Of Sidesaddles & Riding Habits: Part Two

Susan reports:

Today the Nerdy History Girls welcome back Robin Scarborough, DVM, MSFS, for part two of her guest blog. Dr. Scarborough is a veterinarian, re-enactor, living historian, and sidesaddle equestrian who is sharing her knowledge about sidesaddle riding and ladies' habits.

Imagine the freedom that women of the past experienced when allowed to go out on horseback. Once mounted, they were equal to men, sometimes able to leave them in the dust if the lady were seated on a better horse! Plus, they were able to leave nagging mothers and chaperons behind, often accompanied only by a groom or servant, whose primary obligation was equitation and safety rather than propriety. Riding habits were so frequently similar to men's wear that the tomboy of yesteryear could feel free to leave her demure side at home and escape outdoors without excessive lace, frills, or frills.

To many men, skill and daring on horseback only served to make a woman more attractive and desirable. Historical references state that "a woman appears to her best advantage on horseback," and a good deal of thought was given to style, cut, and color of habit.

The habit, upper right, is a copy of colonial American original made for local riding and hacking. It would have been worn about forty years after the green Baroque habit shown yesterday. This habit was designed and draped with the assistance of Mark Hutter, master tailor of Colonial Williamsburg, and it's indicative of what a southern colonial lady would have worn out riding or visiting. Made of cotton denim and paired with a straw hat, this habit would have been comfortable even int he steamy Virginian climate, and, while this can't be appreciated in the photograph, it's authentic right down to the undergarments: handmade stays, shift,

stockings, and period buckle shoes. Our model is International Sidesaddle Organization treasurer and instructor Jeannie Whited, riding Midas, my retired 25-year-old Morgan horse gelding at the Sidesaddle at Woodwind event.

The red habit, lower left, is a copy of an American Civil War turnout. While most habits of

this period were subdued, conservative colors, those made for riding in town or "husband hunting" were sometimes made of flashy colors or fabrics. Ladies who could afford it stayed abreast of changing habit styles, which like the rest of fashion varied from year to year or even seasonally. Similarly, American ladies pored over books of engravings showing the latest habit fashions from Paris and London, always desiring to be on the cutting edge of style. This picture is of Kathleen Bowman, riding Shadow, a Tennessee Walking Horse gelding at the Sidesaddle at Woodwind event.

Many, many thanks for sharing your expertise and your photographs, Robin!

All photographs copyright BHS Photography, and used with permission.

For more information about sidesaddle riding in general and in particular about constructing a colonial habit in a workshop with Colonial Williamsburg tailor Mark Hutter, see this issue of Liberty Sidesaddle Network magazine. (The magazine is a pdf file, and the article about the colonial habit workshop begins on page nine.)

Of Sidesaddles & Riding Habits: Part One

Susan reports:

After a recent NHG blog featuring a picture of Loretta sitting on a sidesaddle (but not on a horse!), we were contacted by a reader with far more expertise in this area than we. Robin Scarborough, DVM, MSFS, is not only a veterinarian, but also a re-enactor, living historian, and sidesaddle equestrian and knowledgeable in the history, horses, and habits connected to ladies on horseback. When Dr. Scarborough offered to write a few words for us, we were honored and delighted to accept.

Sidesaddle riding is alive and well and not a relic of a bygone era. It is experiencing a resurgence, and sidesaddle riders can be found all over the world doing all forms of riding. These ladies are far from the manor born, but are ordinary women enamored with the past. Any Google search will unearth multiple sidesaddle organizations, with a heavy concentration right here in the USA. The members are more than happy to share their knowledge with those who are interested, and there are many clinics and demonstrations that welcome beginners and auditors.

Sidesaddles, habits, and indeed horses in general change markedly throughout history, so

research that gleans equine details about 1620 will not be accurate 60 years later. Styles of riding, event he horses themselves, changed rapidly depending on the current style of warfare, government, and otter societal forces. The advent of gunpowder in particular eliminated the use of plate armor, resulting in a lighter, more maneuverable, type of horse. And believe me, horse people know if an author has done the research, and we appreciate it when we see it.

