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Home , 1750s, 1770s, 18th century, Banyan (clothing), Bedgown, Bodice

FFFIRST ---F-FFFLOOR BBBEDCHAMBER 1.1.1. Lady wearing a de chambre, c. , antique , reproduction of extant item in a private collection; boudoir reconstructed of antique linen and , after at her Tambour Frame, by François-Hubert Drouais, 1763-4 (Collection of the National Gallery, , accession #NG6440); shift styled after period pieces; white ; reproduction tan kid leather, buckled high-heeled . Silk workbag (on chair), reproduction of item in the collection of Colonial Williamsburg (accession #1960-730).

Before dressing in more fitted for her daily routine, an upper-class woman might don a dressing or peignoir. This example is of fine quality linen, loose and unrestricting, with a shaped . Scallop-edged, gathered are set along the front, hem and arm openings of the robe, and form a double collar at the neckline. A of white linen and blonde ties under the chin with lace ‘kissing strings’ and silk ribbons. A silk-covered workbag, embroidered with metallic laces and bullion, is a stylish mode of carrying sewing notions and small projects.

2.2.2. “Pandora” doll and , c. 1765 18th doll and wardrobe, handmade/sewn, adapted from designs and extant items in various collections.

During the , was the unquestioned leader of the fashion world. Along with first-hand descriptions from travelers, news from personal correspondence to family and friends, and magazines, the dissemination of France’s seasonal was provided in a three-dimensional manner by the use of fashion dolls, poupées de mode, or “pandoras.” These dolls, dressed as adult women, and complete with appropriate seasonal wardrobes, showcased the latest fashions coming from . Mantuamakers () would send to France or for a fashion doll, complete with a collection of the most up-to-date styles, to be displayed in their shops. Eager

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customers could then peruse the newest styles – in miniature – GGGREAT HHHALL and have their favorites made up for them. 5.5.5. Lady’s riding habit, c. Green riding habit with and passementarie trim, 3.3.3. Child’s robe, midmid----18th18th century adapted from Patterns of Fashion 1: 1660-1860 by Janet Arnold. The toddler in the bedroom wears a long baby opening in the front, made in -woven linen, with a collar and cuffed For riding or travelling, a lady might choose to dress in a tailored , trimmed in gold silk. Robe styled after existing examples riding habit. These practical outfits were popular for women of in various collections. White underclothes, hand-knit the gentry in colonial America and the aristocracy in , stockings and mitts, and a dark green velvet pudding cap and many portraits were made of fashionable equestriennes. are the accessories. Pudding cap is reproduced from a piece in Some ensembles were rather austere; some were elaborate and the collection of Colonial Williamsburg (accession # 1952-55). trimmed with ornate gold or braids and laces. In this outfit, the of hunter green wool has a fitted and Pudding were worn by young children as they learned how flared, pleated peplum , and is quite similar to a man’s to walk and navigate the house without falling down and jacket of the period. The jacket includes stylish features of bumping their heads. Padded with materials like wool, revers, collar and cuffs made in deep green velvet with matte horsehair, or straw, they could be made plain or fancy. The gold passementarie trim and bright gold . A matching name “pudding cap” comes from the cap’s resemblance to a green wool skirt completes the ‘habit.’ Like her male traditional pudding mold. counterparts, the lady also wears a cocked , edged with antique metallic gold lace, and under the jacket would wear a 4.4.4. Gentleman in a (), last quarter 18th ‘habit ’ of white linen with a neck . century Banyan, cotton with a block-print design, 6.6.6. Gentleman’s , 17751775----17901790 construction is a reproduction of an extant garment in the Cloak of tan wool , based on a cloak in the collection collection of the Chester County Historical (accession of Colonial Williamsburg (accession #G1956-213; patterned in #1990.500 [CLM 208], patterned in Fitting & Proper by Sharon Close-Up by Linda Baumgarten); wool cocked hat. Ann Burnston). Brown leather mules, clocked stockings with leather , white linen shirt and drawers, green An alternative to the for men, were popular , styled after period examples. outerwear for both men and women. Thick wool fabric that had been “fulled”—processed to thicken the and mat them The loose, unfitted design of the banyan had been known since together—was typically used for such outerwear, both helping to the . It became popular in European countries, add warmth and water-resistance to the finished garment, and including France, England and the Netherlands, since Dutch making construction easier, as fulled wool will hold a cut edge traders had access to the early Japanese trade. They soon without fraying, eliminating the need to finish the edges. brought back exotic goods - including the , which was soon adapted to western ‘undress’ menswear. 7.7.7. Spring season ensemble, c. 1780 Gown adapted from a dress in the collection of the Los Angeles County Museum of Art (LACMA) (accession #M.66.31a-b); hooded adapted from extant garments in the collection of

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LACMA (accession # M.2007.211.669) and the collection of PPPARLOR Colonial Williamsburg (accession #1953-968, patterned in 8.8.8. Lady wearing a robe à la française c.1770 Costume Close-Up). The painted bag is a reproduction of an Robe à la française adapted from The Cut of Women’s Clothes, extant item in the Museum of Art (accession #43.696b). 1600-1930 by Norah Waugh; white silk hand-quilted and lady’s embroidered mitts reproduced from extant items By the last quarter of the 18th century, cotton was rising in featured in Eighteenth-Century Embroidery Techniques by Gail popularity for use in clothing for all classes of society. Printed Marsh; butterfly cap of silk, lace and , and silk and from called ‘calicoes’—derived from their jewelry recreated from the engraving A fashionably dressed lady manufacture in Calcutta—became the rage in both Europe and [no title], after Thomas Frye, 1762 (in the collection of Colonial America, and by the these printed, painted, and patterned Williamsburg, accession # 1982-165); replica lady’s fan of hand- "” were used for both clothing and furnishing fabrics. painted silk with sticks. Fashion trends come and go; one fad which swept fashionable society was a passion for dark-grounded , used To be ‘dressed’ in the 18th century signified wearing a formal particularly for women’s clothing items. These colorways were ensemble, correct for an elegant dinner, reception or ball; ‘un- made in dark green, grey, and rusty reds, but dark brown and dress’ was everything else – clothing appropriate for daytime or black were especially popular. Because of their darker ‘sooty’ . For the majority of the century, a favorite style hues, these fabrics were termed “ramoneur” (the chimney was the robe à la française (or as it was known in England, the sweep). Printed on both cotton and linen, ramoneur fabrics were sack-back dress), a design which evolved from the late 17th used in women’s clothing of all types, from outerwear to century . From about 1700 to the mid-1770s, women’s to American shortgowns. ensembles followed the predominant ‘gown-and-petticoat’ formula comprising an over-gown worn with a separate petticoat, This warm weather ensemble features a robe à l'anglaise gown closing across the front bodice with a triangular . All with matching petticoat in a light-colored cotton “” three wardrobe components – gown, stomacher and petticoat – design of trailing vines and delicate flowers. Unlike the flowing might match, or be made of different colors or textiles. Matching pleats of the sack-back style, the robe à l'anglaise was fitted to the ensembles were considered the most suitable for formal events, figure by means of sewn-down, curved back pleats or separate, but sack were often made for daywear with a contrasting shaped back pattern pieces. By the 1770s, gowns were petticoat. Quilted were in fashion throughout the 18th constructed with a center-front closing and often had ruffled century, and well into the nineteenth, worn by women of all fabric or ribbon trimming around the neckline, cuffs and classes. The customary face textile was silk, which reflected light down the bodice center front. Worn as a spring , the over the tactile surfaces of the dimensional sewing designs. Most “ramoneur” cape is a large semicircular cloak with a wide . quilted petticoats were backed with linen, with a filling of wool The entire garment is bordered with an 8-inch band of finely or cotton. gathered pleats, has ribbon neck ties, and is lined with a floral cotton print. The outfit is accessorized with a hand-painted, silk This robe à la française gown is made in marigold- silk chinoiserie design drawstring bag. , an ideal textile to display the crisp gathers and graceful drape of the signature feature of double back pleats. Ruched silk self-trim edged with white floss ‘ fringe’ decorates the stomacher and bodice robings and goes down the front of the

