Mourning Fashionably c. 1865

Unidentified woman wearing mourning brooch and displaying framed image of
unidentified soldier, Library of Congress

Custom and social ritual dominated life in the 19th century in a way that we find often difficult to access and understand today.  There is no ritual that holds more fascination for us moderns, nor that still is surrounded by more remnants of old practices, than that of mourning.  I have written here about the rise of embalming and will soon get back to the services provided by undertakers, but now I'd like to spend a little time discussing some of the fruits of my research into the fashion of mourning in the Godey's Lady's Books of 1864 and 1865.

Unidentified girl in mourning dress holding framed photograph of her father as a cavalryman
with sword and Hardee hat, Library of Congress

As Drew Gilpin Faust notes in her amazing book This Republic of Suffering, 18 percent of white males of military age in the South died in the war.  The death rate in the North was one-third that of the South, but death and loss were omnipresent parts of daily life throughout the country.  Due to scarcity or the overwhelming rush of death, some mourning practices may not have been followed, but it was nonetheless important for people, regardless of economic resources, to show their grief through dress.  The ritualized function of mourning dress was a visible representation of their loss as well as a cathartic process.

Mourning card, In memory of Abraham Lincoln, Library of Congress

In 1875, Harper's Bazar published "The Bazar Book of Decorum: The Care of the Person, Manners, Etiquette, and Ceremonials."  In it, they say this about mourning customs:

We have shown the good taste in America of abolishing the hired mutes, the emblazonment of the emblematic horrors of death, the skull and cross-bones on the panels of the hearse, and all that "luxury of woe" so remarkable in English funerals.  We have borrowed from the French and Germans the tasteful practice of the use of flowers.  This, however, with our usual tendency to excess, has become immoderate, and there is often an ostentatious exhibition of a profusion of crowns, crosses, hearts, and stars of the rarest and most costly products of the hothouse, which seem rather an indication of the exultation of wealth than of a regret for the dead or sympathy with the living. 

The notice of a death and the invitation to the funeral are conveyed through the newspapers to the friends and acquaintances generally, but notes are sent to those who are to serve as pallbearers.  In this country ladies occasionally, but in England never, follow the procession, and the female members of the family not seldom make their appearance in company with the male chief mourners.

It is now beginning to be the custom in America, as in England, to send to relatives and friends cards edged deeply with black, upon which is printed or engraved the name of the deceased, with his age, place, and date of his death.  These are acknowledged by letters of condolence sent immediately, and visits of ceremony after a proper time.  With a singular preference of devotion to fashion, ladies, whatever may be the control of their emotions and disposition to perform their religious duties, abstain from going to church before, and for several days after the funeral.  The card, and the letter-paper and envelope edged with black are used during the whole period of mourning. 

Mourning should be worn, as we are told by a professed authority,

"For a husband or wife, from one to two years, though some widows retain their mourning for life.
"For a parent or grandparent, from six months to a year.
"For children above ten years of age, from six months to a year; for those below that age, from three to six months; and for an infant, six or seven weeks.
"For brothers and sisters, six to eight months.
"For uncles and aunts, three to six months.
"For cousins, or uncles or aunts related by marriage, from six weeks to three months.
"For more distant relatives or friends, from three weeks to as many months, according to the degree of intimacy." 

The servants are ordinarily put in mourning by those who can afford it on the death of an important member of the family.  The nurse only in the case of the death of young children.

It is interesting to note the gradations of morning based on the age of children who die.  The mourning period for women who lose a husband was typically much longer than a man who loses a wife.  And a widow, as Faust describes, "mourned for two and a half years, moving through prescribed stages and accoutrements of heavy, full, and half mourning, with gradually loosening requirements of dress and deportment."

Arlington, Va., Capt. Nevins and officers in front of headquarters, Fort Whipple;
mourning crepe drawn over doors and windows, June 1865, Library of Congress

Heavy or full mourning was the first stage of grief for a widow and could extend for up to a year.  During this period, clothes were to be all black without any color showing whatsoever, not even the white of cuffs, fichu or collars.  Materials were to be dull rather than shiny and accessories of any kind were normally discouraged.  After the first phase, a widow entered half-, light or second mourning, where somber colors like grays and lilacs could be worn and gradually more trimming and accessories.

