Shady Ladies

Shady Ladies Shady Ladies Tours uncovers the s*xy secrets of the world's great cities and museums with tours designed by eminent s*x historian Andrew Lear.
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Call (646) 201-4848 for more information. In 2016, try our tours of the Metropolitan Museum in New York: "Shady Ladies at the Met" (about courtesans and royal mistresses in the world's art), "Scandalous Seductions at the Met" (about the intersection of s*x and scandal and art), and "Gay Secrets at the Met" (about the hidden gay history in the Met's collections). Discover the s*xy side of history and art on New York's most intriguing art museum tours!

12/01/2024

Betty Blythe was a prominent silent film star known for her beauty and charisma during the 1920s. Born on September 1, 1893, in New York City, she began her career in the theater before transitioning to film, where she quickly gained fame. Blythe became a symbol of the glamorous and extravagant era of silent films, particularly during the Art Deco movement, which influenced not only architecture and design but also fashion and cinema.

Blythe's film career took off with her role in "The Queen of Sheba" (1921), which showcased her striking presence and dramatic acting skills. She became known for her roles in lavish historical epics, often playing strong, captivating women. Her performances were marked by a combination of elegance and emotional depth, which resonated with audiences of the time.

The Art Deco movement, characterized by geometric shapes, bold colors, and luxurious materials, greatly influenced the aesthetics of the films in which Blythe starred. The visual style of Art Deco was not just limited to architecture but permeated fashion and film, with elaborate costumes and set designs that complemented the glamorous narratives. Blythe's on-screen presence often reflected the opulence of this era, as her costumes featured intricate designs and rich fabrics that accentuated her figure and allure.

In addition to her striking looks, Blythe was also known for her distinct style, which included fashionable hairstyles and makeup that epitomized the flapper culture of the Roaring Twenties. Her portrayal of women who were confident and independent aligned with the cultural shifts of the time, as women began to assert their roles in society beyond traditional expectations.

Despite her success, Blythe's career faced challenges with the advent of sound in film. As the industry transitioned to " ," many silent film stars struggled to adapt, and Blythe was no exception. Her film appearances dwindled in the late 1920s, and she eventually retired from acting. However, her contributions to silent cinema and her embodiment of the Art Deco aesthetic have left a lasting legacy.

12/01/2024

The birth of a royal was far from an ordinary event; it was a political milestone with potential ramifications for the entire nation. The outcome could determine the monarchy's future, prompting widespread concern. Thus, it was seen not as a private matter but as a significant public occasion. Would the baby be a boy, a future king? As a potential ruler, the child was considered to belong more to the people than to the queen. Consequently, she gave birth in front of numerous spectators, all keenly observing to verify the child's s*x and health, ensuring there was no foul play.

About a month before the expected birth, the queen was sequestered in a specially prepared chamber, adhering to the tradition of royal lying-in. This ceremonial withdrawal from court life marked the start of a luxurious yet potentially stifling and challenging experience. The queen’s quarters were transformed into a sanctuary meant to symbolize safety and sanctity, with the atmosphere tightly controlled, reflecting both medical practices and superstitions of the era.

The room's windows were securely shut and covered with heavy tapestries to block fresh air and light. It was believed that light could harm the queen's eyes, while unfiltered air might threaten the health of both mother and child. The tapestries often featured serene religious images or tranquil landscapes, selected for their calming effects and protective qualities. Imagery of people or animals was avoided, as it was feared such visuals could provoke unsettling thoughts or even physically impact the baby.

Regardless of the season, the room was kept warm, with a fire burning continuously. This heat, combined with the absence of fresh air, sometimes created an oppressive environment. Fresh rushes and fragrant herbs were spread on the floor daily to mask odors and maintain a sense of cleanliness. The ambiance, designed to replicate the peace and darkness of the womb, demanded silence; attendants moved quietly and spoke in whispers, fostering an atmosphere of reverence and tranquility.