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skirt. Single-flounced pagoda sleeves are edged with white floss 11.11.11. GirlGirl’’’’ss robe a la frafrafrançaisefra nçaisençaise,, c. trim. Dress adapted from pattern in The Cut of Women's Clothes. Vintage lace with tambour embroidery. 9.9.9. Young boy, midmid----18th18th century Child’s two-piece in dark blue wool with a tan wool Although most young girls wore back-laced dresses into their , recreated from period styles. early teens, it was not unknown for even very young 'ladies' to be dressed up in the elegant sack-back style. This three-piece Once out of babyhood, boys were dressed in , or back- ensemble of gown, petticoat and stomacher are all made of the laced gowns, as were girls. In portraits of the era, it is only by same fabric, which was customary for more formal attire. Bold accessories the children hold or headdresses they wear that stripes of varying widths in ivory and rich apricot are brocaded distinguish their sex. Once a boy was ‘breeched’—when the with a pattern in ivory of flowers and vines. The textile itself decision was made by his parents that he be dressed as a male reflects mid-century taste with bright color and a robust design; (usually between the ages of three and five) in , shirt as the century progressed fabrics were generally smaller in scale, and other gender specific clothing, he was dressed much as a or more subtle in coloring. With clean lines, and without added miniature adult. surface decoration common in this style, the ensemble has a functional laced bodice which closes in front across the brocade 10.10.10. Young girl, c. 1769 stomacher. One-piece dress of rose silk taffeta, with leading strings and back-lacing, hand-sewn; fine white linen gathered cuffs attached 12.12.12. Infant, 18th century to sleeves, reproduced from portrait of The Pybus Family by White cotton baby linen, reproduced from various period Nathaniel Dance, c. 1769 (collection of the National Gallery of examples. Victoria, , accession #2003.687). Very young infants of both sexes were typically dressed in white Although boys and girls were dressed alike as infants and young linen, wool, or cotton garments, consisting of a shirt; belly-band, children, female children were kept in dresses throughout their stays, or swaddling-band; petticoat; long gown; and diaper lives. Before they matured (physically) girls customarily wore cover (or “pilch”); and cap. After the first nine months or so, back-laced garments for ordinary everyday use. These dresses babies were transitioned to gowns and petticoats with shorter were simple in construction, with bodice, skirt and sleeves, but hems as they learned how to walk. also featured a set of long, ribbon-like streamers descending from the back shoulders of the bodice. These were ‘leading 13.13.13. Fashionable gentleman, c. 1775 strings’; functional especially for use with toddlers, as gentle Two-piece (matching fabric) suit of and breeches, in restraints for an adult to hold if necessary. Once past babyhood, burnt sienna brown silk; ivory silk embroidered waistcoat, all leading strings came to have a social significance when worn by adapted from The Cut of Men's Clothes 1600-1900 Norah girls, indicating that the youngster was still a child and not yet Waugh. The embroidered floral designs of carnations, lilies, ready to be included in social circles as a young woman (i.e. anemones and tulips are from an 18th century border design. ready for courtship or of marriageable age). Waistcoat detail inspired by 18th-century waistcoat with “insect” embroidery at the Metropolitan Museum of Art.

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The origins of a man’s three-piece suit (coat, and vest) furnishings of rare woods, ladies’ ivory fans, or textiles for date from the late 17th century, and by the early were expensive garments. Along with “the queen of textiles” – woven standard garments for all classes of men. Lower legs were silk material– exported exquisite silk fabrics that were covered by stockings of wool, linen or silk; these were long hand-painted with designs of flowers, birds and insects in enough to come above the knee, the tops covered neatly by the realistic and fantastical colors and designs, made especially for buckled knee bands of the breeches. The evolved the Western market. In addition to extant gowns in collections, from an early version with wide and large cuffs to a slim, these vibrant can be seen in both European and American tailored line, skimming the proportions of the wearer’s body; by portraits of fashionable women. the last quarter of the century the fronts were curved back over the chest to show fitted beneath, often made of costly Mid-century dresses employed yards of painted silks for the fabrics or exquisitely embroidered. sack-back or robe à la française gown, but later modes also used these luxury fabrics. The gown first came into fashion 14.14.14. Boy’s frock coat outfit, c. 1760 in the 1770s. It had a close-fitting bodice with the back skirt Child’s frock coat outfit of jacket and petticoat in teal , with gathered into puffed sections held by rings and cords sewn royal blue , recreated from Portrait of Two Children inside the skirt revealing the petticoat below. To protect the attributed to Joseph Badger, c. 1760 (in the collection of elaborate hairstyles, a lady could wear the calash , which Colonial Williamsburg, accession #57.100.15). had thin cane supports sewn into channels in the silk hood to keep the high round shape safely over her hairdo. Fashion was very much an individual choice, and not all parents dressed their young boys in unisex frocks all the time. One 16.16.16. Housekeeper wearing a round gown (robe à l'anglaise), c. 1775 alternate style that had a more masculine look was the Striped linen round gown, reproduction of an extant item in the combination of an ankle length jacket-robe, with a fitted and Museum of Art (accession #1959-113-1); pinball buttoned bodice and cuffed sleeves that resembled those on a adapted from extant item in the Chester County Historical grown man’s frock coat. Beneath the jacket was worn a matching Society (accession #1988.1079, patterned in Fitting & Proper). skirt—for the convenience of changing on a child not yet Cotton cap with silk ribbon trim, based on cap from A ready to don “big-boy” breeches with multiple buttons that a Girl Seated, in a Flowered Dress by Sir Nathaniel Dance- nursemaid would have to manipulate. Holland (1735 ‑1811), undated (in the collection of the Tate Museum, accession # T08165); fine white cotton handkerchief; white linen , based on a Philadelphia example in the SSSERVANTS ’’’ HHHALL collection of Colonial Williamsburg (accession #2004-17). 15.15.15. Fashionable lady in polonaise gown, c. 1780 Polonaise gown, hand-painted and hand-sewn reproduction of This unadorned but interesting gown is an example of the type extant ensemble at the Metropolitan Museum of Art (accession worn by servants and the lower classes, or by middle class #1976.146); silk calash, replica of extant item in the collection of women for informal daywear. The plain design and the use of Pottsgrove Manor and on display in this exhibit. striped fabric are suited to an informal dress, but also reflect the growing preference for simplicity during the 1770s and 1780s. Exotic goods from the East were always highly desirable in This is a one-piece style with closed skirts called a "round gown," fashionable European society, whether they were home which was put on over the head. The apron-front then tied

