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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Category Archives: Research

“As much so as we can”

26 Friday Sep 2014

Posted by kittycalash in History, Living History, Research

≈ 5 Comments

Tags

10th Massachusetts, 18th century, Brigade of the American Revolution, common soldier, Library, Orderly Book, Research, resources, Revolutionary War, Society of the Cincinnati

Captain Christopher Marshall Orderly Book, 1781. Society of the Cincinnati Library.

Captain Christopher Marshall Orderly Book, 1781. Society of the Cincinnati Library.

It’s been a tougher week than usual chez Calash, what with the AP Euro History and Honors English homework and struggles of the Young Mr, early mornings at work for window installation (finally, thank you!) and a round (lost) with an Orange Line Special virus brought home by Mr S.  The bright note came in the mail, though, and thank you USPS for your really reliable and right on (this) time delivery!

I have been working to get this book from the Society of the Cincinnati Library on behalf, and at the behest, of the 10th Massachusetts. The SoC have an pretty amazing collection, and they undertook a project to have their entire collection of British and Continental Orderly books conserved. These are incredibly fragile and almost ephemeral books: they’re the daily record of orders, courts martial, movements, complaints and requests for a regiment. It’s like the notes you might keep if you had to meet with your boss and other direct reports every day and keep track of many orders affecting the several hundred unruly, hungry, and possibly irritable guys under your command. But you’re taking notes with quill and ink, in longhand, and no one is going to email minutes out later that afternoon.

Bridget Connor turned up in an orderly book, so they can have a novelistic appeal (handy for those of us who approach military history from the social history world). So far, this book has produced no Bridgets, but it has not disappointed. Reader, I wept.

This book has moved me. Take this:

The disadvantage and difficulties which from inevitable Circumstances we labour under instead of depressing should inspirit us to surmount them. That we are involved in them is only our misfortune; not to make efforts to Conquer them will be our fault: and if we cannot be so well prepared as we ought at least let us be as much so as we can.

There are sketches of the “disposition of the New hampshire Massachusetts Rhode Island and Connecticut lines.” And, as I read to the Young Mr, there is unfinished business in nasty rooms.

Some part of the Camp and about the long Barracks in particular is relaxing into nastiness. Regimental QuarterMasters have been ordered to have them Clean and keep them so. An Officer of each Company has been ordered to visit the Barracks every day and to Confine & Report those who throw bones of meat Pot Liquor or filth of any kind near the Barracks. Yet all this has been done and no report has been made. it is hatefull to General Howe to Reitterate orders as it ought to be shamefull those who make it necessary.

Why, the Young Mr and I just had a similar talk last night…though, thankfully, there were no bones of meat involved.

This going to be a good read.

I know the SoC has a beautiful library and nice website, but folks, if you are into this history, throw them some love. I checked their 990s and they’re struggling just like everyone else. And if not them, please, support your favorite local historical site, organization, museum, whatever. Every place has something magical that will change your day. Your money– even a small donation– helps them do that work.

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Replication and Responsibility

18 Thursday Sep 2014

Posted by kittycalash in Clothing, History, Living History, Making Things, Museums, Reenacting, Research

≈ 8 Comments

Tags

1812, fashion, John Miner coat, menswear, Stonington, Stonington Historical Society, style, tailcoat

Detail, the John Miner Coat, Stonington Historical Society, 2009.120.001

Detail, the John Miner Coat, Stonington Historical Society, 2009.120.001

If I examine and exactly replicate a coat for personal use, what do I owe the museum that owns that coat– anything? I think I owe the museum any information I can share that will improve their records and help build a research file for the future.* I also think I owe them copies of the images I may take, and with digital images, that’s now incredibly easy.

But if I replicate this coat (shoulder intact) for Mr S or the Young Mr, should I give the coat to the Stonington Historical Society when we are done with it? SHS thinks I probably should, but as someone who manages collections, how many replicas do I want, and what standards do I use to judge them?

I think the best course of action is for museums to make patterns of popular or often-requested garments available for purchase, so that anyone who wants to make a replica has all the data they need. Short of that– and funds are often short for that– catalog records with as many measurements and as complete a description as possible will allow dedicated tailors and stitchers to get as close as possible to original garments.