If complications arose during labor, these carefully maintained barriers were intentionally disrupted. Symbolic actions, such as opening cupboards, untying knots, or removing hairpins, were performed to "release" blocked energy and aid the birth process. Chanting and prayers to St. Margaret, the patron saint of childbirth, were common, invoking her miraculous escape from a dragon as a source of divine support.

The queen’s isolation, rooted in tradition and care, reflected the deeply ingrained cultural and spiritual practices surrounding childbirth. These rituals embodied a profound reverence for the sacred act of royal maternity.

During World War I, the dynamics of in France underwent significant changes due to the unique environment created by t...
12/01/2024

During World War I, the dynamics of in France underwent significant changes due to the unique environment created by the war. As millions of soldiers were mobilized, towns and cities near military bases experienced a surge in demand for s*xual services. Prostitution was already a well-established part of urban life, but the war intensified this phenomenon. Many women turned to s*x work out of necessity, driven by poverty and the need to support families left behind by men who had gone to war.

In this context, some prostitutes began to charge higher fees if they were known to have . The reasoning behind this unusual pricing strategy was pragmatic: a soldier who contracted syphilis would typically be sent to a hospital for treatment, resulting in a month away from the front lines. For many soldiers, this was an attractive prospect, as the trenches were notorious for their brutal conditions, with constant threats of death, disease, and severe hardship.

By offering their services at a premium to those aware of their infection status, these s*x workers effectively capitalized on the soldiers' desire for a reprieve from the grim realities of battle. This created a paradoxical situation where contracting a disease became a potential escape route for soldiers facing the harsh conditions of trench warfare.

The prevalence of s*xually transmitted infections, including syphilis, posed significant public health challenges during the war. Military authorities were deeply concerned about the spread of STIs among troops, as these illnesses could undermine the effectiveness of the fighting force. In response, the French military implemented measures to control the spread of diseases, including mandatory health inspections for soldiers and campaigns to promote s*xual health.

This situation raised moral questions about wartime s*xuality and the exploitation of vulnerable individuals. Many of the women involved in s*x work were in precarious situations, often from impoverished backgrounds or displaced by the war. The war blurred the lines of morality, as survival often took precedence over societal norms.

The intersection of war, health, and prostitution prompted changing attitudes toward s*x work. While some viewed prostitutes as necessary evils in wartime, others criticized the exploitation inherent in the system. Government and military authorities struggled to balance the needs of soldiers with the rights and welfare of women engaged in s*x work.

The legacy of World War I had lasting effects on the landscape of prostitution in France and beyond. The war changed the perception of s*x work and contributed to discussions about public health, women's rights, and the regulation of prostitution. The normalization of certain aspects of wartime prostitution influenced post-war policies and attitudes, shaping the future of s*x work amid societal changes.

The phenomenon of prostitutes charging more for their services if they had syphilis during World War I illustrates the complex interplay of economics, health, and survival in a time of crisis. It highlights how war can reshape social dynamics and lead to unexpected consequences, revealing the vulnerabilities and agency of those involved in s*x work amid the chaos of conflict.
*xyhistory *xworkers

Laura Eliza Jane Seymour Bell, known as Laura Bell, was born in 1829 in Ireland. Her early life remains relatively obscu...
11/29/2024

Laura Eliza Jane Seymour Bell, known as Laura Bell, was born in 1829 in Ireland. Her early life remains relatively obscure, but her beauty and charm eventually brought her to London, where she became one of the most famous of England.

In London, she moved in elite social circles, attracting powerful and wealthy men. Among her admirers was Jung Bahadur Rana, the Prime Minister of Nepal, who reportedly spent an enormous sum of £250,000 on her. This incredible amount, equivalent to millions today, earned her notoriety and symbolized the extravagant lifestyles associated with some courtesans of the era. Bell's charisma and influence allowed her to cultivate relationships with influential figures, making her a prominent, if controversial, figure in society.