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around the , and when the bodice was settled on and KKKITCHEN fastened, no separation (except for slits in the side-front skirts of 18.18.18. Woman’s silk round gown (robe a l’anglaise), c. 1775 the ‘apron’) would be evident. The center front closure of the Robe a l’anglaise round gown (back cut en fourreau), bodice was fashionable from the 1770s on; in this dress, the reproduction of extant garment attributed to Phoebe Massey, c. triangular shape of a false stomacher is maintained through 1775, in the collection of the Massey House. Like the original, it unusual robings attached from the shoulders to a pointed is made in chestnut brown silk with a linen-lined bodice and waistline. Accessories include a linen and apron, sleeves. It is entirely hand-sewn and constructed from a pattern and an embroidered silk queen-stitch pinball on a chain hung taken directly from the original garment. Mitts, white linen with from the waist. blue silk embroidery, reproduction of extant item in the collection of Colonial Williamsburg (accession #1985-216.1). 17.17.17. Male domestic servant, c. 1770 White silk apron and cap. Cap based on Portrait of Mr. Yellow wool sleeved waistcoat/jacket, adapted partially from and Mrs. Thomas Mifflin (Sarah Morris) by John Singleton Diagram XXII in The Cut of Men’s Clothes, 1600-1900 by Copley, 1773 (in the collection of the Philadelphia Museum of Norah Waugh. White linen half-apron, based on those pictured Art, accession #EW1999-45-1). Pinball in wool with 18th- in period images, including The Idle ‘Prentice Executed at century motifs from extant examples. Tybur n by William Hogarth, 1747; Kitchen Scene by John Atkinson, 1771 (in the collection of the Yale Center for British The ‘round gown’ dress style was favored by women in all levels Art, Paul Mellon Collection; accession #B1981.25.23); and the of society, and was frequently seen in wardrobes of Quaker frontispiece to The Housekeeper’s Instructor; Or, The women. Simple, elegant lines and of construction – Universal Family Cook by William Henderson, c. 1790. White compared to some of the era’s elaborate outfits - must have linen shirt and neckcloth; black wool breeches; black cotton appealed to these ladies, but there was another quality that stockings; tied leather shoes. would also have been advantageous, and encouraged thrift of goods. Round gowns, because of the apron-front construction, Wealthy families like the Potts had a number of household had no need of a separate, visible petticoat, and thus, an entire servants, some of whom were more “visible” to the public eye one-piece outfit could be made with much less fabric than the than others. A male servant or slave have served as a butler more common dress-and-petticoat ensemble. Members of the for the household, and would have been well-dressed. Some Society of Friends (Quakers) were advised to dress modestly in upper-class households dressed visible male servants in “livery,” contemporary style, so as not to attract attention by their a designed to match the colors on the family’s coat of appearance. Nevertheless, successful families would dress arms, and sometimes trimmed elaborately with tapes and braids ‘simply, but in the best materials that can be had’ including called “lace.” It is not known if the Potts had liveried servants, clothes made of fine , wool and silk - many portraits of but a domestic like this one may have had a blue frock coat to Philadelphia Quaker families attest to this. In their clothing, go on over his waistcoat, representing the Potts colors of azure colors were not proscribed, but most Friends wore dark or and gold. ‘modest’ hues, women favoring ivory, black, rosy beige, grey and various shades of rust or golden browns.

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19.19.19. Cook, c. 17401740----17801780 images and contemporary runaway advertisements in the Brown and white checked shortgown; wool petticoat; tan and Gazette. white checked linen apron; block-printed cotton handkerchief; white linen lappet cap, based on the cap worn by The One of the Potts’s slaves, Flora, may have been a young girl and Nanny, by John Greenwood, 1748 (in the collection of the likely worked as a “lower” servant, fetching water and firewood Museum of Fine Arts, Boston; accession #1971.715). for the house and cleaning pots and kettles in the kitchen. Her clothing was likely secondhand, patched, and faded. Some Shortgowns, cut in a T-shape from a single piece of fabric and servants and slaves of African descent continued to wear pleated in the back to fit, were a simple working woman’s handkerchiefs or scarfs as headwraps, while others adopted (or garment and seem to have been exclusive to the Mid-Atlantic were forced to adopt) the typical Anglo woman’s headwear, the colonies in the 18th century. Checked linens, like those in the white linen cap. Wood and iron overshoes called “pattens” shortgown and apron, were very common for work clothing. helped keep one’s shoes and hem clean when walking along And though a gown-length of printed Indian cotton fabric may muddy paths and streets, and also minimized how much dirt was have been out of reach for a domestic servant to purchase, a tracked inside the house. colorful cotton handkerchief was an inexpensive way to add a bit of fashion to a basic outfit. JJJOHN PPPOTTS ’’’S OOOFFICE 20.20.20. Servant boy, second half 18th century 22.22.22. Clerk, c. 1770s Brown wool broadcloth sleeved waistcoat, reproduced from Blue cloth suit, with matching waistcoat and breeches, adapted Diagram XXII in The Cut of Men’s Clothes; linen from various period sources; cotton stockings, silk neckcloth, breeches, reproduced from boy’s breeches in the collection of leather shoes, reproduction spectacles. the Chester County Historical Society (accession #1986.731; patterned in Fitting & Proper; the original breeches are on A working man would dress less elegantly than a businessman, display in this exhibit); white and red checked linen neckcloth; but certainly as well as he could afford; for a clerk in the Potts’ white linen shirt; hand-knit red wool stockings; handmade employ, another version of the 18th century suit is shown. Blue leather mules; felt round hat. was a common color for working people’s clothing, since the dye (indigo) was easy to obtain, as well as being less expensive Young boys were often apprenticed or bound as indentured than materials to dye other colors. Here, a blue wool waistcoat servants and would be provided clothing by their masters. An and breeches are the matching components of the suit; a blue outfit like this one, with a sturdy, serviceable wool broadcloth cloth coat completes the outfit. A silk cravat provides a touch of outer garment and coarse but durable linen breeches of a finery for an upwardly-mobile office worker. -like fabric called “drill,” would be typical. Such clothing is referenced in numerous runaway advertisements of the era. 23.23.23. Mature woman’s English gown (robe a l’anglaise), c. 1765 Robe a l’anglaise (cut en fourreau) and matching petticoat, in 21.21.21. Scullery maid, second half 18th century black linen, reproduced from The Cut of Women’s Clothes by Blue and white striped linen gown; blue linen petticoat; white Norah Waugh. Accessories in white linen recreated to typical linen handkerchief; coarse linen apron; resist-dyed cotton styles of the period, as shown in contemporary portraits of ; shoes and pattens. Clothing based on various period

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American matrons. Blue silk mitts, reproduced from an extant those work environments called for appropriate work wear. example in the Costume Collection of Platt Hall in England. While the typical white linen shirt could be washed and bleached in the sun, a checked linen would hide the dirt and For a mature or elderly woman, fashion choices might have to soot and could go longer between washings (which themselves do with custom, comfort or keeping up with current modes. A wore out the fabric). Long trousers were sometimes preferred to well-to-do woman of means, such as John Potts’ mother-in-law knee breeches, especially in ironworks, where hot or even Anna Nutt, could have dressed as up-to-date as she wished in molten iron was a hazard. A close-fitting linen cap keeps the hair silk, but as a woman of many responsibilities, practical clothing clean, and a long leather apron helps guard against burns. might have better suited her needs on a daily basis. Anna was twice widowed, and black was not an uncommon shade for older women to adopt, especially widows, though other colors WORKROOM were not prohibited by society. It is likely that she dressed 26.26.26. Female servant in , c. 1769 sensibly for an active household life, perhaps in an ordinary Bedgown in orange linen, reproduced from Art du Tailleur by robe a l’anglaise gown and petticoat ensemble. Suitable Francois Alexandre De Garsault, 1769; brown linen petticoat; accessories would include a linen cap, neckerchief and long accessories include checked linen apron, shift, handkerchief, mitts. and white linen cap.

