Gothic to Goth: Romantic Era Fashion & Its Legacy

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Gothic to Goth: Romantic Era Fashion & Its Legacy March 5, 2016–July 10, 2016 Wall Label Text Press Contact: Taryn Bunger, (860)-838-4081, [email protected]

Thomas Cole American, born England, 1801–1848 The Past, 1838 Oil on canvas Mead Art Museum, Amherst College, Amherst, Massachusetts. Museum Purchase, 1950.189 Enthusiasm for a mythologized past permeated the period’s culture and was expressed in both the fine and the decorative arts. Cole, who personally felt that human civilization had reached its height in the medieval era, captured the excitement and valor of a jousting tournament in this painting. (The companion painting, The Present, appears in the “Nature and the Picturesque” section of this exhibition.)

Pelisse, c. 1820 American Silk Purchased through a gift from Gloria Gworek, 2012.24.1

Walking shoes, c. 1815–20 English Kid leather Collection of Mary D. Doering

Purse, c. 1820–40 European for the American market Stamped leather and steel Gift of Mrs. Willard Jones, 1963.227

Romantic-era fashion demonstrated an escapist fascination with the medieval and Renaissance periods. This 1820s pelisse, or coat-dress, exemplifies how Romantic costume mixed elements from five hundred years of clothing design. It features Renaissance “slashing” in the collar, Tudor-style sleeves, and “vandyck” edging.

Bonnet, 1820–30 French Silk on buckram foundation, silk ribbon, and metal wire Museum of Fine Arts, Boston. The Elizabeth Day McCormick Collection, 45.293 Romanticism embraced the imagination. Large bonnets not only balanced the appearance of leg-o’ mutton sleeves and full skirts, but also offered ample space for creative embellishments, including layers of ribbon, faux flowers, feathers, and jeweled ornaments.

Sir Walter Scott, The Lady of the Lake (Edinburgh: 1810). Watkinson Library, Trinity College, Hartford, Connecticut

Sir Walter Scott, The Waverley Novels (London: 1836). Watkinson Library, Trinity College, Hartford, Connecticut

Sir Walter Scott’s Waverley novels are a series of more than twenty historical dramas about chivalrous knights and fair maidens (including Rob Roy, Ivanhoe, Kenilworth, and The Lady of the Lake). Written between 1814 and 1832, they fed the public’s imagination and thirst for romantic escapism.

William Wordsworth and Samuel Taylor Coleridge, Lyrical Ballads (Philadelphia: 1802, first published 1798). Watkinson Library, Trinity College, Hartford, Connecticut

The British poets William Blake (1757–1827), William Cowper (1731–1800), William Wordsworth (1770–1850), and Samuel Taylor Coleridge (1772–1834) were among the first Romantics. Their poetry evoked the beauty and godliness of nature, imagination, and emotion, and was eagerly consumed by readers on both sides of the Atlantic.

Lord Byron, The Bride of Abydos: A Turkish Tale (London: 1813). Watkinson Library, Trinity College, Hartford, Connecticut

D. W. Kellogg & Co. American, Hartford, Connecticut, active c. 1830–1842 Byron and Marianna, 1837–40 Lithograph Gift from the estate of John H. Sage, 1925.938

Lord Byron (1788–1824) set young women’s hearts aflutter with his poetry and his “mad, bad, and dangerous to know” reputation (as stated by his jilted but married lover, Lady Caroline Lamb). This lithograph pictures Byron with another married lover, Marianna Segati, of whom he wrote in 1817: “My dear Tom, I really cannot go on; there is a pair of black eyes looking over my shoulder so that I must turn and answer them instead of you.”

Lilly Martin Spencer American, 1822–1902 Reading the Legend, 1852 Oil on canvas Smith College Museum of Art, Northampton, Massachusetts. Gift of Adeline Flint Wing, class of 1898 and Caroline Roberta Wing, class of 1896, sc 1954:69

In Reading the Legend, a young woman gazes longingly toward an ivy-covered Gothic ruin as her beau reads a romantic novel to her. (The ruin is actually Blarney Castle in Ireland, which burned in 1820, and probably looked much like this picturesque image at the time of Spencer’s painting. It was rebuilt in the 1870s.)

