Quaker Dress

Costume in Detail by Nancy Bradford, page 372.
Costume in Detail by Nancy Bradford, page 372.

I’m still struggling with the Quaker Dress conundrum, both because I want a challenge and I want to be as accurate as I can be.

So, not unlike my stubborn cat, I got an idea, and I just can’t shake it. The kind-of-cross-over, apron-front, v-neck day dress.

I’ve tried and failed before, but I got a little farther Saturday. When I went looking for the original, I was pleased to find that it had ended up at Killerton House, as part of the National Trust Collection.

You can find it here, but you can’t see it yet. 

WOMAN IN GRAY DRESS John Brewster Jr. (1766–1854) New England 1814 Oil on canvas 29 1/2 x 24 5/8 in. (sight) American Folk Art Museum, promised gift of Eric D.W. Cohler, P3.1998.1
WOMAN IN GRAY DRESS
John Brewster Jr. (1766–1854)
New England
1814
Oil on canvas
29 1/2 x 24 5/8 in. (sight)
American Folk Art Museum, promised gift of Eric D.W. Cohler, P3.1998.1

I think it may look something like the dress in this portrait, but without the collar.

Bradfield’s notes indicate that the front, sloping edge is a “fine, 1/10″ selvedge very narrow of rich dull orange saffron.” Based on this note, I have tried using the selvedge for that edge in the lining. (Better to fail on the lining than on the silk, right?)

We’ll see… the next trial will be a drawstring, just to see if I can get this business to fit.

Shopping at Dobyns and Martin

A Range of Goods, lately Arrived from Maryland.

In the not-too-distant past of up till last week, I was still under the impression that I would be doing two living history presentations on tea at the end of March, but through a series of maddening-for-a-colleague circumstances, that is not the case. To begin preparing for these programs, I had started secondary and primary source research on tea and tea parties, as you may recall. I also ordered some things from Dobyns and Martin, thinking how nice it would be for people to see and smell and sample historically correct teas.

Friday was a happy day chez Calash, coming home at the end of a long week to three days off and packages! Though I won’t need the teas for work, it does seem to me that they will be quite suitable for other living history presentations, and I can always ‘steal’ some from an officer if I get tired of the black market in shirts.

In addition to tea and lump sugar (which will fit nicely in Bridget’s pocket), I ordered soap. The lavender wash ball seems suitable for officers and the better sorts, while a cake of lye soap will vastly upgrade our dish-, self- and clothes washing in camp. While I’m game to make my own soap, a lack of ingredients and facilities hinders production.

Carrot pudding Trial One. Verdict: Too much nutmeg.

And, finally, the rose water. I’m looking forward to enhanced baking, a good activity in the weather we’ve had lately. While I don’t think the rose water would have saved the way-too-much-nutmeg carrot pudding, it will certainly be welcome in dishes future. I’m motivated to get a boiled pudding right, and in the field, because I know the Enos Hitchcock ate pudding and venison as a chaplain in the war.

Anachronisms, ahoy!

Deborah Sam[p]son (Gannett), oil on paper by Joseph Stone, 1797. RIHS Museum Collection, Gift of Jesse Metcalf, 1900.6.1
Deborah Sam[p]son (Gannett), oil on paper by Joseph Stone, 1797. RIHS Museum Collection, Gift of Jesse Metcalf, 1900.6.1

There’s a petition circulating in certain government circles in support of a campaign to give Deborah Sam[p]son her very own stamp. This is, in part, fueled by the upcoming 250th anniversary of the founding of Sharon, MA.

I’ve got no problem with that—commemoration is something we humans do and need. And Deborah Samson’s is an interesting story, but possibly not for the reasons cited in the letters from officials who shall remain nameless. They describe her as “a pioneer of promoting women’s rights and eliminating gender barriers” and “a trailblazer for gender equality,” phrases that would have been just about nonsense in the Revolutionary war period.

