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A big thank you to the Riskies for letting me step in as a temporary contributor to their blog! For my debut, I’m showering you with confetti, for today is the last day of carnival, the “fifth season,” here in Germany. “Carnival in Germany???” some of you might say. “Do Germans have a sense of humor?” If you fall into this group, you have to be very brave now because what I’m going to show you will shock you exceedingly.

There will be a lot of confetti.

And Mr. Johannes Gutenberg wearing a fool’s cap.

Carnival in Mainz: Gutenberg

Since the Middle Ages the weeks before Ash Wednesday, the start of lent in the Catholic calendar, have been used for celebrations and fool’s days during which the traditional social order was turned upside down. The instutions and rituals of the Church were parodied in “ass masses” and the choosing of a “pseudo-pope”.

In many German areas these carnival customs were lost after the Reformation since the Protestant church got rid of the days of lent before Easter. In Catholic areas, however, carnival continued to be celebrated. In the towns the festivities were organized by the guilds, while the nobility gave masked balls in their palaces and estates. Carnival masks and costumes became more and more intricate and elaborated and were influenced by the Italian commedia dell’ arte.

The modern forms of carnival can be traced back to the years of political restoration in Germany during the early nineteenth century. Modern carnival emerged as a middle-class effort with strong elements of political and military satire. This satirical tradition lives on most strongly in the Rhenish Carnival, which is celebrated particularly in the areas around Mainz, Cologne, and Düsseldorf, the three strongholds of this type of carnival. It is characterised by parades and sessions (“Sitzungen”), which are show events combining song, dance, and comical speeches. The largest of the parades traditionally take place on Rose Monday, the Monday before Ash Wednesday.

In Mainz, the first carnival parade was organised in 1837 by local merchant Nicolaus Krieger, who thought this might be a good way to transform the “vulgar” customs of the common people into something more genteel and something that would attract tourists. (Good thinking, Nick! These days thousands of people not only take part in the Rose Monday parade, but several hundred thousands of people also line the streets.)

Carnival in Mainz

In the same year, in 1837, another merchant, Johann Kertell, founded the first of the Mainzer guards, the Ranzengarde (= the Fat-Belly Guards). The guards are the most obvious example of military satire in the Rhenish Carnival, for their costumes are modelled on uniforms of real regiments stationed in the area during the nineteenth century.

Carnival in Mainz: Ranzengarde

In the context of the Rhenish carnival, the guards are responsible for protecting Prince Carnival and for escorting the eleven members of the fool’s committee that oversees the carnival sessions. Just like many real military regiments, the carnival regiments have musical bands, and in Mainz they also have a special carnival march, the Narhalla March, a musical parody of a march composed by Adolphe Adam for his opera Le Brasseur de Preston in 1838. Motifs from that opera were used by one of the founding members of the first carnival club in Mainz, the Mainzer Carneval-Verein (MCV), for a carnival march that was first performed in 1840.

(In this video you can listen to the march at the beginning of the Mainzer TV session of 1985, where it was played when members of all the guards of Mainz escorted the fool’s committee to the session)

I leave you with one last image from the Rose Monday parade – these are the Meenzer Schwellköpp (the swell heads) – and return to my current WIP (also known as Aaaaaaaargh!!!!! or sob), which I need to finish before carnival will be buried tomorrow. Wish me luck!

Carnival in Mainz

Carnival in Mainz: Schwellköpp

A Map of the Rhine, 1832

I have the unfortunate habit of getting rather obsessed with minor points of  research – like travel. When I wrote my second novel, Castle of the Wolf, I spent at least a week if not more (probably more given that I have a fat folder full of notes and research material) reading up on travels on the Rhine. I pushed the date of the story back several years in order to make it feasible that my heroine would take one of the early steamships for traveling to the south of Germany. Indeed, I even unearthed timetables for the steamers that transported people up and down the Rhine.

