Pillow Pin Cushion

From Anna Bauersmith's recovery pincushion pattern.

Pillow pincushion...well six little cushions.

I used cotton prints from my stash (this is a good project for using up tiny pieces), with wool roving for the stuffing.  As an experiment, I stuffed one of the cushions with emery for sharpening needles--while it does tend to weigh that side of the pincushion down, the effect is less pronounced than I expected.

Another view.

It's a cute little handful of a pin cushion, and made up very quickly.

Rests and Photographic Stands

[This post is a work in progress, to which I will be adding as I find more 1840s-1860s references to the practice of post mortem photography, and to the devices and techniques used to take good photographs of the living. Recommendations for sources and further reading are always welcome.]

Given the large number of photographic portraits arbitrarily called "post mortems" (mostly CDVs, in my experience, but also sometimes dags, ambros, and tintypes), I decided to see what I could find about the subject in period resources.  If a portrait of a person who is standing with eyes open and making hand gestures, is in fact a cunningly posed corpse with over-painting, then there should be some evidence of the method and devices employed.  I suspect, however, from my current reading, that most CDVs of life-like persons are, in fact, pictures of living people who used various stands, head-rests, and strategically placed furniture to hold a still pose that would look natural while photographing clearly.

Stands and Rests

"A head-rest is a very useful adjunct in portraiture, but if not a good one will most likely defeat its own end. The sitters head must never be fixed in this, but when all is arranged to the artists satisfaction it should be applied, and put so that instead of appearing to hold the head may support it and become as its name implies a "rest." Many persons object to the use of this instrument and declare that they can sit perfectly still without it, but this is not the case very few will be able to sit but a few seconds sufficiently steady for a photograph and by its constant use, many failures are sure to be avoided."
-A Guide to the Indian Photographer (1860)

"Of course great steadiness is required on the part of the sitter during the few seconds he submits to the operation of the photographer. It is usual to support the head by a rest fastened to the back of the seat as, shown in fig 82; but where the person can maintain a steady position without this the result is generally the most satisfactory, the rest not unfrequently giving an air of stiffness to the sitter. "
 -Photography (1853)

Head rest, to be fastened on a chair.
Page 302, Photography (1853).

"Head-rests are highly useful when properly managed; the most simple form of rest can be screwed on the back of a chair and easily adapted to the position of the sitter; it should be fastened without pushing the head forward, or otherwise giving the sitter an awkward and constrained appearance "
--The ABC of Photography

Unknown gentleman from Palmyra, NY.
CDV. Undated (1859 or later).
Hat held in one hand, the base of a stand is
visible behind the subject's foot.
Collection of E. Korsmo

Unknown girl c.1864-66.
Photographed by Brown: N.J. or P.A.
Posing stand visible behind her feet.
Collection of E. Korsmo.

Another unknown girl c.1864-66. 
Photographed by Brown: N.J. or P.A.
Posing stand visible behind her feet.
Collection of E. Korsmo.

Post mortem photography

I've found very few references to photographing corpses in the pre-1865 literature.  Those reference which are given are brusque and/or utilitarian, with no allusions to a brisk trade in lifelike posing or tips for how photographers should achieve such an effect.

"Mlle. Sarah, it appeared, on the death of her sister at Cannes, on the 3rd of January last, caused a photographer to take a likeness on her death-bed. He obtained one remarkable for its exactitude, but it was, as was said, "horrible to witness," inasmuch as it represented her features as they were contracted in the agony of death. As Mlle. Sarah's object in having the photograph taken was to preserve a memorial of the deceased for her family and a few friends, she saw that it would not be possible to offer them anything so disagreeable to look at, and she accordingly employed a photographer of Paris, named Ghemar, to soften it down."
--The National Magazine (1858)

"...They photograph infants and dead people..." The Journal and Transactions of the Photographic Society of Great Britain (1859) One entry of many, in a list of the many subjects and uses of photography.

The Photographic News (1860) recommends that photography be employed in medical training, to take images of patients and corpses.

" Dr. Roulston, of Leeds, recommends that immediately upon a dead body being found, two or more photographs should be taken so that a perfect facsimile of the features, both in full and profile, should remain for the inspection of those who have lost friends or relatives, and who would by this means frequently be relieved from a state of agonizing suspense, when the putrefaction of the corpse no longer permitted of recognition."
-Photographic Notes (1858)

The Photographic News (1859) has a first person account of a photographer attempting to record an execution in Algeria.

