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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Tag Archives: 18th century clothing

Cold Scoops

30 Tuesday Sep 2014

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

≈ 8 Comments

Tags

18th century clothing, 19th century clothing, authenticity, Clothing, common dress, common people, John Brown House Museum, Julia Bowen, Julia Bowen Martin, living history, Providence, Research, Rhode Island, What Cheer Day

What Cheer Day preparations must begin in earnest now, no matter how distracting I might find orderly books or silk shoes (not in my size, alas: no last can be found). I already have clothes enough for a housekeeper, though I still crave a broadcloth Spencer and am working on a petticoat. I’ll hardly go outside that day, so why am I thinking bonnets– especially when I have a known bonnet problem?

One of my favorite resources for Federal era Providence is Julia Bowen’s diary. Born December 1, 1779, Julia’s diary records her life in Providence in 1799, when she was 19. She records the daily activities of the second set of Providence women– daughters not of the most elite merchants, like John Brown and John Innes Clark, but the Bowens, Powers, Howells, and Whipples. Distinguished, but not super-elite. Many of the entries are as prosaic and superficial as you’d expect from a young woman in late adolescence, and thank goodness they are, or we’d never be able to imagine life in such fine detail.

Julia got me thinking about bonnets with her entry of April 12:

found the Major & Citizen Sarah & C. Angell altering their cold scoops into Rosina hats, so busily were they employed that the Major could not go a visiting, which deprived me at once of the greatest pleasure I anticipated in my visit.

(She used code names for her friends; some we can decode, and some we cannot.)

I haven’t been able to decipher what “Rosina hats” were, but cold scoops I could handle: coal scoops.
That colloquialism fits not just fashion plates but extant coal scoops and buckets.

Denham's Auctioneers: Lot 418 A copper coal shovel and a brass coal shovel
Denham’s Auctioneers: Lot 418 A copper coal shovel and a brass coal shovel
Denham's Auctioneers: Lot 153 A copper helmet shaped coal scuttle with brass shovel and turned wooden handle £20-40
Denham’s Auctioneers: Lot 153 A copper helmet shaped coal scuttle with brass shovel and turned wooden handle £20-40

You just have to imagine them turned over.

The Gallery of Fashion, 1797, Bathing Place, Morning Dresses.

The Gallery of Fashion, 1797, Bathing Place, Morning Dresses.

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I went for cold scoop, with a pasteboard brim and olive green taffeta brim and caul. The mannequin is a 3-D sketch, if you will, of what the housekeeper plans to wear this autumn. At least until she can figure out what a Rosina hat is.

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Not by Half (robes)

12 Friday Sep 2014

Posted by kittycalash in Clothing, Research

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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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Coats and Cooking

11 Monday Aug 2014

Posted by kittycalash in Clothing, Events, Food, History, Living History, Making Things

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10th Massachusetts, 18th century clothes, 18th century clothing, authenticity, Bennington, Brigade of the American Revolution, Clothing, common dress, common soldier, cooking, Costume, dress, Events, food, living history, menswear, Reenacting, Revolutionary War, style

And happy not to be walking to Walloomsac, since we can’t leave till Friday.

Before we leave, there’s plenty to done, of course, and most of it in men’s wear.*

The first piece on brown linen

The Young Mr needed a new jacket, a proper one, with pockets and everything, correct for a scalawag. So that meant patterns and muslins and fittings and questions, until neither of us could really stand the other and his father called me an ambush predator of fittings. The only way to fit these wily creatures is, as they amble through the room, to leap out and toile someone.

With the pattern more-or-less fitted to the wiggly Young Mr, I cast about for fabric: there was not enough of a striped piece for both waistcoat and jacket; waistcoat won, because matching stripes on a jacket seemed too risky in this great a hurry. Instead, I sacrificed the last yardage once meant for a gown.