Unidentified soldier in Union uniform with saber and revolver
in locket with chain of braided hair, Library of Congress

Obverse, Library of Congress

Godey's Lady's Book of 1864 and 1865 seems in many cases almost reluctant to discuss mourning fashions, as if the grimness of the war had no place in a fashion magazine.  But there was definitely a demand for more information on the fashion of mourning and Godey's responded to it.  In August of 1864 in the "Chitchat" from the Fashion Editor, they write:

Information and suggestions on mourning dress and materials are desired by our readers, and we are pleased to give them the benefit of a letter on the subject from Mme. Demorest.

Bombazine is used now comparatively little for dresses.  Queen’s cloth, Yamise, Hernietta cloth, Barathea, all wool delaines, and merinos, are much preferred, as being more durable, handsomer, and still lusterless.  Alpaca is worn where trimming on the skirt is allowable; of course in deep mourning no trimming is used.

 For the heat of summer, such as we are now experiencing, black French grenadine, crape Maretz, and crape Eugene are the principal materials. 

Very elegant shawls are made of silk grenadine, with a fold a quarter of a yard wide of crape or silk.  Circulars are often made of the same material, trimmed with a fold of the same.  For fall, a fine black Thibet shawl edged with a wide fold of crape or silk is the most desirable. 

In bonnets, bombazine, crape Maretz, silk covered with crape, and all crape with crape ruche inside, are the only styles admissible for deep mourning. 

There is no dress that requires more discretion in the choice and arrangement than that called second mourning, but it is one of the most elegant, when well selected. 

For half mourning at this season of the year, Mme. Demorest is making black grenadine richly trimmed with flutings and silk, or ribbon quilled and laid on in various designs, while an endless variety of chene grenadines, lustrines, crapes, and Mozambiques, in black, gray, and lavender, give ample scope for a display of taste in all the gradations of mourning dress. 

Some very beautiful designs in shawls have been exhibited this summer, in black grenadine with a border composed of white and violet stripes edged with a heavy silk fringe. 

Basquines and circulars made in lusterless silk, and without trimming, are very much worn in light mourning. 

For a half mourning bonnet black tulle puffed and trimmed with violets; or, for full dress, white crape covered with black lace and trimmed with violet flowers and violet strings; the latter is very much admired as a reception bonnet. 

One of the most elegant bonnets we have seen this season was composed of a new material having the appearance of fine Tarleton and velvet woven together to form small diamonds; the bonnet was covered plain with the material, while a simple, trailing vine of black ivy leaves, veined with white, fell over the crown and cape inside, white and black flowers and white strings.

In February 1864, the "Chitchat" produces this interesting anecdote on mourning accessories:

A style for which we have no word of praise, but is much worn, is a string or double string of large black beads round the neck, worn over the paletôt or wrap.  They are graduated in size, the largest being the size of a very large marble, and they are of jet, glass, or imitation jet.  They are particularly fancied in mourning.

The soldier's memorial, Currier & Ives, Library of Congress

Bonnets were often featured that were suitable for later stages of mourning, although, like dresses, there were never (during the period of 1864-1865) features of a dress for full mourning.  Quite simply, to describe fashions of full mourning would have been in contradiction of its purpose.  There should be no fashion to intense grief.

In May 1864, they include this bonnet.

Godey's, May 1864, Providence Athenaeum

Their description:  Bonnet for second mourning.  The front of the bonnet is of black silk.  The crown is of a light lavender silk, covered with a network of black chenille. The bow on top of the bonnet is of lavender silk, edged with black velvet, and the ends embroidered and trimmed with black chenille.  The inside trimming is composed of white and black lace, and loops of lavender-colored ribbon.

In the same issue, they include this evening dress, the second figure from the left.

Godey's, May 1864, Providence Athenaeum

Their description:  Evening dress for second mourning.  Lavender-colored silk dress, with three crepe puffs on the edge of the skirt.  The over-skirt is a network of fine black chenille, finished with a very rich chenille fringe, which just reaches the crepe puffings on the skirt.  The corsage is low, and pointed both back and front.  The fichu is formed of white and black lace and lavender ribbons.  The coiffure is of black velvet and lavender daisies.