Above left: This habit is based on a French baroque style that first came into popularity during the reign of Louis XIV. It is a soft muted color trimmed with ivory and gold, very rococo, and suitable for the musical carousel horse ballets that were popular at court. This habit is designed for court riding, not for hunting or traveling. The photo is of me and Owen, a Morgan horse gelding, taken at the 2010 Horse World Expo.

Below right: This habit is a copy of a Victorian habit from the mid-1880s. It is very tailored and slim-fitting, similar to the dress styles of the day. The habit jacket is not only worn over a corset, but has additional boning both for support and to accentuate the hourglass shape. Habits at this time show a masculine influence with no lace, frills, or trim and were worn with a plain top hat. This hat is an original, dating from 1887. Once again, me and Owen, taken at the Sidesaddle at Woodwind event in 2009.

All photographs copyright BHS Photography, and used by permission.

Please return tomorrow for Part Two!

Fashions for February 1830

Loretta reports:

From La Belle Assemblée
Fashions for February 1830

EVENING DRESS.
A DRESS of gaze satinée, the ground rose-colour, the stripes of that peculiar shade of drab-colour which resembles unbleached cambric. The skirt, somewhat more ample than last month, is slightly gored, and trimmed rather below the knee with a fringe of uncommon breadth and beauty. It has an open-worked head, very richly wrought in lozenges. The corsage is cut very low, but not quite square round the bust, being rather higher in the shoulders than evening dresses generally are. Sleeves, à la Sultane; very wide, fastened at the wrist by gold bracelets, and drawn round the arm just above the elbow, by a row of fringe, to correspond with that on the skirt, but narrower. The hair is arranged in loose full curls, which fall low on each side of the face, and parted in the middle to display the forehead and eyebrows. The hind hair is disposed in two very large knots on the crown of the head. A scarf of Circassian gauze, corresponding in colour with the ground of the dress, and fringed at the ends, is tastefully arranged in conques, which are intermixed with the bows of hair. One of the ends falls on the left side to the neck; the other forms a tuft on the right side. The necklace, earrings, and bracelets, worn with this dress, are a mixture of pink topazes and filagree gold. A boa tippet, of the finest sable, is thrown carelessly round the neck. White kid gloves. Slippers, white gros de Naples.

EVENING DRESS.
A GOWN of gros d'Orient; the colour, vert de Chine; the border of the skirt, which reaches nearly to the knee, cut in double dents, which are corded round the edge with satin. The corsage, cut exceedingly low, and falling much off the shoulder, is crossed before and behind, and disposed in two folds on each side. Short and extremely full sleeve, of the bouffont form, over which is a long and very loose one of gaze Œrienne, with a cuff à la Montespan, cut in deep scollops, which turn back from the wrist. The hair is arranged in tirebouchons, which fall as low as the neck on each side of the face. Head-dress, a béret/composed of green satin. This is of a very large size, and is ornamented with three esprits/ two are placed near the top of the crown on the right side, and one under the brim on the left. Massive gold ear pendants and bracelets, the latter à la Grecque. Necklace, gold and emeralds, with three very large emeralds pendant from the centre. Gros des Indes slippers, en sandales. White kid gloves.

Two Coats, Two Gentlemen, Two Centuries

Susan reports:

While we've written recently about historic dress and keeping warm in the past, we've only addressed the ladies. Today we'll rectify that, and offer two splendid winter coats, worn by two very different gentlemen of the past.

Held by Colonial Williamsburg tailor Mark Hutter, left, is a copy of a greatcoat worn by statesman, president, and all-around-18th c.-Renaissance-man Thomas Jefferson (1743-1826.) The replica coat was made by the CW tailors, and is based stitch-for-stitch on the original.

Jefferson was serving as America's Minister to France and living in Paris when he bespoke this dark blue greatcoat in the 1780s. Cut from woolen broadcloth with a collar of silk velvet, the coat is noteworthy for the embroidered silver vine that edges the wide cape. Though the original coat now has dark buttons (and thus so does the replica), at one time it likely had polished silver buttons to match the embroidery. In the most sophisticated and fashion-conscious city in the world, Jefferson was determined to represent himself as a gentleman of style, and also to show that the rest of the world should take the fledgling American States seriously. Image the 6'2" Jefferson with his red hair, striding down the steps of his house on the Champs-Elysees in this coat with the sun glinting on the silver: an imposing sight indeed.