The Stocking Seller, by Paul Sandby, 1759

The Stocking Seller, by Paul Sandby, 1759

This is the inspiration for the kid’s new garment, along with Sandby’s fish monger. It seems a plausible garment to work from, and the brown linen is in keeping with the brown linen jacket at Connecticut Historical Society and the unlined linen frock coat recently sold at auction. It will also match his trousers, but this is what happens when you sew from the stash.

One pair of breeches altered, one waistcoat wanting the last seven newly-made buttons, one waistcoat in production, one jacket in production: you’d think that would be enough to get done. But I’m also working to expand my cooking repertoire, as bread and cheese gets tiresome and scrounging broken ginger cakes from the Sugar Loafe Baking Co.— while potentially good theatre–is not a solid plan for sustenance.

half pint and spoon measures

Half-pint and spoon

Boiling food in summer- sounds awful, right? But it’s an easy and correct way to cook,once you translate recipe measures and control the amount you’re making. I like to use Amelia Simmons’ cookbook, because it is specifically American, and my more skillful friends cooked from it at the farm.

From Enos Hitchcock’s diary, I know that he ate a boiled flour pudding with some venison stew (near the Saratoga campaign, I think) so I consider this a plausible recipe for the field, pending eggs, of course.

A boiled Flour Pudding.

One quart milk, 9 eggs, 7 spoons flour, a little salt, put into a strong cloth and boiled three quarters of an hour.

Simple enough, though Simmons later corrected the receipt to 9 spoons of flour, and boil for an hour and a half. I got out the spoon, and looked online at modern boiled pudding recipes, and will give a modified version a whirl sometime this week (always better to fail at home than in the field). Boiling the pudding in a linen cloth in a stew would make a savory bread substitute…and I really liked the one we had at the farm. Will the gentlemen at Bennington like it? Perhaps we’ll find out. If we’re not cooking with hosewater, almost anything should be edible.

*Yes, it’s a terrible and terribly dated show, but I always hear  this in Mr Humphries‘ voice from Are You Being Served?

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Breaking Up By Letter

09 Wednesday Jul 2014

Posted by kittycalash in Events, Living History, Reenacting

≈ 2 Comments

Tags

10th Massachusetts, 18th century clothing, history, living history, Massachusetts, Revolutionary War

Mr S, always slightly suspicious

Mr S and I joined other members of the 10th Mass and National Park Service staff and volunteers at the North Bridge in Concord, Mass last Saturday for the postponed reading of the Declaration of Independence. It was one of those perfect New England summer days, breezy blue skies and dry wind smelling of grass and flowers: days like that I finally get the Transcendentalists.*

Some of those present in modern and historic clothes alike had never heard or read the Declaration all the way through; it is one of my favorite documents, and not just because I was in a 5th grade play about the document. Questions of slavery and principles aside, the Declaration is a great poem of a break-up letter. It makes poetry of the list of King George III’s crimes and reminds us of the core principles that undergird our government and that began with the Magna Carta, limiting the power of the king.

Governments are instituted among Men, deriving their just powers from the consent of the governed

Leaning against a tree near the North Bridge, you could close your eyes to the shorts and kayaks and baseball caps and listen to a document being read as it would have been 238 years ago, and imagine what it was like to hear this for the first time (at least until the airplane passed overheard).

I have a complicated relationship with patriotism, which makes me a curious candidate for this living history business. But that moment in Concord reminded me of the enthusiasm I had for history as a child, and the passion I had for what educators now call narrative play, and what some of us now grown up call reenacting, and others call historical re/creation.

There is something we can learn, as participants, and that the public can learn, as we go about this business of re-investigating the past, through making clothing and reading and cooking and re-learning historic processes and crafts. We may not always learn what we expect to about the past or about our selves, but if some in the audience enjoyed the smell of grass in the wind, and heard the true poetry of Jefferson’s text, maybe that’s enough to be getting on with. Because for all the questions about how a musket works, the real point of all of these events isn’t the musketry, it’s the history.**

*They clearly did not wake up to the “what the hell’s that smell?” game tidal canals like to start on summer mornings.

** Sorry, lads, but I think it’s true: wars are about words backed by muskets or other weapons.

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