On the Street Corner

Paul Sandby RA, 1731–1809, British, London Cries: "Turn your Copper into Silver Now before Your Eyes" (Title Page Design), 1760, Watercolor, pen and gray and brown ink over graphite on medium, cream, slightly textured laid paper, Yale Center for British Art, Paul Mellon Collection
Paul Sandby RA, 1731–1809, British, London Cries: “Turn your Copper into Silver Now before Your Eyes” (Title Page Design), 1760, Watercolor, pen and gray and brown ink over graphite on medium, cream, slightly textured laid paper, Yale Center for British Art, Paul Mellon Collection

Not everyone who’s standing on the corner is up to no good. Some have legitimate business.

In the London of the past, just as in, say, the Manhattan of today, street vendors hawked a variety of goods. Having gone through multiple versions of Cries of London, I’ve come up with a basic list of the items sold on the street.

Love songs
Stationery
Oranges
Boot laces
Reeds for chair mending
Saloop See also salop.
Gingerbread
Muffins
Hot cross buns
Doormats
Cats’ and dogs’ meat
Coal
Lavender
Ribbons

Paul Sandby RA, 1731–1809, British, London Cries: A Girl with a Basket on Her Head ("Lights for the Cats, Liver for the Dogs"), ca. 1759, Watercolor, pen and brown ink, and graphite on medium, cream, slightly textured laid paper, Yale Center for British Art, Paul Mellon Collection
Paul Sandby RA, 1731–1809, British, London Cries: A Girl with a Basket on Her Head (“Lights for the Cats, Liver for the Dogs”), ca. 1759, Watercolor, pen and brown ink, and graphite on medium, cream, slightly textured laid paper, Yale Center for British Art, Paul Mellon Collection

Boot black
Brushes
Flounders
Rhubarb
Walnuts to pickle
Cucumbers
Bandboxes
Baskets
Brooms
Rabbits
Pins
Mops
Wash balls (soap)
Strawberries
New peas
Rosemary and bay
Strings of onions
Turnips and carrots

There’s seasonality to this, of course. Strawberries and cucumbers are not being hawked on the streets of London, Boston, Newport or New York in February. I’ll tell you: being a Cat’s-meat-[wo]Man is practically a childhood dream, since I knew I could never really learn to speak to the animals, and as it happens, Sandby depicts one. It seems there was gender equity in supplying food for pets and stinking of meat.

Paul Sandby RA, 1731–1809, British, London Cries: A Milkmaid, ca. 1759, Watercolor, pen and brown ink with graphite on medium, cream, slightly textured wove paper, Yale Center for British Art, Paul Mellon Collection
Paul Sandby RA, 1731–1809, British, London Cries: A Milkmaid, ca. 1759, Watercolor, pen and brown ink with graphite on medium, cream, slightly textured wove paper, Yale Center for British Art, Paul Mellon Collection

I’ve long been fond of the milkmaid, probably because she’s relatively clean, has a cloak for warmth, and I can understand what she does. As much as I love “Turn your copper into silver,” I lack real skill at charlatanry. And gambling. I don’t play poker: my face is too easy to read. Still, if you’re doing this right, there’s a lot to invest in being a milkmaid: kettles (likely pewter), measuring cups (tin? or possibly pewter), and a yoke. It’s a commitment. Cat’s meat– if you’re good with stank and have the right basket*, you’re pretty okay.

If not stank or drank, then gaming. It looks like the object of the game is to knock down the three balls at left in the background by hitting another ball, or perhaps a stone, with the stick. Ha’penny a throw? Maybe you just throw the stick.

