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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Category Archives: Events

Punch-Drunk Love

18 Tuesday Aug 2015

Posted by kittycalash in Events, Food, Living History, Museums

≈ 5 Comments

Tags

1790, 1790s, 18th century, George Washington, John Brown, John Brown House Museum, Providence, Rhode Island Historical Society, Rhode Island history

No, Love: I didn’t get drunk and punch someone.

Worst. Housekeeper. Ever.

Worst. Housekeeper. Ever.

On Saturday, we commemorated the 225th anniversary of President Washington’s visit to Providence after Rhode Island finally ratified the United States Constitution on May 29th, 1790. We like to take our time with these things, to be sure that we will have all the rights we’re accustomed to. Happily, we did decide to go along with this United States of America business, and as a reward, His Excellency President Washington made a formal visit in August, 1790. It rained then; this time, we had sultry summer weather.

Once again, the housekeeper spent the day running back and forth and up and down the stairs. Fortunately, I didn’t trip on the gown too much: it’s longer than I usually wear, but I did catch the hem on my shoe buckle, so some tweaking will be required.

Mr Brown greets the President

Mr Brown greets the President

There was the kind of ceremony and formality you would expect, with very little drama, which made for a simpler day than we often have. The afternoon was warm, the speeches were short, and the toasts were drunk.

Of course, you have to look out for John Brown’s housekeeper, who is all too happy to spend her afternoon reading and making punch. Unlike a real 18th century person, I had no idea where to start with punch beyond the basic: rum. I turned to my friends for assistance, and got some solid advice, including a reference to Punch: The Delights and Dangers of the Flowing Bowl.Chapter VIII helpfully turns to “How to Make Punch, or the Four Pillars of Punch.”

Mmm, punch.

Mmm, punch.

I don’t always manage to read all the way through the directions I am meant to be following, but the oleo-saccharum was relatively straightforward, since the instructions were entirely on one page. Lemon peels, sugar, mashing. These are simple things that you can handle even in a week when the workplace van has been stolen and recovered, and you’ve had conversations in which someone asks you to find a photograph for them, even though they don’t know where they saw it.

No, I won't say how many cups I've had.

No, I won’t say how many cups I’ve had.

That went well enough, but I got distracted along the way by the excitement in the house, and added the correct ingredients in the wrong order. I don’t think it mattered. Water, black tea, lemon juice, and a bottle of Smith & Cross rum all went in to the redware pitcher and wafted up the back stairs, giving the servants’ quarters a festive ambience.

While the partakers did not know, the bowl from which they ladled punch had once been used in cleaning the Mr Brown’s house– but that only meant it was quite clean, and thus suitable for use. The bowl was nearly emptied and replenished once, by which time Mr Brown’s housekeeper had sampled quite enough of the concoction.

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Rumours of Bore

03 Monday Aug 2015

Posted by kittycalash in Events, Living History, Reenacting

≈ 2 Comments

Tags

fail, historical reenactors, interpretation, Redcoats and Rebels, Reenacting, Revolutionary War, The Public

Detail, The Letter. Pietro Longhi, 1746. Metropolitan Museum of Art, 14.32.1

Detail, The Letter. Pietro Longhi, 1746. Metropolitan Museum of Art, 14.32.1

My time-travel was cut short this weekend after a trip to eight-nine-teen-something in Salem, as I had a trip to the Central Fly Over* for work instead. Still, through the magic of telephony and the interwebs, I heard about the Sunday OSV Experience and the Great Drawn Sabre of Saturday. (Caution: Strong language) One presumes and hopes that aside from whatever disciplinary action OSV will take– and they will–the CL commanders will address this clear safety violation.

The news photos show the usual collection of baggy menswear (are those painters’ pants? is this 1812?) and the Bodice of Myth and Legend (St. Pauli, anyone?) along with obligatory musket firing and “gotcha” shots of fallen soldiers sneaking peeks at the action. I don’t even have to say what we all think when we see those images.

But the Sunday report that struck me the most was this: The tactical went on for 45 minutes, very few soldiers fell, and the public began to leave before it was over. Got that? They got bored. As the teller of this tale said, The magic is gone. You can consider that a public endorsement of either more civilian events or a re-imagined tactical. I prefer the former, you may prefer the latter. But either way, if you’re going to use The Public as your justification for playing armed dress up on a hot day, you’d better engage that public. What that could mean will have to wait for another time, but when people head for the exits, the show won’t last.