Thomas Sully American, born England, 1783–1872 Daniel Wadsworth, 1807 Oil on canvas Gift of William P. Wadsworth, 1976.79 One of Romanticism’s preeminent artists, Sully received early patronage from Daniel Wadsworth. The costume and pose in this portrait readily identified Wadsworth as a romantic tourist to his contemporaries. The knot with which he tied his cravat was of the sort used for traveling, later termed “à la Byron.” His buff leather gloves with red stitching were also of the type worn when traveling. The dreamy gaze, tousled curly hair, and nonchalant pose all add to the painting’s romantic sensibility.

E. B. & E. C. Kellogg American, Hartford, Connecticut, active 1840–1847 and 1855–1867 Wadsworth Atheneum, Hartford, Conn., 1845 Hand-colored lithograph Gift of James Junius Goodwin, 1935.434

Wadsworth’s enthusiasm for Romantic imagination carried over to the design of the Wadsworth Atheneum—his gift to the people of Hartford, which opened in 1844. One of the first public Gothic Revival structures in Hartford, it was designed by Ithiel Town (1784–1844), and Alexander Jackson Davis (1803–1892)—both leading practitioners of the style. The tracery windows, arched entrance, and crenellated towers and roofline all reference a medieval style, combining the appearance of a fortified castle and a Gothic cathedral.

Dress, c. 1810 American Cotton Costume and Textile Purchase Fund, 2012.31.2

Reproduction neck ruff

Romanticism had its origins in the eighteenth century, at the same time that Neoclassicism came into prominence. The two movements share a passion for human freedom and an interest in history and historic design. Even while Neoclassicism held sway, Romanticism crept into fashion details with such items as neck ruffs of the type worn in Renaissance Europe, but this time worn with empire- waist dresses, as seen in this dress and the image of Harriet Wadsworth.

Attributed to John Trumbull, American, 1756–1843, Harriet Wadsworth, c. 1790–91. Pencil on paper. Source unknown, 1980.72

Dress, c. 1815–20 American, embroidery probably produced in India Embroidered cotton muslin Gift of Mr. and Mrs. Clifton M. Bockstoce, 1963.511

Shawl, 1818 Indian Embroidered cotton muslin Gift of Mr. and Mrs. John G. Pennypacker, 1965.115

Renaissance “slashing” inspired another early example of Romantic style. The original manner of creating this look required pulling a fine linen smock or shirt through the slashes of an outer garment to make puffs. In early nineteenthcentury costume, a similar effect was achieved by gathering fine cotton muslin in vertical puffs, as seen in the sleeves of this dress.

Reproduction fashion plates, “Morning Dress/Evening Dress/Dress of Queen Elizabeth” from American Lady’s Magazine, March 1831. Courtesy of Old Sturbridge Village Research Library

Ladies’ magazines informed readers about the inspiration for current modes. They could read essays about medieval and Renaissance costume or compare sideby-side illustrations of historic fashions and new designs. Note the hairstyles with masses of curls at the temples, and the leg-o’-mutton sleeves, which are very full at the shoulder and taper to a narrow wrist.

Alessandro Allori Italian, Florence, 1535–1607 Portrait of a Noblewoman with her Son, 1574 Oil on panel The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1988.14

A comparison of these two portraits shows some of the elements that Romantic design borrowed from sixteenth-century fashions. The same neckline shape and edging, as well as the straight sleeve capped with a short puff, can be seen in both.

Attributed to Alvan Fisher American, 1792–1863 Mrs. John Bliss (Anna Watson), c. 1826 Oil on wood Bequest of Miss Rosa Watson and Miss Cecile A. Watson, 1948.528

Wenceslaus Hollar Bohemian, 1607–1677 The Four Seasons: Autumn, 1644 Etching on paper Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, 1955.1992

Samuel Waldo American, 1783–1861 William Jewett American, 1792–1874 Mrs. Charles (Martha Kingsley) MacNeil, 1834 Oil on wood Bequest of Clara Hinton Gould, 1948.182

Compare this 1644 etching by Hollar with the 1834 portrait by Waldo and Jewett. Mrs. MacNeil wears a hood-like cap and folded white scarf that perfectly echo the hood and collar of Hollar’s subject. In the Romantic era, large collars that draped over the shoulders were called “pelerines,” from the French word “pèlerin,” meaning “pilgrim”—an appropriately Gothic term connoting piety and history.

