Church-fans appeared in the early part of the century.[154] These were designed for the purpose of inculcating the spirit of true piety during the hours of divine worship. Comments were made in the public journals on the unsuitable character of fan mounts used in church, and also on the general behaviour of persons of both sexes. These culminated in an amusing satire which appeared in the form of a letter from Vetustus, in the Gentleman’s Magazine for May 1753. In this the writer expresses some surprise that ‘in the course of the controversy now on foot concerning the expedience of a revision of our liturgy, no mention has been made of some ceremonies introduced by certain polite persons of both sexes, who, if they may not be styled the pillars, have undoubted right to be called the ornaments of the Church of England. That of the snuff-box may be allowed to obviate some part of the objection to the length of the service, since it precludes the drowsy members of the congregation from any subterfuge in that excuse of Horace:
“Operi longo fas est obrepere somnum.”
The writer desires also ‘to do a piece of justice to the ladies who have lately contrived to improve the service of the Church, though by so inconsiderable an implement as a fan mount; for, reflecting that some of the grosser sex may probably come to church chiefly on account of these fair beings, and that the devotion of these their brethren might cool by having the immediate object of it withdrawn from their view, during the tedious intervals of prayer, they have been so charitable as to supply them with some edifying subjects of contemplation, depicted on the very cloud which intercepts the beatific vision.’
As an instance of the taste and discretion of these fair votaries, a list is subjoined of a dozen designs elegantly executed, which were actually displayed by way of screens to so many pretty faces, disposed in a semicircular arrangement about the holy table:
1. Darby and Joan, with their attributes.
2. Harlequin, Pierrot, and Columbine.
3. The Prodigal Son with his harlots, copied from the ‘Rake’s Progress.’
4. A rural dance, with a band of musick, consisting of a fiddle, a bag-pipe, and a Welch-harp.
5. The taking of Porto Bello.
6. The Solemnities of a Filiation.
7. Joseph and his Mistress.
8. The humours of Change-Alley.
9. Silenus, with his proper symbols and supporters.
10. The first interview of Isaac and Rebecca.
11. The Judgment of Paris.
12. Vauxhall Gardens, with the decorations and company.
The writer is ‘well aware that the authors of the free and candid disquisitions will be humbly suggesting, in their canting way, whether some of these figures may be altogether suitable to the original design of that sacred rite, at which they assist on these occasions; and whether, if our British ladies are too nicely modest to worship God with naked faces, they should not return to the ancient simplicity of a plain linnen or Sarcenet veil, after the manner of the Jewish females. But, besides that all impropriety is absolutely removed from these representations by the mixture of so much Scripture history, these Cavillers must be told that this is an old objection answered and baffled long ago by the pious and conscientious Dr. Swift (whose tender concern for the honour of the Church of England is well known) in a religious sonnet which closes with an elevated sentiment couched in the following couplet:
“How beauteous is the Church, which makes clean linnen
As decent to repent in, as to sin in.”’
This bone of contention, apparently, lasted during a considerable period.
In the Lady’s Magazine for March 1776, a ‘Female Reformer’ addresses to the fair sex some ‘moral reflections’ on ladies’ fans, and draws attention to the loose, almost indecent, mounts ladies have to their fans at the present day, giving too much reason to suppose that a coarse, indelicate, and immodest picture is not so offensive to the view of the fair as prudence, virtue, and chastity could wish. ‘Not many Sundays ago, I was seated in a dissenting place of worship in the next pew to two young ladies, who appeared suitably attentive and devout; but, happening to cast my eyes on the fan mount of the youngest of the two, as she stood up in prayer time, I was really ashamed to see naked Cupids, and women almost so, represented as sleeping under trees, while dancing shepherds and piping fawns compleated the shameful groupe. What a pity it is that any lady should seem to countenance immodesty or indecency in the least degree, especially in the house of God! Would it not have been much better for ladies to have no fans at all, than to have such mounts to them, as, on beholding, tend only to inflame the passions, and promote the loosest ideas?’