Although we pride ourselves on being very observant, the fact is, we have overlooked a very obvious bit of evidence.
During the 18th century, fans were seldom furnished with a loop on the pivot end. The pivot could, however, contain a watch, or even a tiny snuff box.
A few were made, probably to wear attached to a chatelaine, but we do not see them worn this way in portraits, genre pieces, or fashion plates of the time, though women were frequently pictured with fans.
It would appear, in the earlier part of the century, that the elegant way to hold a closed fan was between the third finger and the forefinger, somewhat in the manner of a cigarette, perhaps placing the thumb on the pivot end, showing off a well-groomed hand.
The uses of the fan as a shield against a too hot fire, or to create a cooling wind, or to deter insects, were understood, but unreasonable fluttering and twirling was considered absurd and affected, notwithstanding it did give scope for a variety of expression, particularly in the hands of a practiced exponent.
Lots of information to be found in
FANS
by Helene Alexander.
vvv
There are several ways of conversing with a fan, some familiar and some not. Were any actually used or merely posed as a conversational ploy?
Nancy Armstrong, in her book Fans refers to some 18th century fans that were made in such a way that one could hold up the fan and pull back a tiny section revealing a letter of the alphabet behind it -- spelling out each word rather than remembering each fan 'signal'. Rather slow, and of course requiring good eyesight!
In 1740 the following method was referred to in The Gentleman's Magazine, explained thus in the History of the Fan by Wooliscroft Rhead:
Five signals are given, corresponding to the five divisions of the alphabet, the different letters, omitting the J being capable of division into five, the movements 1,2,3,4,5 corresponding to each letter in each division.
Example - Suppose DEAR to be the word to be expressed, D belongs to the first division, the fan must be moved to the right; then, as the number underwritten is four, the fan is raised to the mouth. E belonging to the same division, the fan is likewise moved to the right, and as the number underwritten is 5, the fan is lifted to the forehead and so forth. The termination of the word is distinguished by a full display of the fan, and as the whole directions with illustrations are displayed on the fan, this language is simpler than it might at first appear.
Fenella, a Spaniard , published fifty directions on how to converse with a fan -- this was eventually translated into English by Duvelleroy of Paris, and printed on small cards. They are refined into 33 actions as follows:
Carrying in right hand in front of face: FOLLOW ME
Carrying in left hand in front of face: DESIROUS OF ACQUAINTANCE
Placing it on left ear: I WISH TO GET RID OF YOU
Drawing across the forehead: YOU HAVE CHANGED
Twirling in left hand: WE ARE WATCHED
Carrying in right hand: YOU ARE TOO WILLING
Drawing through the hand: I HATE YOU
Twirling in right hand: I LOVE ANOTHER
Drawing across the cheek: I LOVE YOU
Presented shut: DO YOU LOVE ME?
Presenting a number of sticks, fan part opened: AT WHAT HOUR?
Touching the unfolded fan in the act of waving: I LONG ALWAYS TO BE NEAR THEE
Threaten with the shut fan: DO NOT BE SO IMPRUDENT
Gazing pensively at the shut fan: WHY DO YOU MISUNDERSTAND ME?
Pressing the half opened fan to the lips: YOU MAY KISS ME
Clasping the hands under the open fan: FORGIVE ME I PRAY YOU
Cover the left ear with the open fan: DO NOT BETRAY OUR SECRET
Shut the fully opened fan very slowly: I PROMISE TO MARRY YOU
Always presupposing the object of your silent conversation understands your 'language' this might prove an amusing diversion; and an explanation might be a means of starting conversation.