Paul Sandby RA, 1731–1809, British, London Cries: Throws for a Ha'penny Have You a Ha'penny, undated, Brown wash, gray wash, graphite, and black chalk on medium, cream, slightly textured laid paper, Yale Center for British Art, Paul Mellon Collection
Paul Sandby RA, 1731–1809, British, London Cries: Throws for a Ha’penny Have You a Ha’penny, undated, Brown wash, gray wash, graphite, and black chalk on medium, cream, slightly textured laid paper, Yale Center for British Art, Paul Mellon Collection

This is another instance wherein I am faced with historical things I don’t know nearly enough about: gambling and street games, pet care and keeping. Cat boxes: when we were they invented? We know cat litter is a 1947 invention, and that sand or ashes were used in cat boxes when cats were kept inside, but for the most part, they went in and out, and mostly out, until cat boxes and neutering became common, though an 1895 manual recommended that “the cat in civilization must be fed, looked after, and guarded in its moments of freedom.“**

cat care
Yes, I went there. I looked it up.

It’s more than 100 years after the time I’m investigating, but I don’t want to fall too far down this cat’s meat rabbit hole– but this does tell me that the historical images of indoor cats come with oat or straw filled baskets in sunny corners, and recommendations for galvanized pans filled with sand, clean earth, or sawdust, which may be ideal, as it can be burned.

Right, I need to focus and not entertain myself with children’s books about Old Dame Trot and her cat…dressed up. In 1810.

My point is, there’s a lot to sell on the streets of any town, images to support the material culture and reference books from which we can derive contextual clues to the impression of something as random as a cat’s meat man or woman. I don’t know that I’m leaping to be a Cat’s-meat-Woman, but it leads to a lot of interesting interpretive points about domestic life, pets, and families that visitors can relate to much more easily than street sales. Of course, if you choose to be the Cats-meat-Man, I won’t stop you from calling yourself Mr Friskies.

*See that flat do-da? I have a similar basket. It does appear one could hawk oysters from a basket like the one I have. Mmmm good.

**Huidekoper, Rush Shippen, 1854-1901. The cat, a guide to the classification and varieties of cats and a short treaties upon their care, diseases, and treatment. 1895: New York, D. Appleton and company

Illuminating Lampshades

The more you look, the harder things get. That’s usually cause for celebration, but I’m starting to feel the pressure of more ideas and commitments than time. Here’s a question: in these undated Sandby watercolors, are the women wearing the bonnet colloquially called lampshade? What does lampshade look like from the side? My guess is that it looks a great deal like the headwear of the woman sitting on the wall. (Click the images to go to the Royal Collection site where you can enlarge them.)

Somerset House Gardens. Watercolor by Paul Sandby, 1750-1760. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014
Somerset House Gardens. Watercolor by Paul Sandby, 1750-1760. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

So much good stuff in this image: the woman sitting on the wall, swinging her foot (take that, decorum); the black silk mantles; sleeve ruffles; gloves; pointy shoes; big skirts.

About those pointy shoes and big skirts….much as I would love for this image to be really relevant to my quest, we are looking at the 1750s. At least lampshade comes in to greater focus, both in date and in construction. Ooh, look! More lampshade.

The Ladies Waldegrave, 1760-1770. Watercolor by Paul Sandby Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014
The Ladies Waldegrave, 1760-1770. Watercolor by Paul Sandby Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

The eldest of these young ladies was born in 1760 and the youngest in 1762, so we’re really close to 1770 here. They’re not only incredibly adorable (I know a quite darling and very young lady for whom I want to make one of these pretty much immediately), but they’re in the right time period. Most of the bonnet images in the Royal Collection seemed to be of young women or girls, until I happened upon this image, from 1768.

A carriage, with man and lady 1768. Watercolor by Paul Sandby. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014
A carriage, with man and lady 1768. Watercolor by Paul Sandby. Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

Well, “lady” might be pushing it where I’m concerned, but that image feels like the best solid evidence of bonnetness close to 1770.

Here’s another ca. 1770 image. Way in the back, there’s a bonnet.

Can’t get enough of that black taffety? Have another.

A young girl, standing 1760-1780. Paul Sandby, Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014
A young girl, standing 1760-1780. Paul Sandby, Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

Wonder what that might look like from the back? Voila.

