mind and tenour of conduct’ but bodily appearance, posture and mien. A polite gentleman (the essay was addressed to men) should embody the posture of a fencer, the gait of a dancer, the ear of a musician and the mind of a philosopher. Such a person ‘walks by rules of art, dictated by nature’.

But as well as being informed by politeness, other characteristics were prized. Neatness, elegance and harmony of appearance, were central in conveying inner character and sensibility. The body’s surfaces should be kept neat, clean, plucked and shaved. For both sexes the removal of facial hair and management of facial features such as eyebrows showed fastidiousness and a desire to create a body that was socially pleasing. As attitudes towards the smile changed, management of the teeth became important. Likewise, as the appearance of hands was held to imply character and breeding, the care of hands, especially fingernails, was vital.

But Nature was also at the heart of debates about bodily form. Some saw it as a body closest to the state of nature, in the bodies of the poor, or inhabitants or far-flung nations whose bodies had been untouched by artificial devices. Indeed, some even saw viewed interference with, or alteration of, the body as inherently unnatural. This was reinforced by the twisted and bent bodies caused through over zealous use of trusses, bandages and stays. On the other hand, much effort was expended in attempting to ‘correct’, conceal or otherwise give the illusion of a ‘natural’ form – a claim made by the makers of many postural devices. Paradoxically, therefore, a ‘natural’ body often required unnatural means to achieve.

Central to the question of technologies is the role of steel. Technological innovations between the 1680s and 1740s made steel an increasingly abundant and important good, but also a component in the fashioning of a new, refined self. While crucible (or cast) steel is understood as an innovative industrial process, its uses are rarely considered. Yet steel was vital for some of the most personal rituals of everyday life. It was the metal with which people had the closest, even the most intimate, physical contact.

Cast steel’s physical properties allowed people, for example, to fashion their bodies in new ways, to reflect changing ideals of bodily shape and form. A range of corrective devices was available to correct posture, utilising the tensile strength of steel. Visible deformity and disability were not only uncomfortable to the sufferer, but carried pejorative connotations that left the ‘crooked’ open to ridicule. If there was an ideal human form it was generally straight, erect and symmetrical. Whilst the treatment of hernias had brought about the introduction of a range of elastic and steel trusses, the period also witnessed a burgeoning market for devices to improve posture. These included items worn within or underneath clothing, such as back ‘monitors’, large metal plates inserted into clothing. Steel collars thrust the chin upwards to give the illusion of a straight posture. But there were other more radical treatment, such as ‘neck swings’. These involved locking the patient’s head into a steel apparatus, and suspending them off the ground, where they would remain dangling for hours at a time. These were even available for people to use in their own homes.

Sheldrake illustration
The neck swing, from Timothy Sheldrake’s ‘Essay on the Various Causes and Effects of the Distorted Spine’, 1783

One of the primary audiences for such devices was children whose parents, recognising the social limitations arising from deformity, were keen to mould the bodies of their offspring into an acceptable form. In the name of fashion, children’s bodies were trussed, bandaged, bound, calipered and twisted. Adults were also prepared to take steps to intervene in the shaping of their own bodies. As advertisements from the manufacturers of postural devices attest, a new domestic market was emerging, which targeted individuals who sought to ‘treat’ themselves without recourse to a medical practitioner.

Neatness and elegance of appearance were exemplified in the face and, in particular the vogue for shaving, and the almost total disappearance of facial hair from men’s faces. New types of steel razors were instrumental in this process. Where once the barber had been the sole provider of shaving services, the period saw men beginning to shave themselves. Razor makers took advantage of newspaper advertising space to puff their new products, using both the language and imagery of polite consumption, but also foregrounding their metallurgical expertise in manufacturing. The use of cast steel in razors became a selling point, along with references to the scientific and philosophical credentials of the manufacturer.