True replicas involve recreating fabrics and using period techniques, and matching a garment measurement to measurement– and in the case of the Miner coat, there is no way to replicate its history. And the amount of work and expertise that would go into a true replica of any historic garment seems enormous– it would constitute a large donation to the museum, even if the garment had been worn.

*For those of you reading the caption on the Miner coat, yes, it needs work, and yes, SHS knows there are problems with that description. I promised to help them with their catalog record.

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A Trip to Stonington

17 Wednesday Sep 2014

Posted by kittycalash in Clothing, History, Living History, Museums, Reenacting, Research

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Tags

1812, 19th century clothing, Clothing, Connecticut, Federal style, Research, Stonington, Stonington Historical Society

The view from Stonington Point

On Tuesday, I drove down to Stonington, CT to visit the Stonington Historical Society’s Lighthouse Museum and look at a coat. Stonington was beautiful as ever, smelling of the ocean and money, and the little Lighthouse Museum was nicely done.

The coat did not disappoint.

It is a truly amazing artifact, having survived despite pretty incredible events. The donor wrote a letter about the coat when he gave it to the SHS in 1914:
“I have heard my father say due to the haste and excitement of the volunteers they failed to properly cool their gun before pouring into its muzzle the powder, which due to the excessive heat of the gun caused the powder to explode prematurely, as you may see by reference to the coat—burned and torn upon the neck and shoulder.” (Coat and letter, Stonington Historical Society, 2009.120.001).

Stonington, CT

As beautiful as the town of Stonington may be, and as much money as there may be on the Connecticut coast, the SHS has a small budget and must use its funds wisely. We had an interesting conversation about the reenactors and museum collections, and what responsibility historical costumers have to the collections that hold clothes they replicate.

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Not by Half (robes)

12 Friday Sep 2014

Posted by kittycalash in Clothing, Research

≈ Comments Off on Not by Half (robes)

Tags

1790s, 18th century clothing, common dress, common people, Costumes, costuming, engravings, half robes

two ladies looking out a window in 1790s garments

The Frail Sisters, 12 May 1794. British Museum, 2010,7081.1077

Here’s the British Museum’s description of this print: “Two young women dressed in fine clothes in a room with decorated wallpaper, one sitting in front of the window looking onto the street, with a pet squirrel on her lap, turning to smile towards the viewer and pointing at herself, while the other stands behind her chair on the right. 12 May 1794.” It’s good to get the pet squirrel question out of the way.

This is another print that’s hard for us to read completely: you might wonder why they’re called the Frail sisters. Is Frail a proper noun, an adjective, or something else? It’s probably code: frail here may well refer to the strength of their morals rather than their biceps.

he frail sisters John Raphael Smith (1752-1812) Chalk (black and coloured) on paper (given a light grey ground) Height: 19.4 cm (circular); Acquisition Witt, Robert Clermont (Sir); bequest; 1952 D.1952.RW.4037, Copyright: © The Samuel Courtauld Trust, The Courtauld Gallery, London

The frail sisters
John Raphael Smith (1752-1812)
Chalk (black and coloured) on paper (given a light grey ground) Height: 19.4 cm (circular);
Witt, Robert Clermont (Sir); bequest; 1952
D.1952.RW.4037, Copyright: © The Samuel Courtauld Trust, The Courtauld Gallery, London

There’s another Frail Sisters drawing, also 18th century, probably late 1780s-early 1790s. This is appears to be a ‘straight’ drawing, but I don’t know: it could be an artist’s portrait of three prostitutes at play. Or it could be actresses (they weren’t so very far from prostitutes and courtesans).

Mrs Frail appears in William Congreve’s Love for Love; do these images also reference characters first seen in Restoration comedies? This is stuff I haven’t thought about in a long time, so I can’t yet unpack how the title and meaning of the print relate to what the women are wearing. And I might be over-thinking things a bit, so let’s step back and just look.

What is the standing sister wearing?

A half-robe, indoors. Time of day, indeterminate, but perhaps morning.

The Farmer's Door. George Morland, London: Published by J. R. Smith, King Street, Covent Garden, Aug. 4, 1790

The Farmer’s Door. George Morland, London: Published by J. R. Smith, King Street, Covent Garden, Aug. 4, 1790

A somewhat easier image to read is the print after George Morland’s The Farmer’s Door, from 1790. This genre painting presents the romanticized vision of humble life, with the farmer’s wife and her children (note the blue stays on the seated child).