Later in life, Bell experienced a dramatic transformation. She underwent a profound religious conversion, renouncing her past life and embracing a new identity as a moral reformer. She dedicated her later years to preaching on morality and , attempting to atone for her previous lifestyle. Her shift from a life of indulgence to one of religious devotion captured public attention, reflecting the rigid moral dichotomies of Victorian society.

Laura Bell died in 1894, leaving behind a legacy of fascination and scandal, her life embodying the extremes of wealth, notoriety, and redemption in the Victorian era.
*xworker

Liane de Pougy, born Anne-Marie Chassaigne in 1869 in La Flèche, France, rose from modest beginnings to become one of th...
11/27/2024

Liane de Pougy, born Anne-Marie Chassaigne in 1869 in La Flèche, France, rose from modest beginnings to become one of the most famous courtesans of the Belle Époque. Her early life was marked by a troubled marriage to Armand Pourpe, a naval officer whose and violence led her to flee to Paris. Reinventing herself as Liane de Pougy, she pursued a career as a dancer at the Folies Bergère, where her striking beauty and magnetic stage presence captivated audiences and secured her a place among the elite courtesans of the era.

In Parisian society, Liane became synonymous with glamour and scandal, cultivating a lifestyle that mixed artistic circles with aristocratic lovers. Her romantic entanglements included an affair with the American expatriate writer Natalie Clifford Barney, whose bold pursuit of Liane resulted in a passionate, if turbulent, relationship. Natalie immortalized their liaison in *Idylle Saphique* (1901), a novel thinly disguised as fiction. Liane also had a long-term relationship with Prince Georges Ghika of Romania, whom she married in 1910, becoming Princess Ghika. Their union marked a shift in her public identity, but her reputation as a courtesan continued to linger, a testament to her larger-than-life persona.

As the frivolity of the Belle Époque gave way to the upheavals of the 20th century, Liane experienced a profound spiritual awakening. Following the death of her son from her first marriage during World War I, she began to withdraw from her glamorous lifestyle. Eventually, she devoted herself to religion, joining the Dominican order as a tertiary and taking the name Sister Anne Mary. In this role, she dedicated her time to charitable work, particularly at the Asylum of Saint Agnes in Lausanne, Switzerland, where she provided care for disabled children. Her transformation from a to a devout religious figure surprised many but reflected the complex and multifaceted nature of her character.

11/27/2024

📷 Martha Stewart 1989

11/27/2024

Mary Wollstonecraft Godwin, better known as Mary Shelley, was a remarkable figure who left an indelible mark on literature and culture. Born in 1797 to two of the most progressive thinkers of their time, Mary grew up surrounded by an atmosphere of intellectual debate and radical ideas. Her mother, Mary Wollstonecraft, was a pioneering feminist and the author of A Vindication of the Rights of Woman (1792), while her father, William Godwin, was a philosopher known for his treatise An Enquiry Concerning Political Justice (1793). Despite this stimulating environment, Mary’s early life was marked by tragedy: her mother died shortly after her birth, leaving Mary to grow up in a household overshadowed by her father’s remarriage to a woman who did not share his intellectual fervor.

When Mary met Percy Bysshe Shelley in 1814, their shared love of poetry, philosophy, and unorthodox ideals drew them together, despite the scandal it caused. Percy, already married and estranged from his wife, was a devoted follower of Mary’s father’s philosophy and found in Mary a kindred spirit. Their elopement to the Continent in 1814 was an act of rebellion against societal conventions and familial expectations, setting the stage for a life marked by both extraordinary creativity and personal turmoil.

In the summer of 1816, Mary joined Percy Shelley and Lord Byron at the Villa Diodati near Lake Geneva in what has become one of the most legendary gatherings in literary history. The group, which also included Mary’s stepsister Claire Clairmont and Byron’s physician, Dr. John Polidori, spent rainy evenings entertaining one another with ghost stories. It was during this time that Byron challenged everyone to write a supernatural tale, a challenge that led Mary to conceive Frankenstein; or, The Modern Prometheus. Drawing on contemporary debates about science, creation, and the limits of human ambition, Mary crafted a story that is widely regarded as the first true science fiction novel. Published anonymously in 1818, Frankenstein was an immediate sensation, though many readers initially attributed it to Percy Shelley due to his preface and their shared intellectual partnership.

