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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Tag Archives: interpretation

Shine On

13 Thursday Oct 2016

Posted by kittycalash in Events, Living History, Research

≈ 3 Comments

Tags

18th century, authenticity, cleaning, common people, interpretation, living history, maids, Research, women's history, women's work

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It has been quite busy chez Calash, with What Cheer Day a little over a week away, the Warren Commission happening tomorrow, and various and sundry other things to do, like get a Young Giant into college. But results were promised and results you shall have.

Despite my lack of chemistry knowledge, I made and used the pewter-cleaning liquor with some success.

plate
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The pewter plate spent some time sitting on its edge in a basin of the liquor, and the line is pretty clearly visible in the first image. The second shows the plate after being cleaned with the liquor and a wool rag. It’s better than it was, but there are still more experiments to do. I’d apply rottenstone, but the container hasn’t made it back to New England yet, the posts being poor and the roads infernal.

different class levels
different class levels
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As the silver bowl demonstrates, rottenstone on its own is remarkably effective at removing polish. It is certainly a fairly readily-available, non-toxic, period method of cleaning metals (andirons and fenders to plates and punch bowls) that can be easil;y employed.

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The Warren Commission

06 Thursday Oct 2016

Posted by kittycalash in 1830s, Clothing, Events, History, Museums

≈ 3 Comments

Tags

1820s, Arcade Providence, first person interpretation, interpretation, living history, Mrs Russell Warren, Rhode Island Historical Society, Rhode Island history

Mrs Russell Warren, oil on canvas by Henry Cheever Pratt ca 1824. RIHS 1917.8.2

Mrs Russell Warren, oil on canvas by Henry Cheever Pratt ca 1824. RIHS 1917.8.2

In addition to the Pabodie Project due in November, I recently committed to appearing at the Providence Arcade on October 14 as Mrs Russell Warren at the party celebrating the launch of the Russell Warren project. As you might have gathered, she’s the architect’s wife, a role I know something about having observed the species in its native habitat for the better part of my life.

This look seemed achievable, once a few compromises were made. To begin with, I scrapped the notion of replicating a silk taffeta gown: too dear for so short a time. I felt some comfort in  this decision as I think the sleeves indicate a rather later date than 1824, and I am, in fact, striving for an Arcade-opening-appropriate dress suitable for about 1826.

So, what to do? Well, thank goodness men like to shoot at plywood and win feathers. My plan is to wear the brown striped gown with the existing belt and accessorize with a new antique lace pelerine-collar type device, I also  plan [hope to] make a new extreme jellyfish cap and possibly a new bonnet.

I have the supplies. Do I have the time and will power? Stay tuned for the next installment of, “Yes, I may be overbooked.”

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Would I Lye to You?

03 Monday Oct 2016

Posted by kittycalash in History, Living History, Making Things, Research

≈ 1 Comment

Tags

18th century, authenticity, cleaning, Hannah Glasse, interpretation, living history, maids, Research, women's work

Now, really, would I lye to you?

img_7993Some people will tell you I overextend myself, and while those people may be correct, my enthusiasms compel me to do more, try more, travel more, and to that end I found myself preparing for an event by turning my 1962 Ossining kitchen into an experimental laboratory.

I was taken by Hannah Glasse’s receipt for cleaning pewter, copper, and tin in her section for The Scullion, so of course I had to try it. It’s simple enough: boil wood ash with unslaked lime for half an hour, let cool, and pour off the clear liquid. Easy-peasy, until you realize you have forgotten your high school chemistry, the Young Giant is not at home, and google searches for lime turn up too wholesome uses and unsavory quantities.

Happily, a more scientific brain than my own pointed out potash/pearl ash/potassium carbonate, which Amazon can provide in small quantities. Wood ash proved a little more challenging. Happily for me, I am one of those East Coast foodie fools with a backyard grill and a fondness for hardwood charcoal, so an overdue chore later, I had an enamel kettle of ash.

I did do a little sifting
I did do a little sifting
to end up with finer ash
to end up with finer ash

The receipt calls for “a pail” of wood ash to a “half- pail” unslak’d lime, boiled in four pails of soft water. Since “pails” is a general sort of term, I decided to use the quantity of wood ash I scavenged as the approximate measure of a pail, figuring that proportions mattered more than actual grams or liters. I have resigned myself to the fact that this is more art than science. Four pails of soft water included the remains of a few gallons of water stockpiled for hurricane preparedness years ago, bolstered with water from the tap.

Pail, schmail.

Pail, schmail.

Fortunately, art did not turn into science gone wrong. The boiling was rather placid, considering, and dissolved the fine ash and the potash. I filtered the liquid mixture through a screen (ok, the spatter screen for my frying pan) to ensure that when I poured off the clear, it would be as clear as possible.

Boiling. Not to stinky
Boiling. Not to stinky
sacrificed to a good cause
sacrificed to a good cause

By the time it had cooled, I had fished out appropriate containers into which I could “pour off the clear.” This recipe, seat-of-the-pants as it is, makes a fair quantity, a mason jar of which I have left with the Drunk Tailor so that he might better clean his officer’s pewter and copper, because, yes! This does work to brighten silver and copper. Tune in next time for details on getting shiny.