24.24.24. Businessman, c. 1770 Middle or lower-class women were usually those who led the Burgundy linen coat and breeches, worn with a buff-colored most physically demanding lives in any household. There were brocade waistcoat, adapted from various period sources. Worn many informal garments that allowed for the active lifestyle of a with a plain linen shirt; accessories include white silk stockings, a servant or rural farm woman. Traditionally, women always wore fine linen neck stock and wool-work pocketbook. a petticoat (skirt) over their linen , but their upper garment might be a full-length gown or one of a variety of By the 18th century, the three-piece man’s suit was an shorter, jacket-like . One useful style was the “bedgown” established fashion, although the pieces could be mixed-and- or “manteau de lit.” Somewhat similar to a square, kimono-type matched depending on the formality of the occasion. A daytime pattern, this was a loose jacket practical for everything from outfit for a gentleman is made up of a two-piece suit of heavy doing housework to use by a lady who had just given birth and linen in a conservative burgundy shade, worn with a buff-colored wished to wear an unrestrictive wrap. were most waistcoat of diapered floral brocade. commonly made of linen or cotton, and could be lined or unlined. 25.25.25. Ironworker, second half 18th century Black and white checked linen shirt; resist-dyed cotton 27.27.27. Lady in “undress” separates, c. 1775 neckcloth; tan linen trousers; blue linen workman’s cap; leather Fitted jacket with hip-length peplum tabs of garnet and ochre apron; rough leather shoes. Clothing is based on period brocade, trimmed with red and matte gold passementarie braid; illustrations of ironworkers from ’s Encyclopedie white-work kerchief, replica of extant item in the Los Angeles and the paintings of Joseph Wright of Derby. County Museum of Art (Accession #M.80.190.5); quilted petticoat in mustard yellow cotton , hand quilted from a Many of those in John Potts’s employ were ironworkers, toiling pattern of an extant item in Patterns of Fashion 1 by Janet at a blast furnace, refinery forge, or blacksmith’s shop. All of 14 15

Arnold; apron with lace edging; 18th century silver chatelaine is itchy, and lightweight can actually be quite comfortable hook with replica silk pincushion (original pincushion in for summer wear, owing to the ’s breathability. collection of the Pottstown Historical Society and on display in this exhibit). Replica white linen round-eared cap with silk ribbon trim. SSSLAVE QUARTERS 29.29.29. Servant girl, second half 18th century As an alternative to a full length gown, an upper class woman Unbleached oznabrig linen shift, leather stays, brown linen might choose to wear a jacket and petticoat combination for pockets, striped linen headscarf, cotton stockings. Clothing ordinary day dress. For practical warmth in drafty 18th century based on various period images and contemporary runaway homes, a quilted petticoat was just the thing; they were available advertisements in the . commercially, but many women made their own at home, and a machine made version of quilted fabric, called Marseilles, Runaway advertisements indicate that coarse, “brown” (i.e., became available during the 18th century. There were a myriad unbleached) fabric was sometimes used for lower-status servants of bodices and jacket styles from which to choose for daywear. and slaves. With repeated washings, the fabric would eventually Fashion features such as pleated or gathered short skirts, fitted lighten, but would never look bright white. Leather stays or swallowtail skirts, tabbed peplums and hip-length sack- “jumps” were also worn by some of the poorest women in back were made. Fabrics ranged from plain linens to society and were sometimes included in clothing given to printed and quilted cottons, to striped and embroidered silk indigent women. These would provide some bust and back textiles, depending on the woman’s station in life and financial support and keep the wearer looking “decent,” but would not means – and also a practical way to stretch a wardrobe with a give a fashionable 18th-century shape. garment requiring a small amount of fabric. 30.30.30. Female servant, second half 18th century 28.28.28. Spinning servant, c.1755c.1755----17751775 Linen shortgown and petticoats; blue and white checked linen English gown (robe a l’anglaise) of green wool, adapted handkerchief; white and black striped linen apron; plain linen from a gown pictured in Costume in Detail, 1730-1930 by cap; wool felt hat. Clothing based on various period images and Nancy Bradfield; tan worsted wool petticoat; silk handkerchief; contemporary runaway advertisements in the Pennsylvania white linen apron; white linen cap reproduced from an original Gazette. owned by Landis Valley Museum and displayed in this exhibit. As noted before, checked and striped linen was particularly A very typical style for everyday wear for English and American popular for working-class clothing. The account books of John women, the open robe gown with a fitted “en fourreau” back Potts show purchases of such fabrics, probably to clothe his and triangular “stomacher” front was commonplace during the servants and slaves, and also purchased in bulk to sell in his middle of the 18th century for all classes of society. The Pottstown store to the local inhabitants. stomacher, a separate piece that was pinned on to the stays before the gown was put on, could match the gown fabric or could contrast the gown (some are elaborately trimmed and embroidered). Worsted wool was a popular fabric choice for its durability and versatility—contrary to popular belief, not all wool

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CCCLOSET RRROOM 32.32.32. Gentleman’s 18th18th----centurycentury undergarments 31.31.31. Woman’s 18th18th----centurycentury undergarments White linen hand-sewn shirt, based on period examples and Shift, replica of extant garment in the collection of Colonial adapted from Kannik’s Korner’s “Man’s Shirt, 1750-1800” Williamsburg (accession #1986.207, patterned in Costume pattern; white linen hand-sewn drawers, reproduced from an Close-Up), hand sewn, made of antique linen; side hoops, extant pair in the Colonial Williamsburg collection (accession checked linen, reproduction from a pattern in and #1996-218, patterned in Costume Close-Up); clocked silk by Norah Waugh; linen stays, based off of various stockings, adapted from period designs by American Duchess; extant pieces, including those pictured in Costume in Detail; reproduction leather mules. clocked silk stockings, adapted from period designs by American Duchess; mules, reproduction using antique and The shirt was the common denominator of every man’s modern materials. wardrobe; during the 18th century, it was made in linen and like the woman’s shift, cut in geometric shapes to save fabric. White Women of all levels in society wore similar undergarments, were made to last many , with re-enforced panels and although ladies of the upper classes might add extra items as fine, even stitching. Many shirts were quite long, to serve the fashion demanded. Linen was the common textile for nearly all purpose of on the lower body parts, since relatively underwear (clothing worn next to the skin) of both sexes—it was few men wore under drawers. Those who did were gentlemen of comfortable, easily laundered and wore well over time; of all the upper class, and linen under drawers (with ties rather than garments, underwear was the most finely and well-sewn, with buckles at the knee) must have been luxurious as an extra layer strong, tiny stitches, to last for years of daily wear. A shift served of warmth or smooth barrier between tender skin and the as the woman’s next-to-the-skin apparel; cut from minimalist woolen material of breeches. Various styles of were geometric shapes to conserve fabric, it reached below the knees fashionable; a stiffened band called a “stock” was worn over the and could have a plain or drawstring neckline. Over this would upright collar, and buckled neatly in the back. Stockings of wool, be worn a set of stays, to support and reshape the figure to the linen or silk were worn on the lower legs, and embroidered ideal smooth, high-bosomed 18th century contour. Made of ‘clocked’ versions, often in color, were popular accessories. multiple thicknesses of linen and other stiffened fabrics, stays Backless ‘mules’ of wood and leather were a version of men’s were reinforced with long, straight seams which held thin strips leisure . of baleen (whalebone)—flexible enough to mold to a woman’s curves, but stiff enough to support the bust and achieve the 33.33.33. Toddler’s 18th18th----centurycentury undergarments elegant, upright posture a lady desired. Fashionable women Linen shift, linen stays based on extant examples in the achieved the skirt fullness required by contemporary fashion by collection of Colonial Williamsburg, plain linen cap the use of side hoops or “panniers.” Suspended from a band that tied around the waist, these were shaped bags of fabric with Like adult women, girls and unbreeched boys wore a white linen sewn channels which held flexible whalebone or thin cane, bent shift as their innermost garment. They often wore stays as well, in a semi-circle to make an oval hoop shape so the petticoat and though stays for children were much more lightly boned and gown skirt could spread out to show the rich fabrics of the outer worn to encourage proper posture and to provide a foundation dress. Other accessories include ‘clocked’ (embroidered or for petticoats and other garments that might otherwise slide off knitted-in design) blue silk stockings and backless, brocade of thick-waisted little bodies, rather than to shape the torso. mules for indoor footwear.