Holmes

(Trade card of Holmes and Laurie, London Truss Makers, author’s image)

Personal grooming was growing in importance in the broader context of the eighteenth century obsession with the body beautiful. As increasing attention was paid to the minutiae of appearance, so different parts and surfaces of the body came to prominence, as did the instruments used to transform them. Regarded by the orthopaedic specialist Nicholas Andry as the ‘Principal organs of touch’, hands and fingernails were seen as important symbols of beauty and virtue. Mangled and bitten nails were hardly aesthetically pleasing. The old fashioned way was to pare nails with a penknife – a process that could be dangerous, and caused several deaths!

New types of nail nippers were safer, and began to carry more ornate designs, belying their quotidian function. On the face, the most public of bodily surfaces, eyebrows were seen as barometers of character, and tweezers to maintain them were important items of toilette. It is interesting to note that 18th-century tweezers often included ear spoons for digging out unsightly wax, combining two grooming routines into one. As changing attitudes towards the smile rendered the teeth more visible, toothpicks and brushes were also essential pieces of kit. All could be purchased in kit form and could be hung on elaborate and delicate chatelaines about the person, making them at once public and private goods.

Spectacles offer a different outlook on the public projection of the polite self. Steel-framed spectacles, for example, began to appear around the mid eighteenth century, makers such as Benjamin Martin and James Ayscough utilised the springy strength of steel to transform the design of spectacles from their traditional armless Pince Nez design, to a new form with side arms that used pressure to stay tightly adhered to the wearer’s temples. Martin’s new ‘Martin’s Margins’ spectacles, introduced around 1760, could be highly polished to give a pleasing appearance, whilst other sorts of ‘wig spectacles’ were designed to help myopic macaronis attend society functions in comfort and safety. As spectacles became more decorous they also became more public. The growth of reading and coffee house culture placed spectacles at the heart of intellectual debate. Vision and sight exemplified the quest for knowledge. Once a symbol of deficiency, whilst never becoming desirable items of fashion, spectacles shook off pejorative connections and became connected with learning, sagacity and the enlightened search for knowledge through reading and ‘seeing’ the world.

Martins

(A pair of ‘Martin’s Margins’ spectacles, with spring-loaded temple pieces. c. 1760. Image © College of Optometrists, MusEYEum)

At all points, objects were playing a significant part in the purposeful management of the body. Some important questions must be raised, however. First, if there was some understanding of a polite body ideal, then how widespread was it? Was it an elite, metropolitan phenomenon? The problem with nearly all of the routines discussed here is that individuals seldom discuss them. In the normal run of things there would be little need to write down how well you shaved, plucked your eyebrows or how comfy your brand new Martin’s Margins specs were. The limited evidence available suggests that devices were available across Britain – and not just in major towns. Second, though, to what social depth did it apply? Again, evidence is lacking, but if we consider debates about emulation, there is little to suggest that bodily refinement was merely the preserve of elites. What may be different are the social and public contexts of the body across different levels of society.

The eighteenth century was an age when bodily technologies proliferated. But cultural and religious shifts also meant that intervening to alter the shape of the bodily characteristics that God had bestowed on a person was no longer taboo. As new corporeal ideals were defined, people had both the motivation and the means to transform their own bodies, through the introduction of cast steel. If this was the age of the body beautiful, however, it was also a time when the body was a site of transformation.

 

 

 

 

 

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‘Worems in the teeth’: Toothache, dentistry and remedies in the early modern period.

According to an article on the BBC Website today, dentists are now beginning to think that drill-free dentistry may soon be possible. Emerging technology will use electricity to force minerals into enamel and encourage the tooth to repair itself. Eventually teeth may even be able to regrow. For the thousands of people with a genuine fear of visiting the dentist, this would be a welcome development.
http://www.bbc.co.uk/news/health-27866399

The poor quality of people’s teeth in the past has long been acknowledged. In the seventeenth century, mouths full of blackened, rotting stumps would not be uncommon. As sugar became more common in the eighteenth century, dental decay became even more problematic, especially amongst the well to do. There is a good reason why people in portraiture do not often display a toothy grin; in many cases their teeth would have looked like a row of condemned houses! Here’s Jean-Etienne Liotard’s engagingly honest self-portrait!

