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Emma Hamilton The way from social obscurity to social stardom has traditionally been even narrower than the strait gate and narrow way to salvation. However, iconic looks, talent, intelligence, and a heaping helping of golden luck have been known to buy one’s way out and up. Emma Hamilton was born in 1765, among the working poor. Ordinarily, the nearest such a girl would have come to the aristocracy would have been cleaning up after them. She was working as a servant in London at twelve; she moved on to a brothel, then an establishment known as the Temple of Health and Hymen. Her first protector was one Sir Harry Featherstonebaugh. Supposedly she helped entertain his companions by dancing naked on his table. She attracted the notice of the Hon. Charles Greville, nephew of Sir William Hamilton. Charmed, Greville commissioned George Romney to paint portraits of her and make the public aware of the iconic face. Romney became quite obsessed with her and produced numerous portraits that convey both the heat of his interest and his subject’s charisma. At nineteen she was also painted by Sir Joshua Reynolds in a characteristic pose: a mischievous, meditative look over her shoulder, right hand delicately fingering her cheek.

Victorian is almost a substitute term for joylessly prudish to many people. They are wrong; Queen Victoria relished sex with her protective, affectionate husband, Prince Albert of Saxe-Coberg-Gotha. The marital romance portrayed in The Young Victoria by Emily Blunt and Rupert Friend is true to history. However, Queen Victoria disliked pregnancy, babies, and some children, including several of her own, with passion. Her criticism of the less-favored could be stinging in its candor as well as inaccurate. Her sixth child, Princess Louise, born in 1848, was among her less-favored offspring. Through much of Princess Louise’s childhood, the queen sincerely believed that her daughter was “backward.” Having inherited Prince Albert’s cheekbones and graceful bearing, though, Louise was the prettiest of the daughters. Certainly she was the most talented and daring, the one who would lead the life she desired.

A couple of weeks ago I took a meander around the Met to see what new stuff was hanging--and what did I find? Lots of new courtesans! In particular, there is now a whole gallery of Japanese paintings of beautiful women--including a number of courtesans, such as this woman in a scroll from the 1780s by Isoda Koryusai. This painting seems to show the main street of the Yoshiwara, the 'pleasure quarter' of the city of Edo (modern Tokyo). A courtesan is promenading with her two assistants (or perhaps apprentices). She is the height of fashion, or perhaps overdone—as was apparently typical of these women—wearing multiple layers of elaborate kimonos, and the huge clogs which were typical of courtesans--clogs which made it impossible to walk naturally (a custom that reminds me of Chinese foot-binding).

Izumo no Okuni did not find her fame in the elite pleasure houses of Kyoto, where women with elaborate artistic educations provided their clients with the most rarefied pleasures of fantasy-femininity and the most pragmatic pleasures of the flesh. Okuni was a miko, or shrine...

Maria Malibran entered the world in 1808 with an uncommonly interesting backstory and set of genes. Her father, the famous tenor Manuel Garcia, was probably half-Romany; her Spanish mother was a more minor opera singer. Garcia was a spectacular singer, a brilliant teacher, and a manic brute. Determined to make his daughter into one of the planet’s most brilliant vocalists, he battered and terrorized her regularly in service to this aim. Did she start life with a miraculous voice? She had one by the time she made her debut at a London concert at 16, just old enough to be a sophomore in a postmodern American high school. By that time, she already had a range from E below middle C to high C. At 17, she made her operatic debut as Rosina in The Barber of Seville to great acclaim.

Nell Gwynn was born Eleanor Gwynn in 1650, in London and lived a meteoric thirty-seven years. Her mother ran a brothel, where young Nell tended bar until she was fourteen. Then she began selling oranges at the Drury Lane Theatre. Influential attention began before long; the leading actor there, Charles Hart, took the impish nymphet as his mistress and arranged for her to appear as an actress. She probably made her debut at 15. Despite illiteracy, she developed her talents as a thespian, singer, and dancer; she became the theatre’s leading comedienne and fulfilled that role to high acclaim until 1669. During this interval, she also enjoyed a liaison with the sixth earl of Dorset.

Elizabeth I of Russia was born in 1709 to Tsar Peter I, whom we know as Peter the Great, and his plebeian consort, Martha Skavronskaya, before their marriage. She inherited her father’s large frame and dark, striking looks, also his charisma and ability to influence people. She grew up in Saint Petersburg in the splendor of her father’s court, amidst the exhilarating progress and strife of Tsar Peter’s fast-paced, radical reforms of Russian society.

Delacroix’s portrait of George Sand and her most famous lover, Frederic Chopin, shows her sensual grace and the sensual tenderness between the two. Sand, born Aurore Dupin in 1804, helped put the free in freethinker. Daughter of an aristocrat and a proletarian Parisienne, Aurore was raised by her aristocratic grandmother, a well-meaning despot, at the family estate, Nohant. Aurore inherited two sets of irreconcilable rules, discarded both, and stepped into male privilege—and trousers.

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