A girl in a sunhat, seen from behind, 1760-1770. Paul Sandby, Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014
A girl in a sunhat, seen from behind, 1760-1770. Paul Sandby, Royal Collection Trust/© Her Majesty Queen Elizabeth II 2014

This is by no means an exhaustive search, but thanks to a Facebook commenter, I’ve rediscovered the Royal Collection, and found later images of the peculiarly lamp-shade like headwear, and one image with a firm date of 1768.

In Book of Ages, Jill Lepore quotes a February 27, 1766 letter from Jane Franklin Mecom in Boston to Deborah Read Franklin in Philadelphia, regarding the clothing her brother Benjamin had shipped to her. “For ‘Each of us a Printed coten Gownd a quilted coat a bonnet.’ She continues about her bonnet, “is very suteable for me to were now being black and a Purple coten.” (Lepore, Book of Ages, p. 144)

What do you suppose that 1766 bonnet looks like? Do you think it looks more like lampshade, or these transitional forms? Probably lampshade, but the materials are intriguing: Purple cotton. Is that the brim lining? Jane Mecom is in mourning, so I’d expect the main body (brim and caul) of the bonnet to be black, and most likely taffeta, which turns up as a descriptor in the runaway ads.

Wide-brimmed, black taffeta bonnet, possibly lined in cotton, 1766-1768. But how long did bonnets last?*  What went into them– Buckram? Pasteboard? Coated pasteboard? Baleen? A combination of pasteboard and baleen?

I’ve got some ideas, and if the next winter storm doesn’t delay the mail too long, I might have experiments to conduct this weekend.

*Or any clothing? But that’s a post for another day.

Undocumented but Not Alien

Cherries. The Itinerant Traders of London in their Ordinary Costume, from Modern London; being the history and present state of the British Metropolis. Illustrated with numerous copper plates - British Library
Cherries. The Itinerant Traders of London in their Ordinary Costume, from Modern London; being the history and present state of the British Metropolis. Illustrated with numerous copper plates – British Library

Sometimes it’s hard to know how a riot gets started; other times, the cause is pretty clear. I’ve started one or two myself. The latest stems from Our Girl History’s musings on the Massacre.

There’s a lot to unpack, and it’s been happening online and in private conversations. Yes, children, Aunt Kitty pays attention, even if she’s silent. This is a tough topic: how can modern feminists represent historical women in a patriarchal culture without losing their minds? How can events better reflect the actual past? The population has, historically, always been about 50-50 male-female. We understand why there aren’t women on battlefields. We get that traditional events (by which I mean the ritualized commemorations of battles) have ridiculously gender-segregated and inauthentic roles. We get that it’s hard to adapt to new ideas, even free, documented ones.

The irritation and anxiety I feel as I expand the kinds of events I attend is actually reassuring: that’s how I know I’m learning. The frustration we feel means we’re banging up against a wall that we can break down with research.

Paul Sandby, London Cries: Black Heart cherries... ca. 1759. YCBA, B1975.3.206
Paul Sandby, London Cries: Black Heart cherries… ca. 1759. YCBA, B1975.3.206

It’s not easy research: women not married to or otherwise affiliated with prominent men are poorly documented. We may never know their names– or we may have a name from a census, newspaper ad, or city directory, and nothing more. But we can fill in the gaps with interpretation. (As it happens, I’ll be talking about this very idea in just a few weeks. Come taunt me in person.)

There’s a lot to think about in recreating the past, in particular at this event. The organizers have done a phenomenal amount of research, gathered the details, sorted them out, assigned roles, scripted and timed an event, and recruited a chorus of characters that reflects the texture of a tense city in 1770.

Building an event, even one that recreates an actual moment in the past, is as much as work of theatre or fiction as it is of fact: character development, motivations, costuming, setting, all of those combine with the documented words to create a scene that conveys an interpretive point for the public. It’s similar to a museum exhibition– it’s interpreted.