Is the farmer’s wife wearing a half-robe over a quilted petticoat and apron? The quality of the images I can find is poor, and the coloring questionable.

In another version here, the kerchief is clearer and seems to go over a long-sleeved garment with a short skirt.

Selling Carrots by George Morland Date painted: 1795 Oil on canvas, 76 x 63.5 cm Collection: Brighton and Hove Museums and Art Galleries

Selling Carrots
by George Morland
Date painted: 1795
Oil on canvas, 76 x 63.5 cm
Collection: Brighton and Hove Museums and Art Galleries

In Selling Carrots, there is another short-skirted garment with long sleeves worn over a petticoat and with a kerchief.

Without getting overly distracted by titles and meaning, I think there are clues to how these half-robes or jackets are worn by women of different classes, aspirations, and locations. For rural women who are not gentry, these appear to be comfortable working clothes worn all day. For urban women, they seem to be worn early in the day, and sometimes out of doors, perhaps even to the lending library.

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Half Robe or Jacket: How Do You Wear One?

10 Wednesday Sep 2014

Posted by kittycalash in Clothing, Events, History, Making Things, Reenacting, Research

≈ 3 Comments

Tags

18th century clothing, 19th century clothing, bonnets, Costume in Detail, Costumes, costuming, Federal style, frock coats, half robes, Isaac Cruikshank, living history, National Trust Collections UK, Regency, Research, resources, tailcoat, What Cheer Day, Yale Center for British Art

Half robe, 1790-1800. National Trust Inventory Number 1348749,

Half robe, 1790-1800.
National Trust Inventory Number 1348749,

What Cheer Day is coming, and I hate to miss an opportunity to make a new gown (despite having just made one, and despite needing to make some waistcoats and trousers for the event). While I lay awake last night, I pondered my options, and whether a half gown would be suitable.

Although I have concluded it probably is not, I was curious about how these should be worn. Where can you wear such a garment? Is it only suitable for at-home use?

This is the robe from Nancy Bradfield’s Costume in Detail, replicated by Koshka the Cat here, and approximately by me, here.

CostumeinDetail_p84
CostumeinDetail_page83

Since I will be a housekeeper again, I think a gown is more correct for me, but that doesn’t stop me thinking about half robes, and whilst scrolling images by year at the Yale Center for British Art, I found this by Cruikshank:

ladies in a lending library

Isaac Cruikshank, 1756–1810, British, The Lending Library, between 1800 and 1811, Watercolor, black ink and brown ink on medium, lightly textured, beige wove paper, Yale Center for British Art, Paul Mellon Collection

There’s a lot to love in this image, even with its fuzzy “between 1800 and 1811” date. Not only do we get an array of reading material (Novels, Romance, Sermons, Tales, Voyages & Travels, Plays), we get costume tips and– special bonus– a dog gnawing its leg.

(If you are curious about some of the books in the Library at the John Brown House, check out this tumblr bibliography. I’ve been using it of late, and the representative genres are quite similar to what we see in the Cruikshank.)

We also get a chemisette on the lady at the counter, along with a very dashing hat, a fancy tiered necklace on the lady in pink, who also carries a green…umbrella? Parasol? With just a veil, that seems likelier than the longest reticule ever.

I like our Lady in a Half-Robe and her deep-brimmed bonnet showing curls at her brow. She and her companions show the range of white and not-white clothing seen in early 19th century fashion plates, and the range of head wear, too.

Undress for August, 1799. Museum of London

Undress for August, 1799. Museum of London

The last question I’m asking myself, though, is whether the yellow garment is a half-robe or a short pelisse or a jacket. And can you wear a half robe out of doors? And what did the ladies of the period call that garment?

In this fashion plate (featured by Bradfield on page 84, found by me at the Museum of London), the lady on the right is certainly wearing a short upper body garment, and I’d wager that she’s out of doors or headed that way, since she’s carrying a (green) parasol. Bradfield calls her garment a “jacket,” and until I can find the text of the Ladies’ Monthly Museum for August 1799, perhaps that is the term we should use instead.

While two images aren’t a lot of evidence, it does appear possible to wear a half-robe or jacket out of doors for informal visits in clement weather, and finding two is as good a reason as any to look for more.

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