And all of this for not even half a chapter. Wheee!

(On the left you can see a part of a map of the Rhine that was included in the third edition of Baedeker’s guide book Die Rheinreise from 1839. You can view the whole map here.)

In the late eighteenth and early nineteenth centuries, the ease with which people were able to travel was, of course, largely dependent on their income. Indeed, most people would have never traveled far from home: just as far as their feet could carry them. Hiking tours were apparently quite popular among students, and in the 1790s it was one such tour – a trip of the two friends Ludwig Tieck and Wilhelm Heinrich Wackenroder through southern Germany – that brought about the birth of German Romanticism.

In Britain meanwhile, the eastablishment of a network of turnpike roads in the 18th century improved travel considerably. Turnpike roads opened up the countryside and made the country estates of the aristocracy and the gentry more accessible. Various new forms of passenger transport came into being, with the fastest form of transport being the mail coach (they didn’t have to stop at toll gates, and horses were changed frequently), followed by stage coaches, which could carry up to 18 people. Moreover, several inns specialized in the renting of post coaches and horses to wealthier travelers. Yet the cost for carriages, horses, and toll fees made traveling still expensive.

Thus, perceptions of distances could vary widely as the following conversation between Lizzie and Mr. Darcy from Austen’s Pride and Prejudice shows (from Chapter 32; they’re at the Collinses’):

“It must be very agreeable to [Mrs. Collins] to be settled within so easy a distance of her own family and friends.”

“An easy distance do you call it? It is nearly fifty miles.”

“And what is fifty miles of good road? Little more than half a day’s journey. Yes, I call it a very easy distance.”

“I should never have considered the distance as one of the advantages of the match,” cried Elizabeth. “I should never have said Mrs. Collins was settled near her family.”

“It is a proof of your own attachment to Hertfordshire. Any thing beyond the very neighbourhood of Longbourn, I suppose, would appear far.”

As he spoke there was a sort of smile, which Elizabeth fancied she understood; he must be supposing her to be thinking of Jane and Netherfield, and she blushed as she answered,

“I do not mean to say that a woman may not be settled too near her family. The far and the near must be relative, and depend on many varying circumstances. Where there is fortune to make the expence of travelling unimportant, distance becomes no evil. But that is not the case here. Mr. and Mrs. Collins have a comfortable income, but not such a one as will allow of frequent journeys — and I am persuaded my friend would not call herself near her family under less than half the present distance.”

(Hmmm…. It might be time for another re-read of Pride & Prejudice.)

When I dug into travel in Roman times this weekend, I was quite surprised to find a number of parallels to Georgian and Regency England: not only do several of the major roads in Britain (and in other parts of Europe) still follow old Roman routes even today, but along the Roman roads you could also find a network of inns and way stations. Ideally, every 6 to 12 Roman miles you would have had a way station, where you could change horses, and every 25 Roman miles an inn where you could spend the night. 25 Roman miles, approximately 37 km or 23 modern miles, was probably meant to be the distance somebody walking on foot could cover in a day.

Many of these stations were meant to be used by traveling officials or by merchants transporting goods like fabrics or building material. They could change horses for free and could also spend the night at the inns for free. The costs had to be covered by the local towns and communities, which led to many tensions between the provinces and Rome.

But what perhaps surprised me most was the fact that maps were already available in Roman times: they listed all the towns along the chosen route and also gave the distances between towns. Here is a snippet from one such map, the Tabula Peutingeriana from 250 (from a facsimile from 1887/88; the whole map can be found here):

a part of the Tabula Peutingeriana

I’m a bit late with my post today as I spent the day at the Rhine with friends. And since I’ve already written about 19th-century travels on the Rhine, I thought it might be nice to share pictures of our day trip and add to them some descriptions from guidebooks from the 19th and early 20th centuries.