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SSSECOND FFFLOOR HHHALL 38.38.38. Child’s quilted cap, c. 1770s 34.34.34. Woman’s cap, c. 1780s White cotton, unknown batting material Embroidered cotton with lace trim Rather unusually shaped, this cap features delicate quilting, Family legend says that this cap is the one worn by an elderly which is beautiful as well as warm. The provenance of the cap Ruth Potts (1716-1786) in her portrait. Since the original suggests it may have been made by a Pennsylvania German painting is no longer in existence, and the extant copy (displayed woman. above the case) was made from a 19th-century photograph of Collection of Landis Valley Museum, Pennsylvania Historical the original, it is impossible to confirm this. It may also be a and Museum Commission similar cap owned by Ruth Potts, or simply a similar cap of unknown provenance. 39.39.39. Child’s stockings, 18th century Collection of Pottstown Historical Society Cream knitted silk A machine for stockings on a flat frame had been 35.35.35. Miniature portrait of John Potts, Junior, second half 18th invented at the end of the , and by the 18th, century machine-knit stockings were common and readily available in Watercolor on ivory the colonies. One of John and Ruth Potts’s nine sons, John Potts, Junior Collection of The National Society of The Colonial Dames of (born 1738) was an ironmaster, lawyer, and judge. He was a America in the Commonwealth of Pennsylvania at STENTON Loyalist during the . Collection of Pottstown Historical Society 40.40.40. Child’s shoes, c. 1750s1750s----1770s1770s Blue-green wool, red leather 36.36.36. buckle, second half 18th century Styled similar to adult shoes, this fine example would have Silver with paste stones fastened with buckles. Believed to have belonged to a member of Samuel Potts’s Collection of Pottstown Historical Society (1736-1793) family, this buckle would have been used to hold the latchets (straps) of a shoe closed. Paste stones, made of 41.41.41. Child’s gown, c. leaded glass with foil backing, were very popular in the White linen damask eighteenth century. This type of gown would be worn by an infant who had not Collection of Pottstown Historical Society started walking yet, with a long skirt that covered the feet. Only one sleeve remains and is detachable. Collection of The National Society of The Colonial Dames of CCCHILDREN ’’’S BBBEDCHAMBER America in the Commonwealth of Pennsylvania at STENTON 37.37.37. Infant’s embroidered cap, 18th century

White linen 42.42.42. Boy’s coat, c.1760 and breeches, c.1760c.1760----17701770 Infant’s caps could be plain linen or wool, but many were Coat: green wool, brown linen and checked linen lining, metal decorated with whitework embroidery and lace insertions like buttons; Breeches: tan linen , off-white linen lining, horn this example. (only one button remains) Collection of The National Society of The Colonial Dames of Once a boy was breeched, his clothing would be nearly identical America in the Commonwealth of Pennsylvania at STENTON to his father’s. The provenance of the breeches indicates that they were Benjamin Bonsall’s first pair. He was born in Upper 20 21

Darby in 1764. The size of the frock coat indicates that it was Sized to fit a newborn, this beautifully-sewn shirt would have probably a little boy’s first real coat, as well. Breeches pictured in been worn under swaddling clothes or a petticoat and gown. Fitting & Proper (#28). Patterned in Fitting & Proper (#25) . Collection of Chester County Historical Society Collection of Chester County Historical Society

43.43.43. Child’s bodice, latelate----18th18th century White embroidered cotton MMMASTER BBBEDCHAMBER Embellished with whitework embroidery and miniscule 48.48.48. Man’s cocked hat pintucks, this bodice would have originally been worn with a Black wool felt, linen lining, leather sweatband matching petticoat. A nice example of an everyday hat of the period, this piece is Collection of The National Society of The Colonial Dames of believed to have belonged to Richard Thomas (whose America in the Commonwealth of Pennsylvania at STENTON wife’s shoes are also on exhibit). Pictured in Fitting & Proper (#24). 44.44.44. Child’s bodice, midmid----18th18th century Collection of Chester County Historical Society White linen damask This bodice would have been paired with a matching underdress 49.49.49. Flamestitch pocketbook, 18th century or petticoat. Like much baby clothing of the period, it is white, Wool embroidery on linen canvas making it easier to clean and in the sun. Also called “Irish Stitch” or “Bargello,” flamestitch embroidery Collection of The National Society of The Colonial Dames of was often employed to decorate men’s and women’s America in the Commonwealth of Pennsylvania at STENTON pocketbooks, which were used to hold money, important papers, and the like. 45.45.45. Child’s mimitts,tts, 18th century Collection of Wyck Historic House, Garden, and Farm White linen Like the ones worn by adult women, these two pairs of mitts 50.50.50. Neck stock, midmid----18th18th century would have helped protect little hands from the cold or sun. Fine white linen Collection of The National Society of The Colonial Dames of Made of very lightweight linen and gathered tightly to the tabs on America in the Commonwealth of Pennsylvania at STENTON either end, this stock was one option for men’s neckwear and would have be fastened with a pronged buckle in the back. 46.46.46. Child’s stays, c.1780sc.1780s----1790s1790s Other stocks might be made of or interlined with stiff horsehair, Linen, baleen or a man might wear a handkerchief or cravat wrapped around Providing support for the outer clothing, and encouraging his neck. proper posture, stays were worn from childhood, especially Collection of Chester County Historical Society among the upper classes. These stays date from a period when the fashionable overall “shape” was changing, with the waistline 51.51.51. Knee buckles, second half 18th century becoming higher. Silver, paste stones Collection of Wyck Historic House, Garden, and Farm Set with paste stones, buckles like these would fasten the knee bands on a pair of formal breeches and may have matched the 47.47.47. Infant’s shirt, c.1700c.1700----18001800 gentleman’s shoe buckles. Fine white linen, cotton gauze ruffle 22 23