Colors

For a more thorough look at this topic, see Virginia Mescher's article about how different colors show up in period photography and the pitfalls of attempting to 'read' dress colors. [Scroll down to "The Mystery of Wet Plate Photography"].  Below are a few interesting quote I've come across on the subject. The light or washed-out appearance of the color blue appears to be responsible for those seemingly iris-less Victorian portraits.

The Photographic News opened its July 6, 1860 edition with an article about how colors resolve in different development chemicals.

Other sources warn about how different colors photograph, to allow for planning of the composition and exposure time: 

"...a light colour, in a photographic point of view, is not always what is commonly considered a light colour; yellow is light, but yellows scarcely have any effect on the most sensitive plate, and the result is black; reds are very nearly as dark; but blue, even when deep in tone produces an effect almost identical with white. It being understood that yellow and red draperies develop darker and blues lighter than they really are, and that these three colours are components of all other colours, it is then easy to judge the effect of any compound colour; for instance, light green and purple produce medium tints, unless the yellow in the former and the red in the latter be in excess, in which cases the results will be dark."
--The ABC of Photography

 "unless the picture is painted purposely we cannot realize its beauties, solely in consequence of certain colours, such as bright red, yellow and green, which act as lights in a picture, always appearing dark in a photograph, and blue, on the contrary, presenting a light appearance "
--Photographic Notes (1858)

Costume Society of America: Historic Jamestowne, Day 6

We left Williamsburg early in the morning, hoping to make a brief visit to Jamestown before flying west.  Alas, an hour and a half was insufficient time for even an abbreviated visit.  Bypassing the living history area altogether, we barely had time to look through the two museums at the archaeological site and walk the shorter of the two path-circuits. 

Also, I very cleverly packed my camera, and failed to get any pictures of my own.

Costume Society of America: Williamsburg, Day 5

Saw several more excellent presentations this morning/afternoon, survived my own presentation, dined at Josiah Chowning's Tavern, and enjoyed a splendid musical interlude at the Rayleigh Tavern in the evening.  The five-piece ensemble (harpsichord, viola de gamba, violin/English guitar, flute and voice) performed an hour of 17th-18th century music by female composers, as well as a few pieces known-to-have-been-performed-by celebrated female musicians of the period.

Unfortunately, amidst the excitement, I neglected to bring my camera.

Edited to add:
That should read "to everything after lunch".  I actually did get some pictures of the morning's trade demonstrations, which included the apprentice weavers dying yarn, and a visit to the cooper's shop.

Madder and indigo dye pots behind the weavers' shop.

Costume Society of America: Williamsburg, Day 3-4

Conference sessions + ALL THE HISTORIC TRADES = A lovely, very busy, few days.

Spent a lot of time in this room, listening to all my favorite
living authors talk about their cool new research.

Walking past the Great Hopes plantation.
It's still closed for the season, but the sheep were out.

Also, it has a windmill.

The cabinetmakers' shop has some lovely furniture.
And an honest-to-god HARPSICORD MAKER.
And he was MAKING HARPSICORDS.

Costume Society of America: Williamsburg, Day 2

Another full day in Williamsburg.  I started with a tour of the textile artifact storage and conservation lab.  It is beautiful, roomy, and I am thoroughly jealous of the space. 

These flat storage drawers are great.

Afterwards, there was a visit to the Dewitt Wallace Decorative Arts Museum, which was everything I hoped it would be.  I especially enjoyed the special exhibition on printed fabrics, copious porcelain, dollhouses both gigantic and compact, and a fun gallery of keyboard instruments.  My favorite staging elements were the recordings of several of the instruments in use (playing contemporary pieces), and the video fashion show, with interpreters (cheekily!) modelling reproduction print garments. 

 

Then it was back to historic trades--today we got into the foundry, the James Geddy House, and the carpentry shop. 

Spinnet in the Geddy House.
I want a half-green room.

Wares in the foundary--today they were casting brass.

And then, we decided to live it up in style, with a carriage ride around the historic district.

Horses! Also, an open carriage.

In the afternoon/evening the conference programming started. There were some meet-and-greets, a keynote panel, and the opening of the marketplace (wherein, I may have acquired more books than was strictly advisable).