Koblenz with the "German Corner," where the rivers Rhine and Mosel meet

View of Koblenz with the “German Corner,” where the rivers Rhine and Mosel meet

We visited Koblenz, which Murray’s Handbook for Travellers on the Continent: Northern Germany of 1845 describes thus:

“Coblenz is a strongly fortified town on the left bank of the Rhine, and right of the Mosel. It received from the Romans the name Confluentes, modernised into Coblenz, from its situation at the confluence of these 2 rivers. It is the capital of the Rhenish provinces of Prussia, and its population, together with that of Ehrenbreitstein, including the garrison, is about 25,000.”

Ehrenbreitstein

Ehrenbreitstein

Right across the Rhine from Koblenz lies the Ehrenbreitstein. Murray’s tells us the following about the fortress:

“Ehrenbreitstein (honour’s broad stone), the Gibraltar of the Rhine, connected with Coblenz by a bridge of boats. In order to enter it, it is necessary to have permission from the military commandant residing in Coblenz, which a valet-de-place will easily procure, on merely presenting the passport, or a card with the name of the applicant upon it.”

The garrison was destroyed by the French in 1801, but was rebuilt by the Prussians between 1817-1828 and, together with Koblenz on the other side of the river, was meant to protect the Middle Rhine.

Deutsches Eck

Deutsches Eck

One of the most famous sights of Koblenz is the so-called German Corner (Deutsches Eck), where the river Mosel meets the Rhine. After Kaiser Wilhelm’s death in 1888, a colossal equestrian statue was erected here in commemorate the Kaiser who had brought about the German unification of 1871. The statue was finished in 1897.

Electoral Palace, Koblenz

Electoral Palace

Bradshaw’s Continental Railway Guide from 1913 has the following to say about other sights of Koblenz:

“The beautiful Rhein Anlagen (gardens and promenade) extends along the river front a little south of the boat bridge. Above and behind the Anlagen is the Schloss [i.e., the Electoral Palace], formerly a favourite residence of the German Imperial family; the royal apartments may be seen.”

Prussian government building and Koblenzer Hof

Government Palace and the hotel Koblenzer Hof

Bradshaw’s also mentions “the imposing Regierungspalast (Government office) with square peaked towers” as well as the “[n]ew first class hotel” right next to it, the Grand Hotel Belle Vue – Coblenzer Hof, which had just opened in spring 1913. The ad in the guidebook proudly points out that there’s “running water in every room.” 🙂

ad for Coblenzer Hof in 1913 guidebook

Ad from Bradshaw’s Continental Railway Guide (1913)

But not just the buildings along the Rhine are particularly nice, you can also find beautiful buildings when you walk through the town itself.

pretty houses in Koblenz

Pretty houses in Koblenz

And oodles of churches like the Liebfrauenkirche, which is dedicated to Mary.

Liebfrauenkirche, Koblenz

Liebfrauenkirche, Koblenz

As you can see I had a truly wonderful day! 🙂 And I also had something to celebrate, namely the re-launch of my debut novel, The Lily Brand, which was published ten years ago by Dorchester. Here’s the blurb & the pretty new cover. Until the end of this week, you can still snatch it up for the launch price of $2.99.

Troy Sacheverell, fifth earl of Ravenhurst, was captured in France. He’d gone to fight Napoleon, but what he found was much more sinister. Dragged from prison to an old French manor on the outskirts of civilization, he was purchased by a rich and twisted widow. And more dangerous still was the young woman who claimed him.

Lillian had not chosen to live with Camille, her stepmother, but nobody escaped the Black Widow’s web. And on her nineteenth birthday, Lillian became Camille’s heir. Her gift was a plaything: a man to end her naiveté, a man perfect in all ways but his stolen freedom. Yet even as Lillian did as she was told, marked that beautiful flesh and branded it with the flower of her name, all she desired was escape. In another place, in another world, she’d desired love. Now, looking into burning blue eyes, she knew there was no place to run. No matter if should she flee, no matter where she might go, she and this man were prisoners of passion, inextricably linked by the lily brand.