Collection of Pottsgrove Manor Made of fine linen and featuring bosom ruffles, a shirt like this would be worn by a gentleman, or a middle-class man for dressy 52.52.52. Mules, c.1785c.1785----17951795 occasions. Leather, wood Collection of Chester County Historical Society Worn for both leisure and work, mules were popular among both sexes in the 18th century. These have the pointed toes 58.58.58. Knitted silk breeches, last quarter 18th century fashionable at the end of the century. Off-white silk Collection of Pottstown Historical Society Referred to also as “” breeches, knitted breeches were sold in Philadelphia from at least 1750. With their stretchiness, 53.53.53. Stockings, 18th century such breeches increased in popularity as the eighteenth century Cream knitted silk drew to a close, when men’s fashions became more fitted. Machine-knit stockings, typical of both men’s and women’s Collection of Cliveden of the National Trust stockings. Collection of Pottstown Historical Society 59.59.59. Breeches, silk satin, c. 17651765----18301830 Black silk satin 54.54.54. Breeches, linen, c. 17601760----18001800 Very similar to another pair in the Chester County collection, Off-white linen these breeches represent a basic item of men’s clothing. Plain These breeches were made for a stout man and would have but of high-quality fabric, they would be appropriate for many been every-day wear, with their plain linen fabric. Displayed with occasions. a reproduction shirt. Collection of Chester County Historical Society Collection of Chester County Historical Society 60.60.60. Embroidered waistcoat, c. 1760s1760s----1770s1770s 55.55.55. Man’s shirt, c. 17501750----18001800 Silk, linen, silk embroidery thread Off-white linen Pre-embroidered panels of fabric for waistcoats could be Made of coarse linen and without any embellishments, this purchased at shops in Philadelphia. This English example would have been a typical shirt for a working-class or middle- almost certainly was made from such ready-made pieces. Note class man. how the buttonholes were cut right through the embroidery. Collection of Chester County Historical Society Private collection of Dr. Clarissa F. Dillon

56.56.56. Man’s waistcoat and jacket, c. 1770s Jacket: rust-colored linen; Waistcoat: brown linen More of a sleeved waistcoat or jacket than a frock coat, the outer garment shown here is a rare example of everyday menswear. The waistcoat, which was not originally associated with the jacket, is also a perfect example of an average man’s clothing. Collection of Chester County Historical Society

57.57.57. Man’s shirt, c. 17501750----18001800 White linen 24 25

EEEXHIBIT RRROOM 65.65.65. Calash, second half eighteenth century 61.61.61. Drawstring work bag, second half 18th century Copper-colored silk taffeta, cane Indigo resist-dyed cotton Calashes were designed to protect the high hairstyles of the latter An example of the reuse of textiles, this workbag appears to half of the eighteenth century without crushing them. This calash have been made from fabric that would have originally been was originally olive green, but the silk has changed color over used in home decorating, possibly bed curtains. time. Collection of Landis Valley Museum, Pennsylvania Historical Collection of Pottsgrove Manor and Museum Commission 66.66.66. Fan and case, latelate----18th18th century 62.62.62. Woman’s shortgown, c. 17801780----18001800 Leather, paper, ivory/bone Off-white corded linen or cotton With its pastoral painted scene, this fan would have made a As a garment used for working wear, shortgowns could receive a stylish accessory, more for fashion than practicality. lot of use and abuse. Note on this example the numerous Collection of Pottstown Historical Society patches, all neatly sewn, some of the original fabric, others of a different weave. In the 18th century, the material made up the 67.67.67. Pattens, c. 17001700----17801780 biggest cost of a garment, so even the clothing of wealthy Wooden soles, iron platforms, leather and wool straps individuals often shows some level of patching to get as much Worn by women to keep their shoes and hems from getting use out of the fabric as possible. soiled, pattens could be as utilitarian as these or could be Collection of Chester County Historical Society covered in fabric that matched the shoes. This pair is shaped and notched to accommodate a heeled shoe. Pictured in Fitting 63.63.63. Mitts, second half 18th century & Proper (#41). White linen, red embroidery floss Collection of Chester County Historical Society Mitts were a common accessory, useful for keeping the arms warm in drafty houses in the winter, and protecting them from 68.68.68. Pair of woman’s shoes, c. 17701770----17801780 the sun in the warmer months. Black silk satin, black ribbon, leather soles Collection of Wyck Historic House, Garden, and Farm These shoes are straight-lasted—that is, they were made with no right or left, though once the buckles (now missing) were put on 64.64.64. Flat , c. 17401740----17801780 the latchets (flaps), the wearer would wear them on the same feet Tan beaver felt, brown wool tape every time. This pair was originally owned by Thomasina Low-crowned flat like this one were a very popular Downing, wife of Colonel Richard Thomas (owner of the accessory for women, and could also be braided or woven of cocked hat on display in this exhibit). Pictured in Fitting & straw or chip (finely-shaved strips of wood), and might be Proper (#36). covered with fabric and trimmed with ribbon. This simple hat is Collection of Chester County Historical Society one of several nearly identical ones in the Chester County Historical Society’s collection, and has a label inside indicating 69.69.69. Pincushion and scissorsscissors----casecasecase,, 18th century that it originally belonged to Esther Sharples (died c.1807). Silk, linen, wool batting, silk embroidery floss Collection of Chester County Historical Society This sewing accessory, with its charming embroidery, would have been used to hold a small pair of scissors, while the

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functions as a pincushion. It may have originally hung from the seems particularly plain (though exquisitely sewn), as its “ruffle” waist by a ribbon. is not gathered to the brim and lower edge of the , but Collection of Pottstown Historical Society instead whip-stitched on flat. Collection of Landis Valley Museum, Pennsylvania Historical 70.70.70. Brussels lace, 18th century and Museum Commission Linen thread Fragment of handmade bobbin lace from England. Brussels lace 75.75.75. Silk round gown (robe a l’al’anglaise),nglaise), c. 1770 was known for its delicacy. There is a nearly invisible join on the Brownish-pink silk taffeta, off-white linen lining back of the piece. Similar in style to the Phebe Massey gown reproduced in the Private collection of Dr. Clarissa F. Dillon exhibit, this simple day gown has no known provenance but may have belonged to a Quaker woman. The center-front closure 71.71.71. Stockings, 18th century points to a date after c.1770, but the style of cuff on the sleeves Cream knitted silk is a holdover from an earlier period. Pictured in Fitting & Like the other stockings in this exhibit, these were commercially Proper (#2). Displayed with a reproduction fichu. produced and are typical for the period. Collection of Chester County Historical Society Collection of Pottstown Historical Society 76.76.76. Tambour work fichu, c. 1780 72.72.72. Pair of woman’s leather tambourtambour----workwork shoes, c. Fine off-white linen, multicolored embroidery thread Leather, polychrome embroidery thread The technique of tambour embroidery was introduced to As the 18th century drew to a close, fashionable shoes changed Europe from India c.1759 and was especially popular from shape, with the heels becoming lower and smaller, and the toes about 1770-1810. Worked with a fine hook from the back of the becoming more pointed. piece, tambour was a much quicker method than the similar- Collection of Pottstown Historical Society looking chain stitch which had previously been used. Collection of Pottstown Historical Society 73.73.73. Pair of needlepoint pockets, c. 17601760----17801780 Linen, various bright colors of wool yarn, wool tape 77.77.77. Woman’s shortgown, cc.. 17801780----1800;1800; petticoat, ; Women’s clothing in the 18th century did not typically have apron, c. 17701770----18501850 attached pockets. Instead, the pocket or pockets were tied on Shortgown: Dark brown floral printed cotton; Petticoat: off- under the top petticoat and accessed from slits in the sides of the white linsey-woolsey; Apron: Checked linen petticoat and gown. Despite being hidden beneath the outer While the other shortgown in this exhibit was very obviously garments, many pockets were embroidered or otherwise worn, this example looks as if it was never worn, and the fabric embellished. This pair is unusual for being worked in Bargello, remains rich and unfaded. The petticoat, though its waistband also known as Irish stitch. Pictured in Fitting & Proper (#30). and button closure mark it as a later piece, is very similar to a Collection of Chester County Historical Society working woman’s petticoat of the 18th century, constructed of linsey-woolsey, a fabric woven with a linen warp and a woolen 74.74.74. WomaWoman’sn’s cap, c. 17751775----18251825 weft. The material for the apron, a typical blue-and-white , Fine white linen was spun by Quaker Hannah Carter (b. 1754) and woven by her This style of cap is very difficult to date, owing to its continued brother John Carter (b.1755). The apron is patterned in Fitting use, especially among conservative older women. This cap & Proper (#33). 28 29