Mary’s life after the publication of Frankenstein was marked by both triumph and sorrow. Percy Shelley’s first wife, Harriet, died by su***de in 1816, clearing the way for Mary and Percy to marry. However, their union was far from tranquil. Financial instability, frequent relocations, and the deaths of three of their children weighed heavily on Mary. The couple moved to Italy in 1818 to escape public condemnation and to seek solace in the warmer climate, but tragedy followed them. In 1822, Percy Shelley drowned while sailing in a sudden storm off the coast of Viareggio, leaving Mary devastated and responsible for their only surviving child, Percy Florence Shelley.

Despite these hardships, Mary Shelley remained fiercely independent and committed to her craft. Returning to England after Percy’s death, she supported herself and her son through her writing, producing novels, short stories, travelogues, and biographies. Her later works, including The Last Man (1826), a pioneering post-apocalyptic novel, reveal her continued engagement with themes of human vulnerability and resilience. She also devoted herself to preserving and promoting Percy Shelley’s legacy, editing and publishing his works while navigating a society that often viewed her with suspicion.

Mary Shelley lived to see the dawn of the Victorian Age, a period marked by profound social and technological change. Her survival into this new era allowed her to witness the enduring impact of Romanticism, even as its ideals evolved.

"The Unequal Marriage" (1862) by Russian painter Vasili Pukirev is a powerful social commentary on a common practice in ...
11/12/2024

"The Unequal Marriage" (1862) by Russian painter Vasili Pukirev is a powerful social commentary on a common practice in 19th century Russia - the arranged marriage of young women to much older men for economic or social advantage.

In the painting, we see a somber wedding ceremony taking place in an Orthodox church. The bride appears very young, perhaps 16 or 17, wearing a traditional white wedding dress with orange blossoms in her headdress. Her downcast expression and passive demeanor suggest resignation rather than joy. The groom is elderly, likely in his 60s, dressed formally and holding a candle as part of the Orthodox ceremony. The stark age difference between them is the painting's central message.

The surrounding figures tell their own story: there's a younger man in the background (believed to be a self-portrait of Pukirev himself) who looks on with obvious distress - possibly representing a thwarted love interest of the bride. The other witnesses include various bureaucrats and officials, their expressions ranging from indifference to mild concern, highlighting society's acceptance of such arrangements.

The painting caused quite a stir when it was first exhibited, as it boldly criticized a practice common among Russian nobility and merchant classes. Young women were frequently married off to older, wealthy men to secure their families' financial stability or advance their social status. The painting became a rallying point for critics of this custom and those advocating for women's rights in Russian society.

The work is particularly noted for its realistic style and psychological depth. Pukirev paid careful attention to the detailing of the Orthodox church interior, the ceremonial dress, and most importantly, the subtle but telling expressions of each figure. The contrast between the bride's youth and beauty and the groom's age and stern demeanor makes the painting's social criticism unmistakable.

The storied "maisons closes" (closed houses) of Paris were once as much a part of the city's cultural fabric as its café...
11/12/2024

The storied "maisons closes" (closed houses) of Paris were once as much a part of the city's cultural fabric as its cafés and cabarets. From the mid-19th century until 1946, these state-regulated establishments operated under strict governmental oversight, with registered s*x workers required to undergo regular health examinations. The most famous among them, such as Le Chabanais and Le Sphinx, were renowned for their lavish decor, featuring themed rooms, ornate furnishings, and art collections that rivaled many museums.

These establishments served not merely as houses of pleasure but as social institutions where artists, writers, and politicians gathered. The legendary Le Chabanais, favored by King Edward VII of England, boasted a specially designed copper bathtub for the monarch, while prominent figures like Guy de Maupassant and Toulouse-Lautrec were regular patrons of various establishments. The latter even maintained a studio in one brothel, where he painted intimate portraits of the women who worked there, creating an invaluable artistic record of this hidden world.