Dress, c. 1832 American Printed cotton Gift of Mrs. Charles H. Kremer, 1964.200

Day cap, c. 1830 American, probably Massachusetts Plain weave cotton Museum of Fine Arts, Boston. Gift of Miss Ellen A. Stone, 99.664.89

Puffed sleeves and wide collars reminiscent of the seventeenth century are seen in this dress; the decorative tab edging of the collar is similar to the edgings of men’s clothing in the thirteenth and fourteenth centuries. The 1832 fashion plate shows a dress with a similarly styled collar. Renaissance slashing, which was achieved by pulling an underlying linen smock through slashes in an outer garment, is simulated in the puffed construction of the day cap.

Reproduction fashion plate from Godey’s Lady’s Book, November 1832. Courtesy of The New York Public Library

Parlor stove, c. 1844 American, Albany, New York Made by Francis S. Low and John S. Leake Cast iron American Decorative Arts Purchase Fund, 1985.62

Parlor stoves, a luxury for only the wealthy until about the 1840s, were often cast with decorative detail reflective of the period’s reigning fashion. This Greek Revival stove features rounded shapes and foliate motifs like those seen in the nearby ball dress.

Ball dress, c. 1830 French Silk satin embroidered with metallic threads Museum of Fine Arts, Boston. The Elizabeth Day McCormick Collection, 43.1650

The large, puffed sleeves and full skirt of this dress illustrate the Greek Revival style, a marked departure from the straight lines of Neoclassical fashion. The gold-embroidered fronds around the hem are typical Greek Revival motifs and were found in a variety of early nineteenthcentury decorative arts.

Apron with belt, c. 1835–40 French Embroidered silk Gift of Mr. and Mrs. C. Alfred Weatherby in memory of Mrs. Charles N. Weatherby, 1929.124a,b Made in Paris for Mrs. Erastus Corning (Harriet Weld, 1794–1883). Erastus Corning (1794–1872) was a wealthy businessman and politician in Albany, NY.

Reproduction dress

Pelerine, c. 1830 Probably French for the American market Embroidered cotton Costume and Textile Purchase Fund, 2012.31.6 Shoes, 1832 American Kid leather Gift of Mrs. Charles Wilbur Cary, 1947.48–49

In the 1830s, some observers of Romanticism’s most extravagant forms used “Gothic” as a derogatory term. They found the mixing and exaggeration of historical elements, especially leg-o’- mutton sleeves, and the penchant for numerous embellishments—such as this embroidered apron and pelerine—ridiculous. One author described a lady “covered with finery, that looked as if it had been showered upon her from a band-box held over her head” as “a specimen of the florid Gothic” (1837). Sponsored by Genevieve and Michael Pfaff in honor of The Costume & Textile Society of the Wadsworth Atheneum.

Reproduction fashion plate, “Fashions for November,” from American Lady’s Magazine, November 1831. American Antiquarian Society, Worcester, Massachusetts

The embroidered pelerines finely worked in white cotton and sometimes with matching cuffs and caps, were perhaps the most desired fancy item in the 1820s and 1830s. Women could make these items themselves, following patterns provided in ladies’ periodicals like Ackermann’s Repository and Godey’s Lady’s Book, or they could purchase them ready-made, imported from France.