In the March 1865 "Chitchat", they write the following:

Dresses of black tulle, puffed, are very fashionable for persons in light mourning, or even those wearing gay colors.  They are also convenient and pretty for a watering place.  Among the many fanciful ways of trimming are the following:  Studding them all over with steel or white satin beads, or else applying silver leaves at intervals over the puffs.  Others, again, are composed of several skirts ornamented with white floss silk, darned in to represent blonde patterns. 

Fancy pins and arrows of all descriptions are worn in the hair, and some very pretty ones, formed of crochet work and jet, have appeared for mourning.

In July 1865, they include the following in their color fashion plate.

Godey's, July 1865, Providence Athenaeum

Their description:  Second-mourning costume.  Dress of black silk edged by a narrow ruffle and trimmed with two rows of lace and bead insertion.  The over-dress is of spotted black lace, worked with beads, and caught up and ornamented by large jet beads.  The corsage is low, and finished at the waist by a belt of black velvet edged with jet, and finished with a jet clasp.  The sleeves are short, and formed of a full puff of lace over black silk, and ornamented by loops of black velvet.  The neck is covered by a fancy fichu of black lace, trimmed with black velvet and beads.  Leghorn hat, trimmed with narrow black velvet, steel beads, and short plumes.

And in November 1865, the following, the first dress on the left.

Godey's, November 1865, Providence Athenaeum

Their description:  Costume for light mourning.  Dress of rich black silk, trimmed with thick cord and violet silk.  The corsage is made with long coat-tails, edged with cord, and turned over with violet silk.  The front of the corsage is of violet silk, arranged to simulate a vest.  The edge of the skirt is trimmed with thick cord, and every breadth is cut up and turned back with revers, the space being filled in by violet silk edged with a fluted ruffle.  The bonnet is of black silk, covered with figured net, and trimmed with loops of violet velvet.  The inside trimming consists of a blonde ruching and a tuft of velvet.

Mourning in the period was not completely humorless, as this joke from the September 1864 issue attests.

CUSTOMER. “A slight mourning hat-band, if you please.”
HATTER. “What relation, sir?”
CUSTOMER. “Wife’s uncle.”
HATTER. “Favorite uncle, sir?”
CUSTOMER. “Um—well, yes.”
HATTER. “May I ask, sir, are you mentioned in the will?”
CUSTOMER. “No such luck.”
HATTER (to his assistant, briskly)—“Couple o’ inches, John!”

Thanks as always is due to the wonderful Providence Athenaeum. Please visit their website and find out what a worthy organization this is!

Fall Garden

I was lucky enough late this summer to come by a plot in a local community garden here in Providence.  Who knew September had so many flowers?  The garden is beautiful.  Here are some pics from this morning.

A beautiful giant spray of asters.

Some marigolds and tomatoes.

More marigolds.

Nasturtiams.

Morning glories and orange nasturtiams.

And my fall crops, lettuce, swiss chard, kale and carrots.

And here are a couple pics of Clovis working hard in the garden this August.

19th Century Falsies

This Scarlett O'Hara thing has got me tuned into hair.  I've been going through the Godey's Lady's Books for 1864 and 1865 (thanks to the always generous and amazing Providence Athenaeum) and have picked up a few interesting items about hairstyles during the period.

In January 1865, the Lady's Book reports:  "The latest folly in Paris is the coloring of the hair red.  We think this fashion not likely to be followed in this country."  Paris, of course, was the source of all things fashion and the focal point of the Parisian fashion world was the red-haired Empress Eugénie, the Spanish-born grandee who married Napoleon III and reigned as Empress of the French from 1853-1870.

The ever-fashionable Eugénie from a portrait by Winterhalter, 1857.

In April 1865, the Lady's Book would print a detailed report of the process of hair-dyeing in use in the French capital to achieve the desired shade (and its cost).

As an aside, in February 1865, the Lady's Book included this recipe for an astringent hair wash:  two drachms of Borax, two ounces spirits of rosemary, and fourteen ounces rosemary water.