Shortgown and apron, collection of Chester County Historical 81.81.81. Quilted petticoat, 18th century Society. Petticoat, private collection of Deborah Peterson. Blue silk satin, linen lining Like the other petticoat on exhibit, this example has no wadding 78.78.78. Woman’s shift, c. 17001700----17901790 and would have been worn with an open robe to show off the White linen intricate quilting. This is an excellent example of the typical female , Collection of Pottstown Historical Society which was worn closest to the body, underneath the stays. Until c. 1790, when gown sleeves became very tight, shift sleeves were 82.82.82. Satin sacksack----backback gown (robe à la françaisefrançaise),), c. 17701770----17901790 cut nearly square and were gathered into narrow cuffs. The cuffs Blue-green silk satin, beige linen and white lining. would be held closed with a tape or ribbon tied through the Reproduction stomacher. buttonholes at each end, or sleeve links (consisting of two small The sack-back gown was a popular style for formal dress during buttons joined together with wire loops) would be worn. the 3rd quarter of the 18th century and could also be worn for Collection of The National Society of The Colonial Dames of “undress” wear. Trimmed with self-fabric ruching and flounces, America in the Commonwealth of Pennsylvania at STENTON this piece is a simple but elegant example and is said to have been worn by Ann Rowan Penrose (1758-1843) to George 79.79.79. Pair of woman’s stays, c. 17601760----17801780 Washington’s inaugural ball on , 1789. If the provenance Wool, linen lining, baleen is correct, the gown would have been rather out-of-date by that Fully boned with baleen (whalebone), these stays provided bust time, when a center-front closure without a stomacher would and back support as well as fashionable shaping. The tabs at the have been more typical. This gown shows evidence of alterations bottom splay out to allow room for the hips and to help support to the bodice in the 19th century, probably worn as a costume to the petticoats. Contrary to myth, most women wore stays on a a “fancy dress” party. Pictured in Fitting & Proper (#3). daily basis with no ill effects. Collection of Chester County Historical Society Collection of Chester County Historical Society

80.80.80. Quilted petticoat, 18th century Cream silk satin, linen lining Quilted petticoats were extremely popular in the 18th century. Some were quilted in simple patterns on glazed wool or plain silk and wadded with wool batting for warmth. Others, like this one, were quilted in elaborate designs on silk with no wadding, as a fashion statement rather than a warm under layer. The petticoat has been reset on a linen/silk drawstring waistband (possibly in the 19th century). Collection of Pottstown Historical Society

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GGGLOSSARY OF TTTEXTILE TTTERMS (“cambrich” and “cambrick”)“cambrick”)—a kind of fine white linen in The following terminology is drawn from the account books of the often used for handkerchiefs; Pottsgrove ledgers show Potts household during their time at Pottsgrove in the 1750s and the purchase of both regular and coarse cambric 1760s. These represent just a fraction of the types of fabric and other textile goods that were available in Philadelphia in the colonial (“camblet” and “camblete”)“camblete”)—a name originally applied to period. The standard spellings are listed, with the variations found some beautiful and costly eastern fabric, a mixture of silk and goat in the ledgers given in parentheses. or camel’s hair, hot-pressed to produce a smooth finish

BandanaBandana—a richly-colored silk handkerchief, with white Check (“cheke”)(“cheke”)—material decorated with a pattern of checks or spots squares, done either by or printing; Pottsgrove ledgers show that cotton, superfine cotton, linen, and wide checks were purchased (“bareskin”)(“bareskin”)—coarse woolen cloth with a shaggy , manufactured for ; also called dreadnaught and fearnaught ChintzChintz—a painted or printed cotton fabric from India, glazed or unglazed, used especially for , but also clothing Belladine (“baladine sewing silk”)silk”)—a coarse raw silk of a very rough yet durable quality Cotton ginghamgingham—a cloth of pure cotton woven with dyed , usually creating a striped or checked pattern, tough in texture Broadcloth (“brood cloth”)cloth”)—any fabric (commonly wool) woven on a wide , with a closely woven or compact texture and a lustrous Cotton romal (“loma(“lomals”)ls”)ls”)ls”)—cotton version of a romal: a type of silk finish handkerchief imported from India; may also be colorful headdresses worn by slaves Broad cottoncotton—a closely woven dress-goods fabric of cotton having a soft, lustrous finish and resembling DamaskDamask—a reversible fabric of linen, silk, cotton, or wool, woven with patterns BuckramBuckram—a kind of coarse cloth made of , stiffened with gum or paste, and often put into the lining of garments to help keep them Duffel (“duffield”)(“duffield”)—a coarse woolen cloth with a thick, shaggy nap, stiff; coarser or thicker than canvas, the raw fabric was often dyed used often for overcoats and printed in bright hues Durance or durant (“durante”)(“durante”)—a glazed woolen fabric or plain (“callicoe”)(“callicoe”)—a type of cotton cloth from India (Calicut, India, weave for which it’s named), of various patterns, painted or stained, and even plain white or unbleached Fine linenlinen—possibly lawn or cambric; superior or high quality fabric woven from yarns Calimanco (“calamanco” and “callimancoe”)“callimancoe”)—a woolen from Flanders, glossy on the surface, and woven with a satin twill and FlannelFlannel—a soft, warm, light fabric, thickly napped on one side, made checkered or brocaded in the warp, so that the pattern shows on of wool in the 18th century one side only HandkerchiefHandkerchief—a piece of material up to 30 inches or so, usually square; the term was used in the 18th century for cloths used not 32 33 only for wiping the face and nose, but also those worn over the (“oznabrigg” and “ ābriggsbriggs””””))))—a kind of coarse unbleached shoulders or around the neck and as , and those used to linen originally made at Osnabrück, used for making rough, hard- wrap items for carrying; Pottsgrove ledgers show the purchase of wearing clothing, or for furnishings, sacks, , and clothing given both cotton handkerchiefs and silk handkerchiefs to servants or slaves