Corset, c. 1840 American Made by Ruby Gallup Cotton Lent by Mrs. Francis E. Spaulding, t.l.1923.565

Busk, 1825–50 American Made by Mrs. Eldert Van Woert Dox Wood Gift of Miss Virginia Dox, 1917.172

Sleeve puffs, c. 1825–35 American Cotton and down Costume and Textile Purchase Fund, 2010.13.3a,b

Corded petticoat, c. 1830–50 American Cotton Gift of Miss Agnes E. Bowen, 1920.1124

Chemise, c. 1840s American Linen Historic Northampton, Northampton, Massachusetts, 66.36

To achieve the desired hourglass shape fashionable from about 1825 to 1836, women wore a corded corset to cinch the waist, petticoats that were corded for extra stiffness (mounted here under the corset for display purposes), and puffs to hold up the leg-o’-mutton sleeves. A busk (a slat of wood or baleen, harvested from whales) inserted down the center of the corset ensured the posture remained erect. An easily washed chemise worn under all of these layers absorbed perspiration.

Platter, c. 1850 English, Staffordshire Lead-glazed earthenware, transfer-printed Connecticut Historical Society, Hartford, Connecticut, Gift of Mary F. Lord and Katherine L. Lord

In addition to the historical references inherent in its architecture and decorative arts, the Gothic Revival style was appreciated for the piety it was believed to convey (a concept explored further in the “Religion” section of this exhibition). Housewives decorated their homes with Gothic-themed objects that evoked the days of chivalry and godliness popularized by Sir Walter Scott’s Waverley novels—including curtains printed with Gothic stained glass windows, and platters transfer-printed with designs of castles.

Veilleuse or tea warmer, c. 1840–60 European Porcelain The Harold and Wendy Newman Collection, 1986.144

This tea warmer was designed to resemble a medieval castle, with a crenellated tower and drawbridge. Note the knights standing in niches on each side.

Printed textile with Gothic windows, 1842 English Printed by Stead McAlpin, Cummersdale, England Cotton Winterthur Museum, Wilmington, Delaware. Museum purchase

A number of different Gothic window prints were created by textile manufacturers in the 1840s; some even included designs of church clerics or knights in armor.

Dress, c. 1840–45 American Silk satin Museum of Fine Arts, Boston. Gift of Miss Emily M. Babcock, 46.620

This 1840s dress features a revival of sixteenth-century virago sleeves (in which the fullness is gathered in multiple bands down the arm). In Titian’s portrait of Charles V, the king wears a coat with slashed virago sleeves.

Titian, Italian, c. 1488–1576, Portrait of Emperor Charles V, 1532–33. Oil on canvas. Museo del Prado, Madrid

Folding fan, mid-19th century European Hand-painted lithograph and ivory Bequest of Miss Adele Kneeland through Mrs. Philip A. Means, her niece, 1938.574

Lithographic prints of imaginary Gothic scenes could be purchased for hanging on the parlor wall— or for fluttering in the hand. The leaf of this fan depicts a pseudo-medieval feasting scene, flanked by figures of knights in chain mail set within Gothic medallions.

Folding fan, mid-19th century European for the American market Hand-painted lithograph and bone Gift of Miss Mary Barton from the Collection of Mr. and Mrs. Charles Dudley Warner, 1938.213

The costumes depicted on the lithographed leaf of this fan are a mix of mostly sixteenth- and seventeenth-century styles. The knight in armor with his page (or servant) brings in a Gothic element.

Shoes, c. 1775 American Silk Gift of Mrs. T. Stewart Hamilton, 1961.108a,b

Dress made from 18th-century fabric, c. 1840 American Silk Gift of Mrs. T. Stewart Hamilton, 1961.109a,b

Slippers, c. 1830–50 American Silk and leather Bequest of Miss Augusta Hart Williams, 1913.138–139

This dress offers an example of how 1840s fashion sometimes incorporated historical styles in a more tangible way—it was cut “à l’antique” using fabric from an eighteenthcentury dress. The shoes matching the original 1770s dress are seen in the display case nearby. The collar edging the low neckline was inspired by seventeenth-century fashion.

Parlor sofa, c. 1863 American, probably Boston, Massachusetts Rosewood and silk damask Gift of Mrs. Horace B. Clark, and Thomas L. Cox, by exchange, 1985.2.1

The Rococo, an eighteenth-century aesthetic characterized by ornate curves and floral patterns, was revived in the 1850s. This parlor sofa’s upholstery, which is original, imitates the woven design of an early eighteenth-century silk. A similar Rococo Revival silk can be seen in the blue and black dress nearby.