The architecture and interior design of these establishments reflected the excesses of the Belle Époque period. Each maison close developed its own distinctive character: some resembled Oriental harems, others recreated classical Roman settings, and a few even featured elaborate reproductions of medieval chambers. The attention to theatrical detail extended beyond mere decoration – these spaces were carefully crafted to create complete fantasies, with some rooms featuring complex mechanical beds, ceiling mirrors, and intricate lighting systems designed to flatter their occupants.

The era of the maisons closes came to an end with the passage of the Marthe Richard law in 1946, which ordered the closure of all regulated in . This legislation marked the end of an era that had shaped much of Paris's nightlife and artistic culture for nearly a century. Today, these former brothels have largely been converted into hotels, apartments, or offices, though some retain hints of their ornate past behind their otherwise ordinary facades. Their influence can still be seen in the works of art they inspired and the literature they generated, serving as a testament to a unique period in Parisian history when pleasure, art, and society intermingled behind closed doors

11/03/2024

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The Sarcophagus of Seianti Hanunia Tlesnasa offers an exceptional glimpse into Etruscan culture, artistry, and attitudes...
11/02/2024

The Sarcophagus of Seianti Hanunia Tlesnasa offers an exceptional glimpse into Etruscan culture, artistry, and attitudes toward death in the 2nd century BC. Discovered at Poggio Cantarello near Chiusi, Tuscany, this sarcophagus dates to around 150-140 BC and reveals the high level of craftsmanship, as well as the social and cultural importance of funerary rites among the Etruscans.

Seianti Hanunia Tlesnasa’s name, inscribed along the chest’s base in the Etruscan language, establishes her identity and highlights the importance of preserving personal legacy. The elaborate depiction of her attire and accessories speaks to her status. Her gown and cloak, with their intricate drapery, would have been labor-intensive to render, particularly in terracotta, indicating that she came from an affluent family in Chiusi. Adorned with a tiara, earrings, bracelets, and a necklace, Seianti’s attire is both regal and reflective of Etruscan fashions, emphasizing wealth and the desire to be remembered with dignity and prestige.

Her reclining pose, upon a shallow mattress with a pillow, evokes a common motif in Etruscan funerary art, where the deceased are often shown reclining as if participating in a banquet or symposion—a practice borrowed from the Greeks but transformed in the Etruscan context. This positioning underscores an ongoing “life” or presence even in death, as she holds a mirror and adjusts her cloak. The open-lidded mirror in her hand symbolizes vanity, self-awareness, or even the soul, an object seen frequently in Etruscan art and often associated with women of the era.

The also held physical remains that, when analyzed, suggested a woman of around 50-55 years of age, offering a rare case where art and archaeology can directly intersect. The combination of Seianti’s lifelike representation and her physical remains allows modern scholars to gain a fuller understanding of both her personal status and health.

Overall, the sarcophagus is more than an artistic object; it reflects the approach to death as a continuation of life’s pleasures and a display of family honor.

The Queen of the Night Relief, also known as the Burney Relief, is one of the most striking artifacts from ancient Mesop...
10/21/2024

The Queen of the Night Relief, also known as the Burney Relief, is one of the most striking artifacts from ancient Mesopotamia. Dating to around 1800 BC, it originates from the Old Babylonian period and is housed in the British Museum. This terracotta plaque, measuring about 50 cm in height, features a n**e female figure with wings standing on the backs of two lions. She is flanked by two large owls, adding to the enigmatic nature of the piece. The woman is adorned with a horned headdress, a symbol of divinity in Mesopotamian art, and her hands are raised in a gesture that might indicate blessing or domination.

The figure’s feet, resembling those of birds of prey, suggest a connection to both the natural and the underworld. The lions beneath her feet symbolize strength and power, while the owls, associated with the night, reinforce the figure’s possible link to death or the underworld. These elements make the goddess portrayed a figure of immense power, straddling both life and death, light and darkness.

