ArteFACTS: The Mini Christmas Carol

By Lisa Terech, Community Engagement

Everyone has their own holiday traditions – for some, it’s making holiday treats, for others, it might be putting up seasonal decorations on a certain day, or by a certain time.

Me, I try to read A Christmas Carol, by Charles Dickens, every year. The short novella makes for the perfect seasonal read at some point in December. Because of this, it is understandable why this particular artefact caught my attention.

In the Oshawa Museum collection is this book, A Christmas Carol.  What makes this artefact unique is its size – it measures 5.5cm by 4cm.

Miniature book: A Christmas Carol; from the Oshawa Museum Collection (X998.91.1)

According to the Miniature Book Society, there are several reasons for producing miniature books, although convenience seems to be a popular reason. Mini books could be easily carried in waistcoats or in reticules. The MBS asserts the standard for a miniature book “is no more than three inches in height, width, or thickness,” and by this measure, our book can be classified as ‘Miniature.’

Our mini was published in 1904 and contains the text of Charles Dickens’ classic ghost story of Ebeneezer Scrooge and how his entire life was changed one Christmas Eve through visiting his past, present, and future. The book is 350 pages, printed on India paper (or bible paper) and contains seven illustrations that appear in the original publication.

A Christmas Carol was written in 1843.  It was Dickens’ novella that helped Americans embrace the Christmas holiday by associating children and good will with the holiday, in essence changing Christmas from the rowdy city celebrations to private family matters.  He wrote the story after a visit to a Ragged School.  Dickens hoped the story would raise the profile of London’s poor and generate some much needed cash for him. He finished the manuscript in six weeks, and within five days, the entire first printing (6000 copies) sold out.

Marley’s Ghost. Ebenezer Scrooge visited by a ghost, illustration by John Leech. From the British Museum collection (public domain)

In today’s culture, the time for ghosts and spirits is long past, with Halloween taking place almost two months ago, but in the Victorian era, Christmas was the time to tell ghost stories, and perhaps Dickens’ tale is one of the most prolific and enduring. The story opens as follows,

“Marley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it: and Scrooge’s name was good upon ‘Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail.”

Dickens let his reader know right off the bat what tone his story was going to take, and the reader was immediately drawn in, wanting to know more about Marley and why the fact of his certain death was so important. The ghostly story unfolds, and readers follow Scrooge along on his journey of self reflection and change.

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References

https://mbs.org/

https://www.theguardian.com/books/2019/jan/03/why-we-are-fascinated-by-miniature-books

Pteridomania: The Victorian Craze for Ferns

By Kes Murray, Registrar

Walking through our Henry House is like walking back into the mid-1800s. From the furniture, to the decorations, our Henry House is a good example of a Victorian home, right down to the tiniest detail. Walking through, you may notice that a lot of the decorations and motifs are floral. This is because the Victorians loved their plants! During the Victorian era, Botany became one of the most popular scientific fields within English society, due in part to colonialization and expansion of European countries into the Americas, Asia, Oceania, and Africa, and also from the scientific endeavour to collect and classify the natural world.

When thinking of the Victorian era and flowers, you may think of a few things, such as the Victorian language of flower dictionaries that grew in popularity, the emphasis on gardening and landscaping during this period, the popular pastime of collecting and pressing flowers, or the boom in greenhouses and hothouses. No aspect of life was exempt from the craze of flowers.

However, one unique plant captured this Victorian plant craze to a new extreme. This plant was that of the fern. This craze was so intense that it created its own name, called Pteridomania, meaning fern fever.

Parlour, Henry House, with a fern in the corner.

How did this start?

Ferns have a long mysterious history before the Victorian era. It has long been used for medicinal purposes, commonly used for treating asthma, hair loss, kidney complaints, and worms. However, the real mystery was that of how ferns reproduced. None knew how they grew, thus myths spread that ferns has magical properties, and eating the fern seed could make one invisible.  

Throughout the 1700s, minor scientific developments happened in the study of ferns. The largest challenge to this study was the survival rate. England only had about fifty native species, but many botanist wanted the exotic ferns. Transporting ferns from Australia, for example, was extremely difficult, as ferns would not survive the harsh conditions of the trip. Just about 2% of ferns survived the journey.

However, this all changed with the invention of the Wardian case. In 1829, Nathaniel Bagshaw Ward, a doctor and an amateur naturalist, invented the Wardian case. Ward had a keen interest in ferns but faced difficulties when growing them in foggy, damp, and polluted London, England. One night in 1829, he placed the chrysalis of a moth in a sealed glass bottle with moss at the bottom. To his surprise, he noticed some days later that a seedling fern had started growing inside. We can then think of the Wardian case as a precursor to that of our modern terrariums. They acted as a protective case and also as a microenvironment.

