M24 Chafee in Action

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23 For Boulton’s unmarried and semi-invalid daughter, Anne, her homemaking chance came after her father’s death and when her brother married, allowing her to set up home for herself a short distance away from Soho House. Anne moved into Thornhill House in about 1819 and launched into a whirl of house furnishing. (Illustration 1:1) She used London makers, including the London branch of Gillow. She also used the architect and designer Richard Bridgens to produce designs for her home in the early 1820s (Illustration 1:2).

The awareness and reactions to fashionable ideas by makers and retailers of furnishings are explored through a consideration of their retailing establishments, their advertisements and their incorporation of fashionable ideas in the goods they made and sold. This section discusses how people perceived the fashionable elements in the design of furnishings, and how they chose to translate those elements into something appropriate for provincial lives. In the final section of this chapter it will be shown how traditional rural homemaking that was coming under threat in the early-nineteenth century was portrayed in a fictional account while purporting to be reality.

My grandmother added a handsome parlour to the family mansion, with a handsome chamber over it and placed beds in both; in the former for the accommodation of her husband and herself; in the latter for that of a guest. 96 Catherine Hutton established that the modernization to the farmhouse was to add comfort and to aid the public role of the house, but the traditional arrangements were not overly interfered with. The next generation followed a similar pattern, and her mother, as a young bride, went to live at the farmhouse with her mother-in-law still in residence.

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