The identity of this goddess has been the subject of intense debate. Some scholars believe she is Ishtar (Inanna), the goddess of love, war, and fertility. Ishtar’s connection to fertility is often symbolized by nudity in ancient art, and her association with lions is well-established, as lions represent her fierce and royal nature. The wings may signify her ability to move between the heavens, earth, and the underworld, further supporting the case for her identification as Ishtar.

Other scholars, however, argue that the figure may represent Ereshkigal, Ishtar’s sister and the queen of the underworld. The presence of owls, nocturnal creatures associated with death, and the clawed feet suggest a darker connection to the underworld. Ereshkigal, though less commonly depicted in Mesopotamian art, ruled over the realm of the dead, and the imagery of the relief aligns with her domain.

Some interpretations suggest the figure could be a composite deity, blending characteristics of both Ishtar and Ereshkigal. This would reflect the dualistic nature of Mesopotamian religion, where life and death, love and war, were seen as intertwined forces rather than opposites.

The relief’s complex symbolism—its combination of animals, divine attributes, and supernatural elements—conveys the figure’s power and authority. The wings, for instance, may signify her divine status or her ability to travel between realms, reinforcing her role as a mediator between life and death. The lions and owls, in turn, serve as reminders of her dominion over both the natural world and the cosmic forces of the underworld.

Produced during the Old Babylonian period, the Burney Relief reflects the rich religious and cultural life of ancient Mesopotamian cities. The pantheon of gods and goddesses, especially figures like Ishtar, played a central role in the daily lives and beliefs of the people. Art from this period often depicted divine figures in ways that emphasized their authority over both the physical and spiritual realms. The Queen of the Night Relief, with its focus on the figure’s dominance over animals and nature, could have served a religious or symbolic purpose, possibly in a temple setting, to invoke divine protection or favor. It may also have had connections to funerary practices, given its underworld themes.

This ancient , a small globular flask used to store perfume or oil in ancient Greece, provides fascinating insights int...
10/18/2024

This ancient , a small globular flask used to store perfume or oil in ancient Greece, provides fascinating insights into the cultural and artistic representations of the time. Dated to 520-510 BC, the artifact is now preserved in the Louvre Museum, and it showcases the visages of two women - one Greek and the other Ethiopian - adorned with the Greek word "ΚΑΛΟΣ," meaning "beauty."

The inclusion of the Ethiopian woman on the Aryballos is particularly noteworthy, as it reflects the early Greek literary tradition of "Tales of ," which depicted these distant lands at the edge of the known world. These narratives, dating back to the 8th century B.C. and echoed in the epic poems of Homer, recount the adventures of Greek deities and heroes, such as , as they ventured to these mythical realms.

The juxtaposition of the Greek and Ethiopian women on the Aryballos suggests a cultural exchange and an appreciation for diverse representations of beauty during this period in ancient Greece. It speaks to the interconnectedness of the Mediterranean world and the curiosity and engagement of the Greek people with distant cultures and civilizations.

Furthermore, the use of the Aryballos in bathing ceremonies among athletes further highlights the significance of this artifact. These small flasks were commonly depicted in vase paintings, showcasing their integral role in the rituals and practices of ancient society.

10/08/2024

Emily Dickinson and Susan Gilbert's relationship began in 1850 when both were young women on the cusp of adulthood. Their initial meeting sparked a profound connection that would endure and evolve throughout their lives. Gilbert, who later became Emily's sister-in-law by marrying her brother Austin, played a multifaceted and crucial role in Dickinson's life and work.

As a mathematician-in-training, Gilbert brought a unique perspective to her relationship with Dickinson. This intellectual background likely contributed to her ability to appreciate and engage with Dickinson's complex and innovative poetry. The two women shared a deep bond that transcended conventional friendship, with Gilbert becoming an integral part of Dickinson's creative process.