Dining Room, Henry House, with fern in the window.

Together, Ward and friend George Loddiges, also a botanist, began experimenting with larger Wardian cases. By 1831, they had grown thirty fern species in the Wardian cases. Overall, the Wardian case allowed plants from all over the world to be brought to England and survive.

Along with new inventions, literature added to this growing fern craze. In 1840, Edward Newman wrote A History of British Ferns. In this book, Newman praised Ward for his work and wrote that only those with “good taste” would attempt growing ferns. This right here started the fern craze.

People began collecting and hunting for ferns. Different species came from all over the world. Greenhouses and ferneries were created, where one could walk through and enjoy different fern species, along with other plants, flowers, shrubs, and trees. And of course, fern motifs could be found on everything from buildings, to ceramics, to clothing.

Portrait from O’Brien and Stedham, unknown women, AX010.45.1. Hard to see, but, lace contains fern motifs.

Coat, with embroidery on back resembling fern fronds, 970.47.5

Our own collection here at the museum contains some of this fern craze. I was delighted when I found some clothing with fern motifs and Victorian era photography with individuals wearing clothing with fern themes.

However, this fern craze came with some costs. As the rage for ferns continued, prices increased. It became more difficult to find new species of ferns, and fern hunters would put themselves into dangerous situations just to find that new fern, like climbing mountains or venturing into unknown environments. Many injuries happened. Soon, some ferns, like the Killarney fern, became nearly extinct due to this craze.

Oshawa souvenir, with fern decoration, made by Oshawa’s Smith Potteries (020.7.1)

Pteridomania ended in the early 1900s. But, if you come to our Henry House, you can still see the fern craze in action.

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Sources consulted:

Books

• Bailey, M. & Bailey, A. (2021). The Hidden Histories of House Plants. Hardie Grant Books.
• Favretti, R. J., & Favretti, J. P. (1997). Landscapes and gardens for historic buildings: A handbook for reproducing and creating authentic landscape settings. Rowman Altamira.
• Shteir, A. B. (1997). Gender and” modern” botany in Victorian England. Osiris, 12, 29-38.
• Whittingham, S. (2009). The Victorian Fern Craze. Shire.

Websites

• Atlas Obscura: https://www.atlasobscura.com/articles/how-the-victorian-fern-hunting-craze-led-to-adventure-romance-and-crime
• Collections, V&A Museum: https://collections.vam.ac.uk/search/?q=fern&page=1&page_size=15
• English Heritage, Victorians: Parks and Gardens: https://www.english-heritage.org.uk/learn/story-of-england/victorian/victorians-landscape/
• Historic UK, Pteridomania – Fern Madness: https://www.historic-uk.com/CultureUK/Pteridomania-Fern-Madness/
• The Met, Vase with gold fern decoration: https://www.metmuseum.org/art/collection/search/770979?ft=fern&offset=0&rpp=40&pos=9
• Victorian Era, Victorian Botany During The 19th Century: https://victorian-era.org/victorian-era-botany.html

Dressing for Display

By Melissa Cole, Curator

Mounting a historic dress can be challenging, even for the experienced dress curators and conservators.  Inappropriate handling is one of the main causes of damage to museum objects.  Handling should be kept to a minimum; the risk of damage occurring can be reduced by good preparation before, during, and after the historic dress has been mounted.

The condition and structure of the historic dress should be carefully analyzed to determine if it has any structural weaknesses, previous damage, or fragile surfaces.  The condition of the dress will inform how to safely display the piece, or even if it can be displayed at all.  Ensure to consider its stability against environmental conditions and mounts while on exhibit.

A properly dressed mannequin is important for both the visitor experience at a museum and the artefact/garment itself.   The correct style of mount should be chosen, whether it is two dimensional or three dimensional.  For our display at the Oshawa Museum, we have chosen three dimensional mounts using mannequins in various shapes and sizes to create the correct silhouette.  It is important to remember when working with mannequins and dressing historic garments that it is not the same as dressing a store mannequin.  At a store, the mannequin is automatically the correct silhouette and the garment is new and can withstand the stress and handling.

When mounting historic garments, a mannequin should be chosen that is significantly smaller than the garment.  First, carefully measure the garment and ensure to take the time to measure properly.  Measure the entire bodice of a garment, not just straight across the chest.  Carefully measure all the way across the inside of the garment, following the curve of any space created for the bust.

Areas to measure on the mannequin and the historic dress.  The second photo indicates the measurement of the entire bodice, not just straight across.

