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#comtesse de castiglione – @thevictorianlady-blog on Tumblr
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Victorian Bullshit and Co.

@thevictorianlady-blog / thevictorianlady-blog.tumblr.com

Miscellaneous bits of Literature, Victorians, History, and Art.
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Three versions of Frayeur (or "Fright"), photographed by Pierre Louis Pierson, c. 1860.

These photographs depict the Comtesse de Castiglione, an Italian noblewoman who became notorious figure in 1860s Paris, posing for a scene in which she flees from a fire in a ballroom. They not only show a desire to colorize photographs as early as the 1860s, but also illustrate the active role the Countess played in her collaborations with Pierre-Louis Pierson. Coloration in early photography was also a simple way to alter the appearance of the model, and the Countess's features and expression are considerable softened in the final photograph. 

The first image is an albumen print from the glass negative taken by Pierre-Louis Pierson. The second is a salted paper print with color added by the Countess herself, and it even includes handwritten instructions for the rest of the coloration on the back. The third, another salted paper print, was colored by a professional artist.

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A day in the life of La Comtesse de Castiglione.

The photographs laid out by the countess on this page illustrate different stages in a busy day. Midday (top left) shows her in street clothes, ready to partake of a country picnic. In Ernani (top right), a reference to Verdi's opera, she is blowing a small hunting horn. Nightlife scenes show her enjoying herself in a private room of a big restaurant on the boulevard or sitting forlorn in the back room of a brasserie or dance hall. The photograph at the center may have been inspired by Greuze's widely reproduced painting Young Girl Weeping over Her Dead Bird. This album page is emblematic of the countess's personal world, with its tug-of-war between joy and sadness (source).
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Various photographs of the bare legs of La Comtesse de Castiglione.

The countess enjoyed transgressing the standards of propriety for women of her social class. By addressing herself directly to male fantasies of the day, fixated on women's legs concealed by modesty and the demands of fashion, the countess unashamedly drew inspiration from actresses and dancers from the variety theater, who wore stockings intended to tone down the shocking indecency of such a spectacle. She committed a double transgression when she had both her legs photographed naked, without protective stockings, as only low-class prostitutes and models dared. The photograph, however, shows only the lower part of the body, thereby concealing the sitter's identity (source).

I believe I once read that the Countess thought that her legs were the most beautiful part of her body.

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