In her role as Dickinson's primary reader and editor, Gilbert provided invaluable feedback and support for the poet's work. Dickinson, known for her reclusive nature, found in Gilbert a trusted confidante with whom she could share her most intimate thoughts and artistic creations. This literary partnership allowed Dickinson to refine her craft and develop her unique voice, which would later be recognized as one of the most distinctive in American poetry.

The nature of Dickinson and Gilbert's relationship has been a subject of scholarly debate and speculation. Some historians and biographers argue that their bond went beyond friendship and literary collaboration, suggesting that Gilbert was Dickinson's true love and perhaps her romantic partner. This interpretation is based on the passionate and intimate language found in their correspondence and the depth of their emotional connection.

Dickinson's letters to Gilbert while she's away speak for themselves:

When I look around me and find myself alone, I sigh for you again; little sigh, and vain sigh, which will not bring you home.

I need you more and more, and the great world grows wider... every day you stay away — I miss my biggest heart; my own goes wandering round, and calls for Susie... Susie, forgive me Darling, for every word I say — my heart is full of you... yet when I seek to say to you something not for the world, words fail me... I shall grow more and more impatient until that dear day comes, for til now, I have only mourned for you; now I begin to hope for you...

Now, farewell, Susie... I add a kiss, shyly, lest there is somebody there! Don’t let them see, will you Susie?

Maria Carolina of Austria, born in 1752, was a key figure in the complex web of European royal families during the late ...
10/08/2024

Maria Carolina of Austria, born in 1752, was a key figure in the complex web of European royal families during the late 18th and early 19th centuries. As the 13th child of Maria Theresa, she carried on the Habsburg tradition of large families and political marriages. Her full name, Maria Carolina Louise Josepha Johanna Antonia, reflected various family connections and religious devotions, though her family affectionately called her Charlotte.

The practice of reusing names for royal children was common, especially when earlier children had died young. Maria Carolina was the third daughter to bear this name, following two sisters who had died in infancy. This naming convention highlights the high infant mortality rates of the time, even among the nobility.
Maria Carolina's close relationship with her younger sister Marie Antoinette offers a glimpse into the personal side of royal life. Growing up together in the opulent Schönbrunn Palace, they formed a bond that would endure through correspondence long after their marriages separated them physically.
The circumstances of Maria Carolina's marriage to Ferdinand IV of Naples and Sicily underscore the political nature of royal unions in this era. She was essentially a replacement for her deceased sister, Maria Josepha, who had been intended for Ferdinand but succumbed to smallpox before the marriage could take place. Maria Theresa's frank assessment of Ferdinand's appearance reveals the pragmatic approach to such arrangements, where political alliances trumped personal attraction.
As Queen of Naples and Sicily, Maria Carolina proved to be a formidable political figure in her own right. She often overshadowed her husband in matters of governance and was known for her patronage of the arts and sciences. Her support for the excavations of Pompeii and Herculaneum contributed significantly to our understanding of ancient Roman life.

The French Revolution marked a turning point in Maria Carolina's life and worldview. The ex*****on of her sister Marie Antoinette hardened her stance against revolutionary ideas and led to her fierce opposition to Napoleonic France. This political stance eventually resulted in her exile from Naples in 1806, a dramatic fall from power for a woman who had once wielded considerable influence.

Maria Carolina's legacy continued through her numerous descendants. Her granddaughter Marie Louise's marriage to Napoleon Bonaparte in 1810 added another layer to the family's already complex history. This union, like so many others, was driven by political considerations rather than personal inclinations.

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Courtesans, royal mistresses, scandalous women of every sort—the walls of the Metropolitan Museum are lined with them, from ancient Greek hetaerae to Sargent’s Madame X.

These women, famous not only for s*x-appeal but also for their talents—and for a spirit which today we would call ‘entrepreneurial’— fascinated both their wealthy patrons and the artists who created the world’s great masterpieces.

But who were they? How did they rise to their positions? And how did they maintain their prominence despite their scandalous reputations?

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