The fire on the Wharves of Algiers, shortly after the commencement of the Bombardment by the Anglo-Dutch Fleet, 27 August 1816, by Nicolaas Baur, 1816 - 1820
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morning
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• Gown Worn by Princess Charlotte of Wales (1796-1817).
Date : 1816-1817
Medium: Roller-printed silk satin, cotton & metal.
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Journal des Dames et des Modes, Costume Parisien, 20 février 1816, (1544): Costume de Bal. Collection of the Rijksmuseum, Netherlands
Woman dressed in a costume for a ball. The ball gown has short puff sleeves, a square neckline and a high waist. The bodice and hem are decorated with red ribbon and flowers. An underskirt is visible beneath the transparent skirt, decorated with ruffles at the hem. Hairband and flowers in the hair. Further accessories: earring in the left ear, necklace, long gloves, flat shoes with crossed straps and bows. The print is part of the fashion magazine Journal des Dames et des Modes, published by Pierre de la Mésangère, Paris, 1797-1839.
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Strawberries and Cream
Raphaelle Peale
1816
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The Ascension of the Madonna, Pierre Paul Prud'hon, 1816-19
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Rumours about Soult's wealth, 1816
Newspaper snippets fom January 1816, immediately before Soult is exiled from France:
Regensburger Zeitung, 9 January 1816
Marshal Soult, establishing himself in Belgium, is said to bring with him a fortune of 27 million francs!
This newspaper article was repeated and embellished by several papers over the next two weeks, to the point of some people claiming to have seen Soult in Brussels at a theatre.
Meanwhile, in Saint-Amans:
Soult to his wife, 10 January 1816
[...] The future frightens me. I don't know how we will be able to ensure our existence and provide for our children's education, until we have liquidated the capital represented by our Villeneuve countryside, the house in Paris and the furniture that belongs to it, in order to convert it into land that produces some income or annuities on the State, for which the interest would be guaranteed. [...]
Interestingly, he does not even mention selling his Spanish paintings.
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When we enter sleep, we enter an entirely new world, one that is filled with dreams carrying their own pleasure and pain. In Part One of ‘The Dream', Byron separates our lives into waking and dreaming worlds, explicating how dreams render their own reality, through power of vision and intensity of thought. Yet equally pertinent is the amalgamation of the two: how dreams borrow from our conscious thought and how we, in turn, bring essences of our dreams into our waking world.
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The Battle of Algiers: The Bombardment, 1816, by Thomas Luny, 1824
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men // 19th century
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desperately need a dude i can nickname “sweet elf,” who hasn’t slept in 3 days, is vegetarian, translates plato for fun, got kicked out of oxford at the age of 18 for penning the first pro-atheism work in the english language and mailing it to every bishop in england, distributes political pamphlets in handmade hot air balloons, hallucinates from stress, plays with paper boats and rocks while declaring these to be serious forms of scientific experimentation, hangs out with lord byron, casually writes some of the greatest poetry in the english language but then threatens to quit constantly because he’s not famous yet, is convinced he is dying of consumption despite no proof, blows things up with gunpowder unprovoked, and is addicted to sailing as fast as possible while refusing to learn how to swim.
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"1816. La verdadera trama de la independencia", de Gabriel Di Meglio en la
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Journal des Dames et des Modes, Costume Parisien, 20 mai 1816, (1565): Chapeau de Virginie. Spencer à la Hussarde. Collection of the Rijksmuseum, Netherlands
Standing woman dressed in a 'spencer à la Hussarde' on a skirt, decorated at the hem with four ruffles with a scalloped hem. On the head a hat with ostrich feathers: 'chapeau de Virginie'. Further accessories: parasol, flat shoes with crossed straps and bows. The print is part of the fashion magazine Journal des Dames et des Modes, published by Pierre de la Mésangère, Paris, 1797-1839.
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Jacques Cathelineau, generalísimo vendeano (Anne-Louis Girodet, 1816)
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