Front and a center: A liquor for cleaning pewter, etc.

Front and a center: A liquor for cleaning pewter, etc.

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A Tisket, A Tasket: What Basket?

17 Saturday Sep 2016

Posted by kittycalash in History, Living History, material culture, Reenacting

≈ Comments Off on A Tisket, A Tasket: What Basket?

Tags

18th century, authenticity, baskets, common people, interpretation, living history, Research, shopping

Nancy had a great question: What did middle class ladies use to carry their shopping?

But here’s the thing: they didn’t carry the shopping, because they didn’t do the shopping– not the big shopping, anyway.

La Pourvoyeuse, oil on canvas by Jean-Simeon Chardin, 1739. Louvre Museum.

La Pourvoyeuse, oil on canvas by Jean-Simeon Chardin, 1739. Louvre Museum.

La Pourvoyeuse by Chardin shows a woman returning from market in 1739. No basket. A bundle or bag with a fowl in it, head down. Unwrapped loaves of bread. But clearly a servant.

From waste books, it’s pretty clear that people are sending their “boys” and “girls” (servants or slaves) to fetch liquor. That will come home in bottles, like the ones at the feet of La Pourvoyeuse. And I think it comes home just in their hands, but perhaps- and more likely not– in a basket. A floppy basket, usually for floppy birds.

Balthazar Nebot, active 1730–1762, Spanish, active in Britain (from 1729), Fishmonger's stall, 1737, Oil on copper, Yale Center for British Art, Paul Mellon Collection

Balthazar Nebot, active 1730–1762, Spanish, active in Britain (from 1729), Fishmonger’s stall, 1737, Oil on copper, Yale Center for British Art, Paul Mellon Collection

Baskets have come up before. So this is part of a larger argument. Mostly, we see servants marketing. Middle class ladies certainly shop– what is the class level of this woman (above)?— but so many things can be delivered, or are peddled door-to-door, and servants are so common, that I think we don’t yet fully understand shopping in the 18th century.

After the meteoric rise of consumerism, after department stores, yes: shopping is more like what we do. But in the pre-ice box and pre-packaged era, meat cannot be bought and frozen, and milk will not last all that long. Things were brought home one at a time, or a few at a time, many times a week. And middle class ladies bought small things– ribbons, almanacks, shoes– and bring them home in their pockets, just in their hands, or, I would guess, wrapped in a bundle of paper (a pair of shoes) or in a band box (a bonnet) if the things are not delivered.

A long winded way to say, I don’t know: but I’m pretty sure middle class ladies sent their servants out frequently so the ladies didn’t carry baskets and the servants used bags, aprons, and their hands.

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Frivolous Friday: The Pabodie Project

16 Friday Sep 2016

Posted by kittycalash in Clothing, Events, History, Living History, Making Things, material culture, Pabodie Project

≈ 12 Comments

Tags

19th century clothing, authenticity, fashion, Federal style, interpretation, Jane Pabodie, portraits, Rhode Island, Rhode Island Historical Society

Mrs William (Jane) Pabodie. oil on canvas, 1813. RIHS 1970.60.2

Mrs William (Jane) Pabodie. oil on canvas, 1813. RIHS 1970.60.2

Jane Jewett Pabodie, born around 1771, died 23 March 1846 is buried in Swan Point Cemetery on the Seekonk River in Providence. She was the wife of William Pabodie– which one? Well, it’s hard to tell until I really dig into the genealogy. At the moment I am so besotted with this image that all I can think about is what she’s wearing!

What she’s wearing….about that. I have some work– and some thinking– to do. The cap is slightly confounding. It’s a chance to learn a great deal more about early federal caps, which is good. I don’t understand it, which is unfortunate. The asymmetrical nature of the cap is new to me- or at least I cannot think of another example, so feel free to school me, people. But really: it is asymmetrical! With a ruffle on what is the right side of her head, and a… pinked? Van Dyked? Prairie pointed? band that runs from her left ear around to the back of her right ear? I’m confused. It would make more sense if the cap had slipped, but why would the Pabodies pay for a painting that recorded such a thing?

Honestly, I think the only way to really understand the cap is to make the cap. In muslin first, thankyouverymuch, I’m not that crazy.

Detail, Mrs William Pabodie. Oil on canvas, 1813. RIHS

Detail, Mrs William Pabodie. Oil on canvas, 1813. RIHS

The chemisette is more straightforward, being made of a sheer figured or embroidered cotton with a slightly gathered collar embellished with floral whitework embroidery. That I think can manage, at least in the basic construction (fabric, well, I’m looking).

Of course, why do I feel the need to manage all of this, with a deadline now less than eight weeks away? For a program, of course– I have only to write the copy for it. The idea (for me, anyway) is to replicate a portrait as closely as I can. Now, Mrs Pabodie and I are not exactly the same age, but I think I can pull this off…the cap, more troubling.

It’s an interesting project for me, not so much from the sewing point of view, but from a conceptual standpoint.

How close can I get? What does exactitude mean?

If I want to represent a character, what’s more important: understanding the clothing, or understanding Jane Pabodie? Constrained as I am by modern materials, unable to match these exactly, how do I navigate choices based on suppositions of what an artist meant to represent? Just my kind of conundrum.

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