Dress, late 1840s Possibly French Silk Museum of Fine Arts, Boston. The Elizabeth Day McCormick Collection, 44.142 Chemisette, c. 1845–55 American Cotton muslin with machine-made linen bobbin lace Historic Northampton, Northampton, Massachusetts, 51.52

This Rococo Revival dress is an imitation of an eighteenth-century dress called an “open robe,” in which the skirt is open to reveal a decorative or matching petticoat.

Dress with evening bodice, c. 1850 American Silk Gift of Estate of Matta Grimm Lacey, 1976.33b,c Chantilly lace shawl, c. 1850–75 French Silk Gift of Mr. and Mrs. Kraatz, Paris, 1984.70

The brocade-woven design of curled leaf motifs and rose-like flowers is distinctly eighteenth-century in flavor, though the deep black and blue color combination is very Victorian. The black Chantilly lace shawl was hugely fashionable in the 1850s and 1860s. Chantilly had been the favorite lace of Queen Marie Antoinette.

Folding fan, c. 1850 European Hand-colored lithograph and thermoplastic Bequest of Miss Adele Kneeland through Mrs. Philip A. Means, her niece, 1938.573

The sticks of this mid-nineteenth-century fan are molded in an ornate Rococo style featuring cherubs and shell motifs.

Folding fan, mid-19th century European for the American market Hand-painted lithograph and wood (probably hornbeam) Gift of Mrs. T. Merrill Prentice, 1957.777

Exoticism and an interest in eighteenth-century style are both illustrated on this fan. Paintings of people in pseudo eighteenth- century dress appear on the sticks as well as the leaf. The leaf is bordered with the “bota” motif, which was associated with the Indian cashmere shawls that were highly fashionable at the time. (These are now commonly known as “paisley” shawls, after the Scottish town where imitations of the Indian originals were woven.)

Folding fan, c. 1850 European Hand-painted lithograph and bone Bequest of Miss Bessie L. Franklin, 1931.225

The central design painted on this fan leaf depicts an eighteenth-century pastoral scene, flanked by vignettes of women in exotic garb modeled after Turkish clothing. “Turquerie” was a fashionable element of eighteenth-century design. Turkish motifs and forms returned to mainstream fashion in the nineteenth century, and were also used as the inspiration for women’s reform dress, with the 1850s “bloomer” outfit based on the construction of women’s “Turkish trousers.”

Edward Sheffield Bartholomew American, 1822–1858 Bust of Elizabeth Hart Jarvis Colt, c. 1857 Marble The Elizabeth Hart Jarvis Colt Collection, 1905.1122

Elizabeth Colt’s hair style, which was popular in the 1850s, imitates a fashionable seventeenth- century coiffure. It is a simplified version of what Godey’s Lady’s Book called “à la Marie Stuart,” with padded “bandeaux” over the ears. Again, mixing inspiration from multiple centuries, some women in the 1850s and 1860s went so far as to powder their hair white, silver, or gold, like their eighteenth- century models.

Unidentified Artist American Portrait of a Woman, c. 1835 Oil on canvas The Wallace Nutting Collection, Gift of J. Pierpont Morgan, 1926.285

Although her black dress and lack of jewelry suggests the understated fashion of the very pious (see the “Religion” section of this exhibition), this woman’s pelerine and cap display the delicate embroidery that was in vogue in the first half of the nineteenth century. The sitter’s enthusiasm for Fancy is further revealed in the multi-layered window covering—a patterned roller shade (probably covered with wallpaper), netting-trimmed curtain, and drapery held back with a pressed brass cloak pin.

Side chair, 1825–35 American, probably Connecticut Maple, paint, and rush Connecticut Historical Society, Hartford, Connecticut, Gift of George H. Gilman, Jr. Originally owned by John Hanmer (1801–1881) and his wife, Hannah Belding Churchill (1805–1886), of Wethersfield, CT.