A hairstyle from the same issue was described thus:  "The hair is rolled, puffed and curled.  The ornaments are white flowers with frosted leaves and a very brilliant humming-bird."  This style imitates a coiffure by the French Empress reported in December 1864: 

The dress was of pearl gray tulle; three skirts, one over the other, formed of puffs running lengthwise.  The upper skirt was looped up with two bouquets of velvet nasturtiams, with a diamond hummingbird in the centre of each.  A bouquet of the same flowers, with velvet loops of a darker shade, in the centre of the forehead, and a small bouquet of the same at the back.  A band of diamonds was used to connect the bouquets, and a diamond bird was nestling in both.

In March 1865, the Book reports:

For young ladies there are many graceful little coiffures, such, for instance, as the Eugénie.  This is formed of a tuft of roses and forget-me-nots for the centre of the head, another for the back, from which falls a garland of rosebuds seemingly dripping with dew.  Most of the coiffures are composed of separate tufts or branches, or else flexible garlands, which can be twined in with puffs and curls to great advantage.

"Twined in with puffs and curls"?  Where did these women get all this hair?  Of course, many women never cut their hair and would have much to work with, but the reality of the time was that if you wanted to be fashionable, you needed some fake hair, and apparently the more the better.

During the spring of 1865, several issues included features on false hair pieces.

From March, this elaborate hairstyle is described thus:  "Ball coiffure.  The hair is rolled very high in front, and arranged in a waterfall at the back, and an Alexandra curl on the left side."  Tucked in the lower right corner is Figure 11:  "A waved bow of hair, to be worn over the brow."  Another description of a hair style admits:  "Most of these fancy arrangements are false; so also are the coronet plaits now so much in vogue."

Other examples.

Figure 12:  Crimped bow of hair, with a bunch of curls in the centre.  And Figure 14:  False front, suitable for a married lady.  The curls hang behind the ear.

Figure 1:  False plaits of hair, the knot to be place just over the brow.  [This presumably was the piece used to create the coronet plait, where the braid is wrapped around the top of the head like a crown.]  Figure 2:  A waved waterfall, with ball comb and fancy clasp of jet and gold.  Figure 3:  A new style of hair bow, very pretty for a ball coiffure.  Figure 4:  Waterfall bow caught with a fancy clasp comb.

Repeatedly, the Lady's Book advises its readers that "Any application for these articles must be addressed to the Fashion Editor, and not to Mrs. Hale, who is the Literary Editor."  In addition to writing "Mary Had a Little Lamb" and helping to create Thanksgiving, Mrs. Hale must have been plagued with the indignity of a flood of requests for false hair pieces.

Advertisements for hair crimpers were also common in the magazine, in spite of the Fashion Editor's admonition against their use. 

"What matchless beauty lingers on every glossy wave and riplet of her lovely hair."

She-Crab Soup

So I went down to Charleston, South Carolina, last weekend for the Southern Independent Booksellers Assocation (SIBA) Conference.  What an amazing place Charleston is!  I last visited when I was thirteen and it was wonderful to revisit many of the house museums I saw then (yes, even back then I couldn't get enough of house museums!).  I have some great images from a few of them, but first I'd like to talk about some of the amazing people I met.

Almost on arrival, I was embraced by a group of amazing and gracious Southern women, all of them amazing writers.  First, was Patti Callahan Henry, a New York Times bestselling novelist with eight books under her belt.  Her newest one, Coming Up For Air, is on sale now.  I heard her read from it and it is beautiful!  Be sure to pick it up--I got a copy and can't wait to read it!

Patti introduced me to Mary Alice Monroe, another bestselling Southern writer with a book out, The Butterfly's Daughter.  I also got a copy of it and can't wait to read it!

Then the spiritual and lovely Karen Spears Zacharias, whose latest book, Will Jesus Buy Me a Double-Wide?, takes a hard look at "prosperity gospel" and faith.  I am reading another book by her, Where's Your Jesus Now?, and am so impressed by her clear-eyed journalistic style and explication of faith in a time of great fear.