 

Once the proper mannequin has been selected, it is time to start building out the mannequin so the historic dress is well supported throughout.  Supplies to build out mannequins include white cotton sheet, pantyhose, quilt batting, cotton twill tape, flexible fabric measuring tape, scissors, and straight pins.  A well-dressed mannequin should go unnoticed by visitors.  This means the visitor will focus on the historic dress itself and not on how it is displayed.  A poorly mounted mannequin can distract the visitor from focusing on the garment and its story.

When simply placed on a mannequin, this 1860s dress is neither supported nor provides a true representation of its silhouette.

 

The final stage is to ensure the proper silhouette is created.  This primarily comes into consideration with women’s and children’s clothing during certain periods.   Through the addition of appropriate under structure, the garment will be fully supported.  This is completed through the use of petticoats (antique or reproduction) from different time periods, for example, small pillows for bustles, and fabric tulle or netting can be used to create a 1950s crinoline or a 1830s full skirt.

By using petticoats to fill out the skirt and acid free tissue paper to stuff the sleeves, the garment presents a truer illustration of 1860s fashion.

 

Be sure to watch our social media channels for a glimpse behind the scenes in the upcoming weeks as we prepare for our upcoming exhibition, The Vintage Catwalk!

Getting Dressed, the Victorian Way!

By Jill Passmore, Visitor Experience Co-ordonator

We recently hosted some grade 2/3 students from a local school to participate in our Day in the Life of a Victorian Child program. This allows kids to experience some of the chores and learn some of the rules that applied to kids in the Victorian Era. This time we were able to change up the program with the implementation of three new activities.

Patty lacing Jill into the corset

Now that we have our loom in the Henry house kitchen set up, the students were able to see how Lurenda and the girls turned fleece into yarn and then yarn into cloth. They also had an imaginary $20 to create an outfit from our reproduction 1901 Eaton’s catalogue and saw what it took to dress a Victorian lady.

Pettycoat #2 being tied

Our in-house Costumer was on hand to dress me up in ten different layers of basic clothing – stockings, knickers, chemise, corset, corset cover, petticoat, overskirt, bustle, undersleeves and bodice and skit. If I were getting dressed to go out in the winter weather, there would have been more layers! I had so much fun doing this. It is definitely something we will be incorporating into more programs!

Jill is ready in her Victorian finest

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For more information about educational programs at the Oshawa Museum, please check out our Education Catalogue, or give us a call at the Museum (905-436-7624 x 106)!

Student Museum Musings: Making Ice Cream!

By Karen A., Summer Student

I scream, you scream, we all scream for ice cream! Who doesn’t love ice cream? That’s a silly question, since I’m pretty sure everyone enjoys some flavour of ice cream.  And since July is National Ice Cream Month, as recognized by The International Ice Cream Association, the museum has dusted off the ice cream maker in prep for Grandpa Henry’s picnic which features old fashioned ice cream making (and taste testing)!

The origins of ice cream date back to the second century B.C.E. although no specific date can be determined for when this tasty treat was invented. It is known that Alexander the Great enjoyed ice and snow flavoured with honey and nectar. Likewise, Roman Emperor Nero Claudius Caesar sent runners into the mountains to gather snow which he then flavoured with fruits and juice. England started making ice cream during the 16^th century, along with the Italians and French. But it wasn’t until the mid-17^th century that ice cream became available to the general public because of its expensive cost.

In the Victorian period ice cream was made by hand. With the use of wooden buckets which had hand cranks attached, the mixture was then combined together and frozen. It was difficult however as the Victorians didn’t have access to electric freezers or ice cream machines. A lot of the ice used to make the ice cream and to keep it cold, was collected from rivers and ponds in the winter time which was then stored in ice houses.

Lauren & Karen using our Ice Cream maker!

At the museum we now have our own hand crank ice cream maker; fortunately it also comes with a motor attached so we are not stuck hand cranking all the ice cream. This ice cream maker allows us to show visitors how Victorians hand cranked their ice cream, but also lets us make enough ice cream for everyone without getting tired!

Here are some recipes on how to make Victorian ice cream;

Lemon Fig Ice Cream
1 c. whipping cream
1 c. milk
1 egg, well beaten
Few grains salt
¾ c. sugar
1 c. chopped preserved figs, and juice
Juice 2 lemons

Combine eggs, sugar, salt, figs and juice, lemon juice, and milk. Pour into freezer. Partially freeze. Carefully fold in whipped cream. Continue freezing until firm. 8 servings.

 

Lemon Ice
2 c. water
1 c. sugar
Few grains salt
6 tbsp. lemon juice

Combine water, sugar, and salt. Heat to boiling. Boil 5 minutes. Cool. Add lemon juice. Freeze. 4 servings.

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Sources

http://www.idfa.org/news-views/media-kits/ice-cream/the-history-of-ice-cream

http://www.english-heritage.org.uk/visit/pick-of-season/how-to-make-victorian-ice-cream/