Identities, disguises and hidden love stories

James VI and I’s (1566–1625) sexuality was the subject of much debate and speculation in his own lifetime. Two of the King’s favourites are frequently linked to him as potential long-term romantic and sexual partners: Robert Carr, who became the Earl of Somerset, and George Villiers, who became the Duke of Buckingham. James and Somerset had a very public falling-out after a scandal over Somerset’s marriage. Buckingham remained loyal to the King until his death. Both men and their relationships with James were the subject of gossip, poetry, and prose during James’ lifetime and after.

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During her reign between 1702 and 1714, Queen Anne had important personal and political relationships with women. Many believed these relationships were also sexual and romantic. One of her closest confidantes was Sarah Churchill, the Duchess of Marlborough. The two enjoyed decades of passionate friendship (depicted in Yorgos Lanthimos’ The Favourite) and exchanged intimate letters. Anne honoured Sarah with a number of positions, including Mistress of the Robes and Keeper of the Privy Purse.

The two women eventually fell out over Anne’s close relationship with another favourite, Abigail Masham. The Queen and Sarah met for the last time in 1710. After that, Anne requested that they only stay in touch in writing, and Sarah lost her position at court. In 1742, Sarah published a damning account of her relationship with the Queen.

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Arabella Hunt was a famous lute player and singer. In this painting, she is depicted as a young woman dressed in precious silks, plucking the strings of her lute. She turns her gaze away from us, gazing longingly at someone just out of sight.

In 1680, Arabella married James Howard at the Church of Marylebone in London. After only six months of living together, the marriage took an unexpected turn. Arabella accused her husband of being a woman called Amy Poulter, who had also married a man called Arthur Poulter. Arabella declared that her spouse was ‘of double gender’ and wanted their marriage annulled.

A trial began in London, with one witness testifying that Amy dressed as a woman when courting Arabella. During the trial, Amy said it was all a ‘frollick jocular’ (a prank, in other words). According to records, following a physical examination by midwives, the verdict was given: ‘Poulter was a perfect woman in all her parts’. The case was dismissed, the marriage was annulled and they were both free to remarry. Neither of them ever did. A few months later, Amy tragically died by suicide.

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When Samuel Foote’s play Taste opened at the Drury Lane Theatre, London, in 1752, Foote played the part of Lady Pentweazel himself. He would openly play with gender roles on stage. For this role, he wore a large feathered headdress, which reportedly shed its feathers throughout the play. The play was a critical comment on the markets of art and antiques in 18th-century London, and their aristocratic collectors. The play eventually ran for just five performances.

Foote was often in trouble because of his plays, which frequently satirised living people. After parodying a woman called Elizabeth Chudleigh, who was on trial for bigamy, her supporters published veiled accusations of homosexuality against him.

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English actor, producer and theatre manager David Garrick was involved in one of the first known public debates on homosexuality in 1772.

William Kenrick portrayed Garrick as dramatist Isaac Bickerstaffe’s lover in his satire Love in the Suds (1772). Garrick and Bickerstaffe were close friends, and the latter had been publicly ‘outed’ after an indiscreet sexual liaison with a soldier. Fearing the impact on his career, Garrick sued Kenrick. In the end, Kenrick publicly apologised to Garrick but the legal battle and press coverage continued for many years.

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Dorothea Jordan was one of the most celebrated actresses and royal mistresses of the late 18th century. She delighted audiences with her comedic performances, with roles as Rosalind in As You Like It and Viola in Twelfth Night. She also pushed 18th century boundaries by daring to wear trousers on stage, long before women’s skirts started to rise above the ankle.

Jordan often sat for portrait painter John Hoppner. In this print (after Hoppner’s original in the Royal Collection) she plays Thalia, the muse of Comedy, flying into the arms of Euphrosyne and away from a satyr.

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Lord Byron wrote openly about love and lust for both men and women. An early celebrity, he constructed his public persona through fashionable clothes, hairstyle and studied gestures. When ‘impertinent persons’ complimented his ‘robust appearance’, he suffered deeply as his ideal was to be ‘pale and interesting’. Byron succeeded in perpetuating an image that conformed to how he wished to be perceived: with ‘gentle manners’, ‘pale, marble temples’, ‘handsome countenance’ and ‘fine blue veins’.

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