I was quickly taken under the wing of the amazing and dynamic poet laureate of South Carolina, Marjory Wentworth.  Wow!  I can't wait to read a book she co-wrote with Juan Mendez, Taking a Stand: The Evolution of Human Rights.  

And through Marjory I had the great pleasure of meeting Ellie Maas Davis, who wrote the text for a beautiful book of photographs of Folly Island, South Carolina, called The Humours of Folly.  What a great book!

Other noteworthy books from the conference (other than my own!) were Jonathan O'Dell's beautiful and haunting book, The Healing, set amidst black midwives in Mississippi in the 1840's and 1930's.  The book is due out in February and is sure to be a big hit.  It is beautiful!

Equally compelling was Neil Abramson's book Unsaid, which explores the unspoken relationships between humans and animals as well as between humans.  This book is on sale now.

Other noteworthy encounters included novelist Dorothea Benton Frank (new book is Folly Beach), funny woman Shellie Tomlinson (new book Sue Ellen's Girl Ain't Fat, She Just Weighs Heavy), the amazing, AMAZING cook and cookbook author Nathalie Dupree (new cookbook, Southern Biscuits) and exquisite tart maker Holly Herrick (new cookbook, Tart Love), among many others.  What a whirlwind!

And in between all the elbow-rubbing and chit-chat, I was able to visit a few historic homes (four, actually) and see some sites of Charleston.

In Charleston, I found many beautiful "single houses", the local architectural vernacular...

palmetto trees in all guises....

beautiful churches virtually everywhere you turn, Charleston is known as the "Holy City"....

a surprising amount of art deco architecture (the Riviera Theater)....

beautiful avenues....

Confederate memorials....

very rich Southern food (this is an Eggs Benedict made with a fried green tomato on the bottom, a delicious crabcake and then the poached egg with hollandaise and a side of cheese grits...gorgeous...at 82 Queen)...

more churches....

and beautiful house museums...this is my favorite, the Joseph Manigault House (pronounced man-ee-go....?).  Unlike many of the house museums, they welcomed photography inside and out...

As they explained, glassware in the late 18th century was so expensive and difficult to replace, you would typically have one wine glass for dinner and simply rinse it in a tumbler of water between courses.  Gorgeous.

And this mirror is the most extraordinary thing I saw.  Regency, probably around 1800, with heavily stylized gilt palm trees around the glass.  Where can I get one???

And to my surprise, a memorial to the South Carolina poet, Henry Timrod, in Washington Square in the heart of Charleston (right off of Broad and Meeting Streets).  I used an excerpt from a Timrod poem in my novel, The Rebel Wife.  The poem was written in 1866 and called "Addressed to the Old Year".

Art thou not glad to close 

Thy wearied eyes, O saddest child of Time,

Eyes which have looked on every mortal crime,

And swept the piteous round of mortal woes?

Local Curiosities II

I just got back from Charleston where I attended the amazing Southern Independent Booksellers Association trade show.  It was wonderful and I'm going to talk more about that in the very near future.  But right now, I wanted to post a photograph of an oil painting I found in an antique mall in the area.  Very strange....it's unclear who owns that middle arm between them (not to mention the fact that they have the faces of old men)....

Scarlett's Hair

Dear Windies,

This one is for you.  I will post more comparisons as I find them.

I have been going through the Godey's Lady's Books of 1864 and 1865, looking for interesting details on mourning during and immediately after the Civil War.  I could not help but notice some striking similarities of style and design in certain of the images from the Godey's of that time and the 1939 movie version of Gone With the Wind.  So here is one of them, Scarlett O'Hara's hair in the scene which would have taken place in late 1865, after the war was over.  I have to say, the costuming in the movie is amazing.  Kudos to Walter Plunkett--for more on him, check the web exhibition on his work at the Harry Ransom Center website.

Scene from Gone With the Wind, Turner Entertainment

Scene from Gone With the Wind, Turner Entertainment

Scene from Gone With the Wind, Turner Entertainment

This is an image from the April 1864 Godey's Lady's Book for a "Coiffure for a Young Lady."  Look familiar?

Thank you to the Providence Athenaeum for access to their amazing collection of Godey's!!