And while her heart remained locked in ice, his burnt with hate. Would they ever find true happiness?

Get it on Amazon or Kobo

cover of Sandra Schwab's The Lily Brand

cover picture of A Taste of Scandal
Yesterday was release day for A TASTE OF SCANDAL, a multi-author box set I contributed to. Indeed, even the cover is so scandalous that Facebook wouldn’t let one of us boost her “Hooray! New release! With pretty new cover!!!” post. Because, you see, you can plainly discern a man’s neikkid back and shoulder. *gasp*

And biceps!

Let’s not forget that lovely biceps!!! *pats screen*

(I do hope you’re keeping your smelling salts nearby in case you’re overcome by so much scandalous scandalousness!)

And here’s is the scandalous blurb:

Heat up your history with eight amazing novels from USA Today bestselling authors and brand new voices [and, well, me] in this box set! From Regency ballrooms to Victorian bedrooms [and garden follies adorned by giant stone pineapples!!!] [how could you possibly resist those stone pineapples?!!?], there’s something here for every lover of steamy, sexy historical romance. Scottish highlanders, noble spies, and witty aristocrats use humor, wits, and intrigue to get whatever — and whoever — they desire. But these daring heroes meet their match when they encounter bewitching beauties who want more than just a taste of scandal…

(In case you wonder: the fabulous Elizabeth Cole aka the mastermind behind this box set wrote the blurb. Now I just need to find out how I can get her to write all my future blurbs.)

If you don’t quite know how to become properly scandalous yourself, never fear: We have assembled a list of handy tips from some of our heroes & heroines on how to be truly scandalous. Let’s start with a bit of a garden theme:

"The Dovecote" - art by Sandra Schwab “If you suspect a beautiful, unmarried woman is a spy, lead her to a dark garden where you can kiss her senseless while discovering whether she has hidden assets.” ~ Sebastien Thorne from A HEARTLESS DESIGN by Elizabeth Cole

“Garden follies (even those adorned by giant stone pineapples!) are most wonderfully suitable for seduction.” ~ Sebastian “Fox” Stapleton from BEWITCHED by Sandra Schwab

For our next tip, you don’t need a garden, but having a brother is kind of essential:

“Blame everything on your roguish brother so that your darkest secret will never be revealed to the woman you love.” ~ Patrick Rochester from DARK PERSUASION by Vicki Hopkins

So far, our list might lead you to think that only romance heroes have scandal on their minds. But nothing could be further from the truth! So let’s hear from two of our heroines:

"Elinor" - art by Sandra Schwab“The easiest way to get one’s self married is to make a man dizzy with desire. And not let him get undizzy until after the wedding.” ~ Elinor from TO WED THE WIDOW by Megan Bryce

The next one is my personal favorite. It’s a great line to use when you have to deal with a stubborn or annoying hero:

“I don’t think I could kill you, even though you deserve it. They would probably behead me at the Tower if I murdered a duke.” ~ Elizabeth from EDUCATING ELIZABETH by Kate Pearce

"Elizabeth" - art by Sandra Schwab
If you want to find out about all the scandalous things that happen in A TASTE OF SCANDAL, you can pick up your copy for just 99 cents at the following sites:

Amazon US | Amazon UK | Amazon CA | Apple itunes | Kobo

And now let’s hear from you: What is the best scandalous thing you’ve ever encountered in a romance novel?

Leave a comment for a chance to win a signed copy of the very first edition of BEWITCHED (yes, that would be the old Dorchester edition from 2008) (and yes, I still have a few brand new copies of that edition), my contribution to the box set. I’m going to pick a winner (randomly chosen) on Sunday, 11 October.