The Fancy aesthetic extended to home design and the decorative arts in the second quarter of the nineteenth century. In addition to painted walls and floors and patterned window curtains, American housewives filled their homes with colorful ceramics, paint-grained furniture, painted tinware, pressed glass, and vibrantly colored patchwork quilts. This stenciled side chair (called a “fancy chair” in the period) is one example.

Apron, 1833 American Embroidered silk Gift of Miss Ruth Wolcott, 1968.225

Reproduction dress

Shoes, c. 1830s American Kid leather Purchased from Mrs. Frances Edwards from Keney Fund, 1946.130–131

Pair of earrings, c. 1830s Barbados Gold and chalcedony Gift of Mrs. Gurdon W. Russell, 1918.1619–1620

This embroidered silk apron was a gift to Frances Ann Dorr from her fiancé, Peter Freeman, who purchased it in 1833 at a fair to benefit what is now the Perkins School for the Blind in Boston. (Such “fancy fairs” were common fundraisers in the antebellum period, and were often held for reform causes, such as anti-slavery, or to benefit the poor.) The bright-green silk with contrasting pink ruffles and embroidery is an eye-popping example of Fancy fashion.

Dress, c. 1830 English Red calico Costume and Textile Purchase Fund, 2012.31.5 Shoes, c. 1825–50 American Silk satin and leather Gift of Miss Ruth Wolcott, 1968.232a,b

Chemisette with ruffled collar, c. 1830s Probably French for the American market Cotton Gift of Miss Ellen D. Constant, 1930.106

Purse, c. 1830s American Stenciled cotton velvet on stamped brass frame Gift of Mrs. Gurdon W. Russell, 1918.1387

Innovations in textile technologies in the late eighteenth and early nineteenth centuries had a tremendous impact on the production of calico, making these multi-colored cotton fabrics affordable for almost every budget. Following the Fancy aesthetic, women sometimes applied their own designs to textiles; between 1825 and 1850, stenciling was an especially popular form of decoration, as seen in this purse.

Hair comb, 1820–40 Probably European Tortoiseshell Gift of Miss Mary E. Lincoln, 1927.138

Hair comb, c. 1825–35 American Horn Bequest of Miss Julia F. White, 1937.224

Hair comb, c. 1825–35 European or American Tortoiseshell Gift of Misses Elizabeth M. and Etta M. Dow, 1938.298

Fancy also affected hairstyle fashions, which featured greased and wired loops and curls (as imitated in wired ribbon wigs on the mannequins). These elaborate coiffures were further ornamented with large combs, sometimes worn two or three at a time. The combs were made from the shells of sea turtles—most commonly the hawksbill turtle. Horn was sometimes used as an alternative to tortoiseshell, or, when dyed, as an imitation of that more expensive material.

Dress, c. 1837–40 American Printed silk Costume and Textile Purchase Fund, 2012.31.3

Reproduction ribbon belt

Belt buckle, 19th century Probably English Mother of pearl and brass Collection of Lynne Zacek Bassett Scarf, c. 1850 French or English Silk Gift of Mr. and Mrs. Clifton M. Bockstoce, 1963.527

American women who put together ensembles like this one were following French fashion. The silks, as well as the styles, were probably produced in France. The complicated sleeve decoration, pattern- woven shawl, ribbon belt and buckle, beaded reticule (seen in the case nearby), and complex hairstyle all combined to create layers of pattern and ornamentation in response to Romanticism’s imaginative Fancy aesthetic.

Beaded bag, 1833 Made by Almira H. White (American, 1800–1870) Glass beads and cotton Bequest of Miss Julia F. White, 1937.222

Beaded items of all kinds were extremely popular in the 1820s and 1830s, at the height of the Fancy style. Women could purchase ready-made beaded items, such as drawstring bags (called reticules), matching sweater and cap sets for babies, bracelets, and even parasols, all generally made in Germany. Alternatively, they could make their own items, such as this bag, with beads imported from Bohemia. This reticule is worked with the inscription “Almira H. White Hartford 1833.”