Harateen (“harrette”)(“harrette”)—a Norwich worsted fabric with a wavy PlainsPlains—a plainly-woven, rough, or hard-wearing cloth; a kind of patterned finish, often used for furniture, often incorrectly identified as linen Printed cottoncotton—patterns created by dyes applied to finished HollandHolland—a linen fabric from the province of Holland in the material, typically from France or . If English printed Netherlands; when unbleached, called brown Holland; later, a cotton, the material came from either the generic name for linen cloth of fine quality imports or simple single-colored patterns from British craftsmen

Indian blanketsblankets—white woolen cloth, typically used for bed covers, Sagathy (“saggathy”)(“saggathy”)—a slight woolen stuff of twill weave, similar to petticoats, and heavy outer garments, but with a colored design , sometimes mixed with silk specifically woven into it for the Indian trade ShalloonShalloon—a cheap worsted twill; closely woven woolen material Irish linenlinen—a fine, high-count linen handmade in Ireland and used chiefly used for linings, finished by either hot pressing or left for tablecloths, handkerchiefs, and garment trimmings unglazed

Kersey (“kersay”)(“kersay”)—a kind of coarse narrow cloth, woven from long TaffetTaffetaa (“taffaty”)(“taffaty”)—a crisp, smooth made from silk; a wool, usually ribbed, and good for keeping out the wet and cold "high end" fabric, suitable for use in ball gowns, wedding dresses, and in interiors for curtains or wall coverings LawnLawn—a sheer linen or cotton fabric, either plain or printed, resembling cambric but thinner and finer, used for shirts, ThicksetThickset—a kind of cotton or velvet made either plain or handkerchiefs, ruffles, and flowered

Linen (“linnen”)(“linnen”)—a hard-wearing fabric woven from the spun fibers clothcloth—a coarse, heavy linen made from the fiber of flax, hemp, of flax, used for clothes, sheets, tablecloths, etc. or prepared for spinning and used for clothing

Lliain blandbland—Welsh name for a type of plain linen cloth VelvetVelvet—a type of tufted fabric, typically made from silk (poorer quality from cotton, linen, mohair, or wool), in which the cut MohairMohair—cloth made from the long, soft, silky hair of an Angora threads are very evenly distributed with a short dense , giving it a goat’s outer coat, imported by the Turkey Company; one of the distinct feel, while its “wrong” side is smooth and shows the weave oldest textile fabrics used

Naps (“knapp”)(“knapp”)—a heavy woolen material with napped surface Worsted (“worstete” and “worstet”)“worstet”)—a woolen fabric, or stuff made from well-twisted yarn spun from long- wool combed to lay the

34 35 fibers parallel, named for the village of Worstead near Norwich; SSSELECTED BBBIBLIOGRAPHY Pottsgrove ledgers show the purchase of various worsted material, such as worsted damask and worsted mohair Arnold, Janet. Patterns of Fashion 1: Englishwomen's Dresses & Their Construction c. 1660-1860. Costume & Fashion Press/Quite Specific Media, 1977. Definitions adapted from the glossary of the Mount Vernon Glassford & Henderson Transcription Project and from Florence Baumgarten, Linda. What Clothes Reveal: The Language of M. Montgomery’s Textiles In America, 1650-1870. Clothing in Colonial and Federal America. Williamsburg, : The Colonial Williamsburg Foundation, 2002.*

Baumgarten, Linda and John Watson with Florine Carr. Costume Close-Up: Clothing Construction and Pattern, 1750-1790. Williamsburg, Virginia: The Colonial Williamsburg Foundation, 1999.*

Bradford, Nancy. Costume in Detail: Women’s Dress 1730-1930. Revised edition. Boston, : Plays, Inc., 1983.

Burnston, Sharon Ann. Fitting & Proper: 18th Century Clothing from the Collection of the Chester County Historical Society. Texarkana, : Scurlock Publishing Company, 1998.*

Fontanel, Beatrice. Support and Seduction: A and . : Harry N. Abrams, Inc., 1997.

Hart, Avril and Susan North. Fashion in Detail from the 17th and 18th . New York: Rizzoli International Publications, Inc., 1998.

Haulman, Kate. The of Fashion in Eighteenth-Century America. The University of Press, 2011.

Hersh, Tandy and Charles. Cloth and Costume, 1750-1800. Carlisle, Pennsylvania: Cumberland County Historical Society, 1995.

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Huesken, Sue and Karen Mullian. Had On and Took With Her: Styles, John. The Dress of the People: Everyday Fashion in Clothing in Female Runaway Servant Advertisements from Eighteenth-Century England. New Haven: Yale University “The Pennsylvania Evening Post” as Published by Benjamin Press, 2007. Towne between 1775-1784. , NJ: Sk Shortgown Research, 2003. Styles, John. Threads of Feeling: The London Foundling 's Textile Tokens 1740-1770. London: The Foundling Koda, Harold and Andrew Bolton. Dangerous Liaisons: Fashion Museum, 2010. and Furniture in the Eighteenth Century. New York: Metropolitan Museum of Art, 2006. Takeda, Sharon Sadako and Kaye Durland Spilker. Fashioning Fashion: European Dress in Detail, 1700-1915. New York: Marsh, Gail. Eighteenth-Century Embroidery Techniques. East Delmonico Books, 2010. Sussex: Guild of Master Craftsman Publications, 2006.* Waterfield, Giles and Ann French. Below Stairs: 400 Years of Merrimack Valley Textile Museum. All Sorts of Good Sufficient Servants’ Portraits. London: National Portrait Gallery, 2003. Cloth: Linen-Making in , 1640-1860. North Andover, MA 1980. Waugh, Norah. Corsets and Crinolines. New York: Routledge, 1990. Montgomery, Florence M. Textiles in America, 1650-1870. New York: W.W. Norton & Company, 2007. Waugh, Norah. The Cut of Men’s Clothes, 1600-1900. Theatre Arts Books, 1987. Queen, Sally A. Textiles for Colonial Clothing: A Workbook of Swatches and Information. Arlington, VA: Q Graphics Waugh, Norah. The Cut of Women’s Clothes, 1600-1930. New Production Company, 2000. York: Routledge, 1968.

Rushton, Pauline. 18th Century Costume in the National Museums and Galleries of Merseyside. The Board of Trustees of the * Books marked with an asterisk are available for purchase in the National Museums and Galleries on Merseyside: England, Pottsgrove Manor Museum Shop 1999.

Saunders, Richard H. and Ellen G. Miles. American Colonial Portraits, 1700-1776. Washington, D.C.: Press, 1987.

Staples, Kathleen A. and Madelyn C. Shaw. Clothing Through American History: The British Colonial Era. Santa Barbara, : Greenwood, 2013.

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Thanks to the institutions and individuals who original pieces for this exhibit: Chester County Historical Society Pottstown Historical Society The National Society of The Colonial Dames of America in the Commonwealth of Pennsylvania at STENTON Landis Valley Museum, Pennsylvania Historical and Museum Commission Wyck Historic House, Garden, and Farm Cliveden of the National Trust for Historic Preservation Dr. Clarissa F. Dillon Deborah Peterson

Thanks to the individuals who lent reproduction pieces for this exhibit: Laura and Ryan Adie Deborah Peterson Amy Reis Lynn and John Symborski Connie Unangst

Reproduction materials and accessories purchased from: American Duchess Burnley and Trowbridge William Booth, Draper

And special thanks to all of our friends and volunteers who hehelpedlped make this exhibit possible, including: Ryan Adie, Barbara Hultslander, Mary Vickerman, Danielle Wenk, & LeighAnne Yacovelli