Jean Etienne Liotard self portrait

Tooth care was rudimentary and a range of medical interventions existed to try and soothe smarting teeth. In the seventeenth century, it was widely believed that toothache was the result of worms in the teeth. In fact, a condition called ‘teeth’ was a recognised medical affliction and was regularly quoted as a cause of death in the Bills of Mortality. Sometimes they were as high as the fifth or sixth highest cause of death!

As with many aspects of early modern medicine, prevention was better than cure, and a range of techniques were used to keep teeth clean. One method to whiten teeth was to make a mixture of vinegar, honey and salt, add it to a cloth and rub vigorously…but not enough to make the gums bleed. For daily maintenance things like rubbing the teeth with tree bark or chewing herbs such as parsley offered ways to get problematic bits out of the teeth, or to sweeten the breath. The toothbrush did not appear until the end of the eighteenth century in Britain, being an imported fad from France. People were thus forced to use other means.

Once toothache had taken hold, a large body of remedies existed to try and relieve the pain. The popular author Gervase Markham recommended taking daisy roots, stamping them in a cloth before adding salt and liquid, putting this into a quill and ‘snuff it up into your nose’.

Remedies for toothache seem to have attracted some fairly dangerous substances. Mrs Corlyon, author of a domestic remedy collection dating from 1606 advocated boiling sliced henbane roots in vinegar, then heating the roots from underneath to cook away most of the moisture, before holding one of the slices between the teeth until the remaining liquid dripped onto it. Henbane, also known as ‘Stinking Nightshade’ is poisonous and can cause hallucination and some severe psychoactive effects!.

tooth drawer

Another remedy, this time from the commonplace book of a Welsh gentleman, Phillip Howell of Brecon, c. 1633, appears even more risky. His remedy involved taking 3 drams of mercury, grinding it on a stone and putting it into a glass bottle. The patient then needed to drop some of the mercury ‘granules’ into the afflicted teeth 3 times a day over two or three days ‘and it will kill the worm and the tooth ache and never troble you ageine’. The patient should take care, cautioned Howell, not to swallow any of it, but spit it out. An early mercury filling…but potentially offering bigger problems than the toothache.

As is also common, remedies did not necessarily have to be applied to the body part afflicted. One recipe for toothache involved putting some ‘Burgamy pitch’ onto leather, sprinkling some nutmeg over it and then applying it to the soles of the feet.

If you had loose teeth and wanted them to stay in your mouth, then Markham suggested first letting some blood through the gums, before taking hartshorn or ivory and red pimpernel (a type of the herb saxifrage), bruising them together in a linen cloth and then laying the cloth to the teeth, promising that this would ‘fasten the teeth’. He neglected the rather vital instruction of how long the patient should do this for however!

Removing teeth was obviously problematic…and painful. Recognising this, some medical writers turned to medical preparations to loosen teeth without the need to forcibly pull them. ‘To Draw Teeth Without Iron: Take some of the green of the elder tree, or the apples of oak trees and with either of these rub the teeth and gums and it will loosen them so as you may take them out’.

If the worst came to the worst though, a range of practitioners were ready, willing and able to pull the offending tooth out. Whist there were no specific dentists, specialist tooth-drawers were often on hand to do the job. Some advertised their services, emphasising their skill in removing teeth without pain. In the 1760s, R. Maggerrus advertised his services in the Public Advertiser as an ‘Operator for the Teeth’ having an ‘infallible method’ and ‘cureing the poor gratis’.

But there were other less obvious candidates. Blacksmiths often ran a lucrative sideline in tooth-removal; they had the upper body strength to pull the offending tooth out, together with the metal instruments to deal with any stubborn ones. Travelling mountebanks criss-crossed the country offering to cure symptoms. Robert Bulkley, a 17th-century Anglesey diarist, noted that he had paid one such figure a penny to cure his toothache. Two days later the mountebank was long gone, but Bulkeley still had his toothache.

Tooth extractor

Perhaps the day of the ‘regrowing tooth’ is not far away and, for many, this will be a relief. Next time you grin for the camera, though, spare a thought for our ancestors…and offer up a silent prayer that you live in an age of relatively pain-free dentistry!