Traditionally, living history has interpreted the past with a bias to men’s roles (that’s the nature of our society, folks) and with a tendency to assign roles and activities by gender (again, the nature of our society for centuries). Our task in breaking that pattern is not to right the injustices of the past, for we cannot, but to interpret them.

Playing the game at quadrille : from an original painting in Vauxhall Gardens. London : Robert Sayer, ca. 1750. Lewis Walpole Library, 750.00.00.14
What about the people in the background? Playing the game at quadrille : from an original painting in Vauxhall Gardens. London : Robert Sayer, ca. 1750. Lewis Walpole Library, 750.00.00.14

One way to do that is to bring the undocumented, or poorly documented, people of the past to light. I tried to do that in exploring Bridget Connor. I’ve tried to do that by interpreting a late 18th/early 19th century servant. It’s a long and frustrating process, reading letters and diaries for scraps of information, usually casual references to servants and cooks.  But in the frustration lies the promise: we will find the people on the margins, and bring them in to clearer focus.

Frivolous Friday: Flip your Lid

Print. Drypoint by John Theodore Heins, Jr. 1747-1771. British Museum 1858,0417.362
Drypoint by John Theodore Heins, Jr. British Museum 1858,0417.362

Bonnets. Who doesn’t like them? They’re the cupcake of costuming, just enough sugar to be delicious, not enough trouble to count. I know I have far too many, they fall from the hall shelf nearly every time I get my coat.

But I started asking myself questions about bonnets when a friend asked me questions about bonnets: shape, color, and how they’re worn (rakish angle? pulled down low?).

We’re planning on going to an event in March, and I’ve been thinking about head wear, especially bonnets. Now that the question’s been asked, I don’t want to randomly cram black silk taffeta on my head and call it a day: I’m back to “don’t know mind.” Time to start looking. So far, I’ve searched the Tate, the British Museum, the National Portrait Gallery UK, the Lewis Walpole Library, the Yale Center for British Art, the Met,  the V&A, and the BBC’s Your Paintings site.

I started at the British Museum. Here are the results for a collections search using the term bonnet and the production dates 1765-1772.  Hmm. No classic black bonnet. Dammit, actually, because I really like mine.

Print made by James Caldwall, A Ladies Maid Purchasing a Leek, 1772, Line engraving and etching Yale Center for British Art, Paul Mellon Collection. B1977.14.11105
James Caldwall, A Ladies Maid Purchasing a Leek, 1772, YCBA, B1977.14.11105

Yale Center for British Art, same search parameters. I know you know this print.

Man, this is a pain, right? Where are the bonnets? 1772 is actually too late for my purposes in this instance.

The Lewis Walpole Library Digital Collections lack a feature for limiting or sorting by date, but they tag bonnets in their prints. Still: no big black bonnets in early prints.

I’m starting to think it’s lampshade or saucer for the 1765-1770 period. You remember lampshade, don’t you? One of my post-operative slightly narcotized creations based in part on the Marquis of Granby (Relieving a Sick Soldier).

The Marquis of Granby (Relieving A Sick Soldier) Oil on canvas by Edward Penny after 1765 (c) Royal Academy of Arts
The Marquis of Granby (Relieving A Sick Soldier) Oil on canvas by Edward Penny after 1765 (c) Royal Academy of Arts

Lampshade seems pretty fashionable in 1760. There are more portraits at the National Portrait Gallery (UK), but bonnets are scarce in them, primarily, I suppose, because they are not indoor wear.

Lady Fenoulhet is wearing a lampshade. Nelly O’Brien is wearing an interesting, more hat-like device. Her imprint is ca. 1765-1780, but other impressions are dated ca. 1760. The 1762-1764 seems plausible. But that’s still early for my purposes. The lampshade really is, too; Mrs Mary Smith of Portsmouth may be wearing one, but considering that the artist who drew this plate died in 1766, I think we can place this form in the 1750s to early 1760s. Lampshade is too early. The”Lady’s Maid buying a Leek” is too late.

Next, please.