The second coat, right, is imposing in quite a different way. This impeccably tailored formal overcoat belonged to Edward VIII of England, later Duke of Windsor (1894-1972). Thanks to the most skilled tailors in Great Britain, His Highness was famous for being the best-dressed gentleman in the land (among a great many other things!)

This coat is a beautiful example from Simpson & London Ltd., fashioned from subtle navy tweed wool and lined with fur, with an elegant black Astrakhan collar. The double-breasted coat is cut with flaring skirts and a slightly raised waist, designed to give an elongating line as well as a military air. While Thomas Jefferson was very tall, the Duke of Windsor was very short – only 5'5" – and it's a great tribute to his tailors that he never appeared that way.

"I was in fact produced as a leader of fashion," the Duke once remarked, "with the clothiers as my showmen and the world as my audience." Certainly this coat would hold its own on any stage, in any era.

The original of Thomas Jefferson's great coat is now in the collection of the Los Angeles Museum of Natural History. Special thanks to tailor Neal Hurst of Colonial Williamsburg for his help with this post.

Click here to read more about the Duke of Windsor's wardrobe.

The School of Manners

Loretta reports:

In the 1750s, during a dinner with foreign dignitaries, Henry Fox’s toddler son Charles was brought in--to be admired by the guests, undoubtedly.  The boy said he wanted to bathe in the huge bowl of cream sitting on the table.   His father had the bowl put on the floor and little Charles put into the bowl to splash around.  I think about scenes like that when I encounter manners-challenged children.  Overindulgent parents are nothing new.

Thus the need for THE SCHOOL OF MANNERS or RULES for Childrens Behaviour.  I think this 1701 publication offers interesting insights into the culture of earlier times, some amusing bits, some curiosities and puzzlers, and many proofs that the fundamentals of manners haven’t changed all that much. 

CHAP. I.  Short and mixt Precepts.
3.  Reverence thy Parents.
4.  Submit to thy Superiors
5.  Despise not thy inferiors.
6.  Be courteous with thy Equals.

CHAP. III  Of Behaviour at Home1.  Always bow at coming Home; and be immediately uncovered.
3.  Never sit in the presence of thy Parents without bidding, though no Strangers be present.
4.  If thou pass by thy Parents or by any place where thou seest them, either by themselves or with Company, bow towards them.
6.  Never speak to thy Parents, without some Title of Respect, viz. Sir, Madam, Forsooth; &c.

CHAP. IV  Of Behaviour at the Table.
5.  Ask not for any thing, but tarry till it be offered thee.
8.  Feed thy self with thy two Fingers and the Thumb of the left hand.
9.  Speak not at the Table; if thy Superiors be discoursing, meddle not with the matter.
19.  Take not salt with a greazy Knife.
25.  Smell not thy Meat, nor move it to thy Nose; turn it not the other side upward to view it upon the Plate.

CHAP V.  Rules for Behaviour in Company.3.  Put not thy hand in the presence of others to any part of thy body, not ordinarily discovered.
6.  Stand not wriggling with thy body hither and thither, but steddy and upright.
9.  When thou blowest thy Nose, let thy Handkerchief be used, and make not a noise in so doing.

CHAP. VIII  Rules for Behaviour Abroad.

5.  Always give the Wall to thy Superiors, that thou meetest; or if thou walkest with thy elder, give him the upper-hand, but if three walk together, the middle place is most Honorable.  [And if anyone can figure this one out, please enlighten me.  L.]



  
The painting is The Children of Edward Holden Cruttenden, by Joshua Reynolds, ca. 1763

Keeping Warm: Buzaglo Stoves

Susan reports:

When I posted the photographs of the ballroom and the supper room in the Governor's Palace, Colonial Williamsburg, two very important fixtures weren't visible in the pictures. Here they are now: a pair of coal-burning, cast-iron stoves that were the cutting edge of keeping warm in the 1770s.