Beaded bag, 1833 Made by Almira H. White (American, 1800– 1870) Glass beads and cotton Bequest of Miss Julia F. White, 1937.222

Hall chair, c. 1845 American, possibly New York Rosewood veneer, black walnut, cherry, and brass Bequest of Robert H. Schutz, Jr., 1991.26

The Gothic Revival came to the height of its popularity in the decorative arts in the 1840s. The Gothic arch and window tracery designs associated with medieval cathedrals can be seen in the carved back of this chair.

Jug, 1842–61 English, Hanley, Staffordshire Made by Charles Meigh & Co. (active 1835–1861) Lead-glazed stoneware Bequest of Miss Louise E. Hatheway, 1910.203

The “Apostle” design molded in lead-glazed stoneware was a very popular Gothic Revival motif and can be found in tea sets and jugs. Any Catholic association with the design was conveniently overlooked by staunchly Protestant followers of the Gothic Revival.

Pickling jar/bottle, c. 1870–90 American Glass Edith Olcott Van Gerbig Collection, 1956.2527

Even such mundane objects as a pickling jar bore the pious Gothic arch. Gothic design continued to be popular in household objects throughout much of the nineteenth century.

Reproduction of Gothic Seminary letterhead. Courtesy of Historic Northampton, Northampton, Massachusetts, 01.774

The Gothic Seminary, a young ladies’ academy in Northampton, Massachusetts, embodied the importance placed on feminine piety in its architecture and teaching. The building, designed by local architect William Fenno Pratt (1814–1900), was an early and important example of Gothic Revival architecture. The school’s proprietress, Margarette Dwight (1804–1845), stated in the school’s 1837 catalogue that in all her interactions with students, including her teaching, she was “guided by the Word of God, and modified by His grace.”

Dress, c. 1837 American Printed cotton Historic Northampton, Northampton, Massachusetts, 66.25 Worn by Mary Todd Washburn (1822–1902) at the Gothic Seminary in Northampton, Massachusetts.

Margarette Dwight wrote to students’ parents, “Though I encourage simplicity in dress, I require the young ladies always to be neat and lady-like in appearance.” Mary Todd Washburn wore this calico dress while attending the Gothic Seminary. It fits Miss Dwight’s requirements perfectly, and marks the transition from the huge leg-o’-mutton sleeves that echoed the lines of the Greek Revival, to the tight sleeves and bodice that represented the Gothic arch shape fashionable in the 1840s.

Wedding dress, pelerine, shoes, reticule and gloves, 1840 Burmese Silk Gift of Mr. & Mrs. Edward C. Barlow, 1971.8a,b,d,h-k Worn by Olive Harrington (1816–1845) of Brookfield, Massachusetts.

Brooch, mid-19th century American Brunette hair and gold Gift of Mrs. William S. Curtis, 1944.254

Romanticism’s religious zeal was associated with the medieval Crusades. With Bibles rather than swords in hand, nineteenth-century missionaries were sent out to bring Christianity to “heathen” countries. Caroline Harrington of Brookfield, Massachusetts, was appointed as a Baptist missionary to Burma in 1832. She married the Reverend Thomas Simons and commissioned this silk wedding dress and accessories from the seamstresses of his congregation. The ensemble was a present for her sister, Olive, who wed Marshall Doane on November 8, 1840.

Child’s dress, c. 1845 American Red wool Special Gift Fund, 1960.440

Cold Water Army fan, 1842 American Lithograph mounted on cardboard and wood Collection of John Bates

As pious protectors of the home and family, women—especially in the Northeast—felt that religion demanded their engagement in various reform activities to improve society, such as efforts to eradicate slavery and alcoholism, and to relieve the suffering of the poor. The Cold Water Army was the children’s branch of the temperance movement, which sought to reduce or ban the drinking of alcoholic beverages. This fan was a souvenir of one of these children’s temperance society meetings.

