History of the FanRhead, G. Woolliscroft (George Woolliscroft)
History
History of the Fan
Rhead, G. Woolliscroft (George Woolliscroft)
Fans
And royalty in its gilded saloon, what has become of it? How fares it
with the poor Louis and his devoted family? That flight from the Rue
de l’Échelle in the darkness of the night of the 20th June 1791, when
the lady shaded in broad gypsy-hat, tapped, from sheer playfulness,
with her badine—‘light little magic rod such as the Beautiful then
wore—the wheel of Lafayette’s carriage as it rolled past’; this goes
unrecorded, as also the incident in the village of Sainte-Menehould,
when Post-master Drouet recognises a familiar face in the lady with
the slouched gypsy-hat and the ‘Grosse-Tête’ in round hat and peruke.
‘Quick, Sieur Guillaume, Clerk of the Directoire, bring me a new
Assignat! Drouet compares the Paper-money Picture with the Gross Head
in round hat there: by Day and Night! you might say this one was an
attempted engraving of the other.’[141]
And so event succeeds event—over the final tragedy of the 21st January
1793, no less than over the more piteous scene of October 16, the fan
discreetly draws a veil.
[Illustration: Napoleon shows his troops the channel, 1803.
Bibliothèque Nationale, Paris.]
Several fans have for their subject the Testament du Louis XVI., and
give medallion portraits of the king and various members of his family,
with the symbol of immortality; the inscription, ‘Testament De Louis
Seize, Né Le 23 Aoust 1754. Mort le Lundi 21 Janvier 1793.’ On the
sides or reverse of the fans, the will written out at length.
In ‘Le Songe,’ a female figure is represented asleep; on a tomb in the
centre of the fan, a figure of Louis appears when the fan is placed
against the light; the representation being veiled or concealed by
means of a thin piece of paper pasted over it.
Mourning-fans were common with the more loyal portion of the community;
these also consisted of concealed portraits of Louis and his family,
and are usually decorated with black gauze and spangles; the
inscription, ‘Vive le Roi!’
A favourite device was a pansy or heart’s-ease (‘that’s for thoughts’),
with the portraits appearing on the principal petal, upon the fan being
held against the light. These obtained later, when popular opinion,
becoming tired of the Revolution and its consequences, was again
veering round in the direction of Royalty.
Public-domain text, read in full here on John Shaqi.
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