A lavender sachet with an embroidered rabbit

A lavender sachet with a rabbit, embroidered by the author

I thought for today’s post, I’d elaborate a little on my February post about needlework, and talk about the social aspects of needlework. As any crafter knows, there is an immense satisfaction in gifting your work to your friends and family (especially when they actually appreciate handmade things). I love giving handmade blankets and softies to the children of my friends, and among the women of my grandmother’s generation, embroidered handkerchiefs were popular presents.

Like today, needlework often served as a means to strengthen (female) relationships in the Regency era. And in 19th-century literature this is nowhere better reflected than in Elizabeth Gaskell’s Cranford stories. They were first published in the early 1850s, but most of them are set at a much earlier date, in the 1830s and 40s, and the genteel, yet impoverished ladies of Cranford maintain rules of etiquette that are remnants from even earlier decades.

With Cranford, Gaskell entered a contemporary debate about whether women were able to form and maintain true friendships with members of their sex. As female friendships and female communities form such an important part of the Cranford stories, it perhaps not surprising that we are granted a much more detailed glimpse at the domestic life and work of women than in other literary works of the time.

In the village of Cranford it is the little kindnesses that help to maintain and strengthen the community, and those kindnesses often take the form of handmade things or homemade remedies. In Chapter 2, the narrator tells us:

I had often occasion to notice the use that was made of fragments and small opportunities in Cranford; the rose-leaves that were gathered ere they fell to make into a potpourri for someone who had no garden; the little bundles of lavender flowers sent to strew the drawers of some town-dweller, or to burn in the chamber of some invalid.  Things that many would despise, and actions which it seemed scarcely worth while to perform, were all attended to in Cranford.

The women in Cranford keep in touch with absent friends by writing letters, and needlework plays an important role in forming new friendships and deepening existing ones. Thus,

Miss Pole and Miss Jessie Brown had set up a kind of intimacy on the strength of the Shetland wool and the new knitting stitches […].

And similarly, the relationship between Miss Pole and Mary, the narrator, who is only an occasional visitor to Cranford, deepens thanks to crochet:

There was Miss Pole, who was becoming as much absorbed in crochet as she had been once in knitting, and the burden of whose letter was something like, “But don’t you forget the white worsted at Flint’s” of the old song; for at the end of every sentence of news came a fresh direction as to some crochet commission which I was to execute for her.

As a result of those crochet commissions, Miss Pole invites Mary to stay with her at the beginning of Chatepr 3, and again, needlework is featured prominently:

There was all the more time for me to hear old-world stories from Miss Pole, while she sat knitting, and I making my father’s shirts.  I always took a quantity of plain sewing to Cranford; for, as we did not read much, or walk much, I found it a capital time to get through my work.

When Peter, Miss Matty’s long-lost brother, returns to Cranford towards the end of the collection, he brings with him a beautiful Indian muslin gown. But because Miss Matty has grown too old for such finery, the gown is reserved for Miss Jessie Brown’s daughter and thus becomes yet another means to strengthen the cross-generational bonds. This gives us a glimpse of how fabric could become imbued with love and kinship. In Miss Weeton: Journal of a Governess 1811-1825 we find a letter from Ellen Weeton to her daughter, where she describes the bundle of fabrics she is sending along with the letter to be made into a patchwork quilt:

Print for patchwork is sold  by weight, in small bits such as I have sent you. I purchased it at Prescot market […] The piece of patchwork is out of an old Quilt I made above 20  years ago […] The Hexagon  in the middle was a shred of our best bed hangings; they were Chintz, from the West Indies, which my father brought home with him from one of his voyages.

As we can see, fabric was not only repurposed and passed down in the family, it could also become the carrier of family stories and histories – a process that will be no doubt familiar to many modern quilters!

And that was it from me for this month. When I post the next time, in March, I’ll have some big news to share with you, involving, among other things that cute red-haired woman below. 🙂

And now, let’s hear it from you: Do you have any kind of handmade item that is part of your family history or reminds you of a dear friend?

Red-haired woman, digital art by Sandra Schwab