* More on that later

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Frivolous Friday: Festive but Frigid

31 Friday Jul 2015

Posted by kittycalash in 1830s, Clothing, Events, Frivolous Friday

≈ 1 Comment

Tags

1833, 19th century, 19th century clothing, Clothing, common dress, common people, Costume, fashion, Federal style, Reenacting, Sleigh Ride, style, William Sidney Mount

Rustic Dance After a Sleigh Ride, 1830. William Sidney Mount MFA Boston 48.458

Rustic Dance After a Sleigh Ride, 1830.
William Sidney Mount MFA Boston 48.458

I don’t know about your weather, but we’re in full summer in New England, sultry and humid, with the occasional thunderstorm and power outage to enliven the evening. A sleigh ride sounds like fun today– and I know we all just finished complaining about the snow of February– but a brisk ride followed by a dance would certainly round out this week.

1833 approaches faster than expected, so it’s time to pick that back up and get serious. Not just a gown but petticoats and, ideally, a new shift should be made. This may be the project that breaks my resolve and finds the Bernina back on my table for cording a petticoat.

Detail, Rustic Dance After a Sleigh Ride, 1830. William Sidney Mount. MFA Boston 48.458

Detail, Rustic Dance After a Sleigh Ride, 1830. William Sidney Mount. MFA Boston 48.458

This image helps define the look of the early 1830s: not nearly as exaggerated as the fashion plates, these dresses and coats seem to fall into a progression from the 1820s– as you’d expect this early in the decade.

The gentleman at the back, in the drab colored suit, sports an interesting pair of trousers. I don’t think I know anyone ready to bust out the cossacks, but Mr Drab may be sporting a slightly modified pair. The collars and lapels show a shawl-shape that seems new, and modified from the more serpentine form seen in fashion plates– or else not yet as developed. There’s a range of headwear, too: tall hats on the left, a soft cap on the right. The Ladies’ Workbook has a pattern for one of those caps. Wonder how hard they are to make?

Detail, Rustic Dance After a Sleigh Ride, 1830. William Sidney Mount. MFA Boston, 48.458

Detail, Rustic Dance After a Sleigh Ride, 1830. William Sidney Mount. MFA Boston, 48.458

In the detail, we can also see the women’s hairstyles, less exaggerated than the fashion plates with their high top knots, and within the realm of possibility for those of us not practiced in historical hairstyle recreation.

So much has carried into this decade: colored neck wear, ruffles or chemisettes under women’s gowns, men’s hair brushed forward. As always, it’s the details that count. Tall shirt collars, rounded lapels, ladies’ sashes, the shape of sleeves. This should be a fun decade to represent.

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Afternoon in Cambridge

27 Monday Jul 2015

Posted by kittycalash in Events, History, Living History

≈ 1 Comment

Tags

10th Massachusetts, Cambridge, common people, common soldier, Events, living history, Massachusetts, Revolutionary War

Cambridge. We’ve been there before to cause some mild lawn-based havoc and this year was much the same. We were on our own on the lower level, with just the six-plus-me of some abbreviated form of Soper’s company. Longfellow House is a very lovely site, and the lawn is large enough for a wall tent, drilling, eating, and general mischief.

Longfellow House, Cambridge. Photo from @longnps on Instagram

Longfellow House, Cambridge. Photo from @longnps on Instagram


I packed our lunch in a series of linen bags in the wallet, and stuffed a gown skirt and sewing box in the other end, with a bowl and a mug. I brought the small pitcher and a glass, with the intent of selling ‘gin’ to the militia, but had only one taker. They got into enough trouble themselves with filthy faces, pilfering, and stealing the captain’s books.

unknown artist, 18th century, The Encampment in the Museum Garden, 1783, Aquatint, hand-colored, Yale Center for British Art, Paul Mellon Collection

unknown artist, 18th century, The Encampment in the Museum Garden, 1783, Aquatint, hand-colored, Yale Center for British Art, Paul Mellon Collection

It’s no immersion event, what with traffic on the street and tourists dressing in Mr Townsend’s best* but there are moments at any gathering when you become so engrossed in what you are doing that you forget where you are. This time was no different: I don’t recall how it started, but we took off down Brattle Street with Sergeant Cooke crossing the yard in hot pursuit– only to be stopped by the wall. He turned the stone barricade into a large and angry goose, neaatly solving solving the problem of not being able to scale the wall.

James Sowerby, 1756–1822, A Goose, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Yale Center for British Art, Paul Mellon Collection

James Sowerby, 1756–1822, A Goose, undated, Watercolor and graphite on moderately thick, slightly textured, cream wove paper, Yale Center for British Art, Paul Mellon Collection

I don’t think I’ve ever bolted that fast in stays before, and it wasn’t the best idea I’ve ever had, but who cares? It can be done, running in stays, at least for short bursts.