Also called "warming machines," the stoves were imported from London where they were effective, fashionable, and exclusive because of their cost. The stoves were the work of a famous inventor of the time named Abraham Buzaglo (1716-1788.) A Moroccan who immigrated to England in 1760, Mr. Buzaglo immediately amazed Londoners with his cast iron warming machines, which he patented in 1765. As one historian has noted, his ultimate goal was to try to "reform English prejudices regarding comfortable warmth."*

Mr. Buzaglo's trade card modestly promised that his stoves "surpass in Utility, Beauty & Goodness any thing hitherto Invented in all Europe". They "cast an equal & agreeable Heat to any Part of the Room, and are not attended by any Stench," with "a bright Fire to be seen at Pleasure." More importantly, the stoves"preserve the Ladies Complexions and Eye Sight" and "warm equally the whole Body, without scorching the Face or Legs," plus "other Advantages too tedious to insert."**

The warming machines were so popular that they became known by the inventor's name (though incorrectly, if inevitably, pronounced by the English as "Buzz-aglow" rather than "Bu-ZAH-glo".) Buzaglos warmed drafty gracious homes as well as university libraries and the shops of tailors and weavers. The two in Williamsburg were imported to colonial Virginia by the Royal Governor, Lord Botetourt (1718-1770) for the comfort of his guests in the Governor's Palace, and shortly before his death in 1770 he ordered another to warm the House of Burgesses.

So do Buzaglo stoves work? While I don't doubt that the twin Buzaglos in the palace are in fine working order, I also imagine that modern-day fire and pollution regulations frown on combining coal-burning stoves with crowds of tourists. But to a lady shivering in a silk gown two hundred years ago, I'm sure they were a very welcome upgrade from the sparks, soot, and limited warmth of an open hearth.

And, of course, there must have been all those "other Advantages too tedious to insert."

* The Invention of Comfort: Sensibilities & Design in Early Modern Britain by John Crowley

** "Hot Air from Cambridge", an article by J.C.T. Oates appearing in The Library

Biltmore: The house that George built

Loretta reports:

When Lady Dunmore first came to Williamsburg and was shown the Governor’s Palace, she must have said, “You’re putting me on”—in 18th C speak, that is.  Compared to the great houses of Britain, let alone its palaces, it must have seemed like, oh, the dairy building.  It was too small, certainly, to be a stable.  Yet it was quite grand for Colonial America.

It would take a while for rich Americans to start building houses dedicated to showing off their money, but then they did it with a vengeance.  Most of the Gilded Age mansions to me epitomize Wretched Excess—ostentatious and unappealing.  But I did fall in love with Biltmore.  Maybe because the man who built it, George Washington Vanderbilt II (that's Whistler's portrait of him above left), was a man of imagination.  And maybe because he put his palace on a vast piece of land—100,000 acres in the North Carolina mountains--as the aristocrats of England did their country houses.  And maybe because he and his wife did interesting and useful things with their money.

He was 28 years old when he “decided to build the largest private house in America, establish a model dairy farm, revive the forest, and establish a forestry school and an arboretum.”  The Pisgah Forest took up 80,000 of those acres.  “Although it had an extraordinary range of species of trees, the forest was in a deplorable state, ‘burned, slashed, and overgrazed.’”  He also created Biltmore Industries, “furniture workshops set up…to train local North Carolina craftsmen."

He built a private railway spur to carry the materials from the main railroad to the site.  He had the country’s premier talent working for him: landscape designer Frederick Law Olmsted, architect Richard Morris Hunt, and forester Gifford Pinchot.

The house has about 255 rooms.  “In London, he astonished a rug dealer by purchasing at

one time three hundred Oriental rugs for his new house.”  I could go on and on:  about the John Singer Sargent paintings and the system of heating and cooling the house and the beautiful elevator and the gardens and the views and the fascinating servants’ quarters and more--but a visit is worth many thousand words, and if you can’t visit, there are video tours available at the site, and numerous books.

The opinions expressed here are my own.  The facts, figures, and quotes come from a wonderful, sumptuously illustrated book, The Vanderbilts, by Jerry E. Patterson.  The black & white photograph is courtesy the Library of Congress, LC-USZ62-71822.