And that’s my problem with it: the anachronistic representation of a woman’s story, bent to the purposes of the present. Don’t get me wrong—I’m a feminist, I’ve enjoyed Deborah Samson’s story since I read about her as a kid in one book or another, so I sympathize with the Stamp Movement.

What makes me crazy is bad history.

Hannah Snell, as depicted in an excerpt from "The Life and Adventures of a Female Soldier," the narrative of the most famous cross-dressing British soldier of the century. It appeared in Isaiah Thomas's New England Almanack (Boston, 1774). Printers recycled the image on other imprints. American Antiquarian Society.
Hannah Snell, as depicted in an excerpt from “The Life and Adventures of a Female Soldier,” the narrative of the most famous cross-dressing British soldier of the century. It appeared in Isaiah Thomas’s New England Almanack (Boston, 1774). Printers recycled the image on other imprints. American Antiquarian Society.

In Masquerade, Alfred Young tells Sampson’s story well, busting myths that both we—and she—created. (This short bio is a good overall sketch of Deborah’s life. ) What struck me the most about Deborah Samson’s life was the lack of certainty, stability, and material comfort. We’ll never know the specific circumstances that led her to enlist, though Young does yeoman’s work to unearth everything he can about her life and circumstances, and the context in which she lived.

I’m not an unbiased reader—I did get a little shouty on the third floor when I read “trailblazer for gender equality,” and that phrase has lingered and grown tattered as my colleagues and I have chewed it over—but Young’s point about women of the lower sorts is well taken.

Here’s an excerpt from an interview with Young about the book:
“In cross-dressing, Deborah was like a good many other plebeian women we are discovering who were in flight: to escape indentured servitude, to avoid the shame of a pregnancy, to get out of the reaches of the law, and so on. But to explain why she carried it off so long, you have to fall back on her skills and resourcefulness.”

So much for that pioneer of promoting women’s rights—Samson was a pioneer in skillful deceit (no mean feat) and in using that deceit to further the main chance, that is, Deborah Samson’s chance. What’s wrong with that? I like that better, and that’s my bias and my interests.

Reading about Deborah Samson helped me think about Bridget Connor and the women like her, probably less skilled and less educated than Samson, probably even more impoverished. It’s a mysterious mix of personality and circumstances that drives us all, but considering what we can know about Deborah Samson helps us understand her not so much as a pioneer for gender equality but as a self-interested human being acting for herself despite the barriers of class, education, and gender. And that can help us understand the people we can know even less about, like Bridget Connor.

For a taste of historical prose, you can find an annotated version of Samson’s story written by Herman Mann here, at Harvard University Library’s digital page delivery system.

What Snow Day?

Benjamin West, 1738-1820, American, active in Britain (from 1763), Page Boy Asleep, undated, Brown wash with pen and brown ink on medium, slightly textured, cream laid paper, Yale Center for British Art, Paul Mellon Collection.B1975.4.786

Just because the Young Mr had a snow day and slept in didn’t mean the rest of us did.  So what did we do?

We went to work, just as they would have in the 18th century. We joke that the streets in our town are better after ice and snow, because the potholes are filled in and the ride is smoother.  You can see the principle at work here, in a watercolor by Benjamin Henry Latrobe.  Sleighs and sleds will run more smoothly on snow-packed roads, and sometimes I think a sled would be better than a Subaru in the city of Providence.

Still, I’m grateful for furry boots and buckets of salt, central heat and an electric tea kettle. Every winter, one or more of us falls on the ice, and when I went out to salt the paths this morning, I could see where Mr S had slipped on snow-covered ice.

In the Morland below, the scene revolves around the central figures, a man who has fallen on the ice despite his stick, the woman, black bonnet thrown back, who has witnessed his fall. We haven’t reached this point yet, and snow has become sleet that will freeze later, with more snow to come, so our vista is not nearly as attractive. But it’s clear that we, as humans, have never enjoyed snow and ice very much, and I think the donkeys are unimpressed as well.

George Morland, 1763-1804, British, Winter Landscape with Figures, ca. 1785, Oil on canvas, Yale Center for British Art, Paul Mellon Collection, B1993.30.23