There was much discussion of the filth of the troops, and their need to bathe; despite our best efforts, we could not quite get a satisfactory rise out of the officers, though some soldiers had clearly rolled in dirt. (It’s of a much better quality in Cambridge, you know, where you can wear the Harvard Yard.) There was an attempt at bathing at the Great Bridge, but in the end, one private’s face was washed with an apron corner dipped in ‘gin.’

Benjamin West, 1738–1820, American, active in Britain (from 1763), The Bathing Place at Ramsgate, ca. 1788, Oil on canvas, Yale Center for British Art, Paul Mellon Collection

Benjamin West, 1738–1820, American, active in Britain (from 1763), The Bathing Place at Ramsgate, ca. 1788, Oil on canvas, Yale Center for British Art, Paul Mellon Collection

Satisfying all around, really, from the recitation of Mr Pickering’s manual with its endless repetition of ‘butt,’ meaning musket, entertaining the simpler, uncivil soldiers, to the meal of bread, cheese and cherries, to the chasing. The audience was small, but well entertained if they were paying any attention.

*Oh, NPS, what were you thinking?

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Mind the Gap, or, The Basket Case

22 Wednesday Jul 2015

Posted by kittycalash in Clothing, Events, History, Living History, Philosophy, Reenacting, Research

≈ 5 Comments

Tags

18th century, authenticity, common people, fashion, historical reenactors, interpretation, living history, lower, philosophy, Reenacting, style

I was in the midst of planning yet another maid’s dress (some of us have all the luck) when a friend alerted me to an online discussion that drew from my recent post on baskets. The comments — which I skimmed but twice– made me think about philosophy and intent.

Engraved by John Raphael Smith, 1752–1812, British, A Lady and Her Children Relieving a Cottager, 1784, Mezzotint and line engraving on medium, slightly textured, cream laid paper, Yale Center for British Art, Paul Mellon Collection

Engraved by John Raphael Smith, 1752–1812, British, A Lady and Her Children Relieving a Cottager, 1784, Mezzotint and line engraving on medium, slightly textured, cream laid paper, Yale Center for British Art, Paul Mellon Collection

There are two approaches to developing a living history persona and appearance I’ll consider here: one prescriptive, and one not. The prescriptive, didactic approach tells you what to wear and carry. Some folks like that. It is completely correct in some cases: soldiers, for example. You want to fall in with a unit of Light Infantry in 1777, it’s generally more convincing if you don’t wear the 1781 coat. Not everyone cares: some people will keep on wearing the Brighty Whitey Hunting Frocks and 1780 coats at reenactments commemorating events of 1776. Those folks can no longer be reached by prescriptive standards, and my preferred approach probably won’t reach them either.

Joshua Cristall, 1768–1847, British, Young Woodcutter, 1818, Watercolor with scraping over graphite on moderately thick, slightly textured, beige wove paper, laid on thick, slightly textured, beige card, Yale Center for British Art, Paul Mellon Collection

Joshua Cristall, 1768–1847, British, Young Woodcutter, 1818, Watercolor with scraping over graphite on moderately thick, slightly textured, beige wove paper, laid on thick, slightly textured, beige card, Yale Center for British Art, Paul Mellon Collection

Mindful reenacting or living history sounds pretty nutty, but that’s what I would encourage. Thoughtfulness. Consideration. Not just the what, but the why. Why you wear or carry something can be as important and interesting as what you’re wearing and you’ll be all the more convincing for thinking it through. Thinking, not rationalizing. How appropriate is it to be in your best clothes carrying a basket also used to carry fire wood? You have to answer that for yourself, and if you’re doing it right, the answer will not always be the same– nor will the question!

Print made by James Bretherton, ca. 1730–1806, British, A Maid, 1774, Etching on moderately thick, rough, blued white laid paper, Yale Center for British Art, Paul Mellon Collection

Print made by James Bretherton, ca. 1730–1806, British, A Maid, 1774, Etching on moderately thick, rough, blued white laid paper, Yale Center for British Art, Paul Mellon Collection

This isn’t the easiest way to go about anything, asking all these questions, but for some of us, the experiences make it worthwhile. You won’t always be able to do, carry, or wear what you want.* But the picture you create of the past will be more accurate and more engaging if you think more and justify less.

Look, I threw down about that floppy bird basket, but I have to provide food to troops this Saturday in Cambridge. What the heck will I carry it in? What will I take my sewing in?**

Probably a wallet and a bag, unless I can pack that floppy basket convincingly– it is entirely suitable to my lower sorts-stained gown impression– but if I can’t, I won’t take it. And that’s just one less thing to carry.

*I’m pretty much always the maid to make scenarios work, and while it doesn’t come naturally, art imitates life.

**Prays no one gets the bright idea to bring (shhh) tents to work on.

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