Costume Society of America: Williamsburg, Day 1

Guess who's on the road again?  I'm back on the east coast, this time for my first ever meeting of the Costume Society of America.  And it's in WILLIAMSBURG!

The historic trades tour was lead by the
knowledgeable and well-dressed apprentice tailor.

The master weaver at work on her 8-harness loom.

The wig makers' shop was fascinating and entertaining.

Like the swallows of Capestrano, all chintz and indienne
prints flock annually to the Governor's Mansion.

Scientific instruments in the Wythe house.
Check out the model solar system.

Civilian Symposium, Last Day: Gettysburg

The last day of Symposium flew by.  First off was Hal's discussion of a Texas store ledger--and the research he's done on the community surrounding it--which was exquisite.  I really hope he publishes when he's done transcribing and analyzing it.  The final lecture was Carolann discussing fabric printing technology.  It really helped me conceptualize visual signifies of 1830s vs. 1860s prints (picotage!), and the rainbow box for ombre prints slightly blew my mind.

Christ Lutheran Church, founded 1835;

Of course, the down note was the announcement that this will be the last Symposium.  I have thoroughly enjoyed attending it: to have met so many interesting researchers in my hobby, to have learned from them, and to have seen all the great originals shared by Carolann, Kay, and others.  I enjoyed dancing to Smash the Windows, and meeting all the people whose usernames I know from The Sewing Academy.  I liked getting to explore the towns which figure into so many of the primary sources I've read from the period--Harrisburg, Gettysburg, Baltimore, and Washington City.

Thank you, Carolann, for putting on this conference for so many years. I'm sorry I won't have the chance to do it again, but am grateful for the opportunity to have attended the last two.

Civilian Symposium, Day 3: Gettysburg

Classes! Originals! More classes! A ball!

The faculty strut their conference dresses and vests.

Last minute attempt at a cache peigne.
Rushing the hair accessories is better than rushing the dress.

[More ball pictures later, as most weren't taken on my camera.]

Highlights of the day included Cheyney's talk about slave society (most informative), John's talk on peddlers (most energetic), and Mr. Mescher's cravat (most magenta).  Honorable mentions to the final reel of the ball (most puns), and Paula's dress (most ruching).

Civilian Symposium, Day 2: Gettysburg

Workshop day!  Mine started with a walking tour of Lincoln's time in Gettysburg.  It was really windy

The late 1850s rail station. I probably should have
crossed the street to photograph it.

Next up was a class on trims from Carolann Schmidt.  We learned dagged tucks, reversing tucks, and talked fringe.

Studying petticoats for trim ideas.

I visited The Button Baron on my way down to the vendors' room. The shop is small (the front two parlors of a house), but completely full of fun things. Highly, highly recommended.  The vendors' room are also Most Perilous to the budget. Fair warning.

The vendor's room was on the edge of town--right near cemetery ridge.

In the evening, Annette Bethke gave the first talk of the conference, an hour-long overview of homespun dresses in the Confederacy. I love spreadsheets.  After that came my favorite part: the displays of original garments. There will be different ones out for each of the three days.  So many pretties!

Original garments on exhibit.

Civilian Symposium, Day 1: Gettysburg

Made it to Gettysburg today. Wandered around the downtown area for a while, including a stop by the David Wills house, where a certain president stayed before delivering a certain well-known 'few brief remarks.'

Yep, Lincoln slept here.

I also got to attend a special program at the battlefield interpretive center's cyclorama, which was very fun.  It was also appropriate, since I'm missing a conservation class to attend the symposium--there was a good hour of the conservation researcher discussing the construction, history, and restoration of the piece.  Then she gave us a guided tour of it.

Cyclorama at Gettysburg.  The perspective was fascinating.
And the rope on this well sort of stole the show.

It was a very up-close-and-personal tour.  I actually got to duck under the painting and see it from the back, where all the seams are visible (unfortunately, the lighting levels were not good for my camera).

But here's a view of the diorama, painting,
canopy, and roof, from below.

See the road?

This is me standing on that road.

Fun fact: the battle detritus in the foreground "diorama" area is donated reenacting gear; they wanted it to needed to look used and weathered.  Apparently, it moves around occasionally as new pieces are added or removed. Also, the plants are all fire-proof.