Reproduction fashion plate from Godey’s Lady’s Book, March 1843. Collection of Lynne Zacek Bassett

In the 1840s, simplicity in dress became associated with a virtuous and pious spirit. This led to reduced embellishment and a new silhouette. The shoulder line remained sloped, and sleeves became tightly fitted. The neckline and waistline grew pointed, and the torso was constricted by a bosom-crushing corset, while the skirt remained bell-shaped. Topped by a closely fitted bonnet, the resulting silhouette consciously echoed the shape of a Gothic arch, as this fashion plate illustrates.

The New Masonic Hall, Philadelphia, 1855 American Lithograph American Antiquarian Society, Worcester, Massachusetts

The new Masonic Hall of Philadelphia was built from 1853 to 1855, after the first hall burned down. That original Masonic Hall of 1808 was also Gothic Revival, making it a very early example of the style in the United States. The new edifice was designed and built by Samuel Sloan (1815–1884) and John Stewart (active 1845–1885). The dresses of the ladies strolling in front of the building in this lithograph reflect the shape of the Gothic arches of the building.

Dress, c. 1840–45 American Silk Gift of Mrs. Frederic Beach, 1937.422

Canvaswork bag, c. 1830–50 American Wool and linen Collection of Mary D. Doering

Shoes, c. 1830–50 American Kid leather Collection of Mary D. Doering

The pointed waistline, pointed bodice decoration, tight sleeves, tight bodice with dropped shoulder line, and full skirt of this silk dress combine to mimic the shape of a Gothic arch.

Watch chain, c. 1830–40 American Loom-woven glass beads Bequest of Miss Adele Kneeland, 1938.520

The bead watch chain, a fad among young women in the 1830s, potentially satisfied both the Fancy and the religious aesthetic. Woven with glass beads, the chains commonly featured religious symbolism and mottoes. The motifs on this particularly colorful chain include a church, anchors (meaning religious hope), and a twice-repeated design of three crosses, representing the crucifixion of Jesus Christ between two thieves.

Brisé fan in Gothic Revival style, c. 1840s Possibly Italian or English Tortoiseshell The Thompson Collection. Gift of Mrs. Maria D. Thompson, 1922.256

The blades of this fan are peaked like Gothic arches, and the stamped gold decoration depicts more Gothic architectural designs, including tracery and trefoils.

Chester Harding American, 1792–1866 Mrs. Abbott Lawrence (Katherine Bigelow), c. 1855 Oil on canvas Museum of Fine Arts, Boston. Gift of Miss Aimée and Miss Rosamond Lamb, 61.240

To avoid associations with Catholicism, proponents of the Gothic style argued that it was started by Druids, who formed their pointed-arch chapels by tying trees together. This painting represents the intertwining of religion and nature in Romanticism. While the background depicts a natural landscape lit by a warm, mellow glow, Mrs. Lawrence sits in her Gothic chair, wearing a cross necklace and the sedate black dress and simple accessories of the highly religious.

Ralph Waldo Emerson, Nature (Boston: 1836). Watkinson Library, Trinity College, Hartford, Connecticut

John Crookshanks King American, born Scotland, 1806–1882 Ralph Waldo Emerson, c. 1860 Unglazed parian Concord Museum, 1993.13

Emerson introduced the concept of Transcendentalism in 1836, in an essay titled, simply, Nature. In it, he expressed dismay that society filtered its theology— and even its fashions—through historical modes of thought. Nature, he asserted, was the direct path to understanding the Divine.

Frederic Edwin Church American, 1826–1900 Niagara Falls, 1856 Pencil and oil on paper mounted on canvas Gift of Miss Barbara Cheney, 1971.78 In the nineteenth century, Niagara Falls was America’s most celebrated natural feature. Its beauty and ability to express power and the presence of God in nature inspired writers and artists at every level of talent—from the “scribbling women” vying for publication in the ladies’ periodicals, to great artists like Hartford native Frederic Church.

Andrew Jackson Downing, Cottage Residences (New York: 1842). American Antiquarian Society, Worcester, Massachusetts

Gothic Revival architecture fulfilled the Romantic enthusiasm for both nature and religion. In his influential 1842 book, Cottage Residences, Downing promoted the style as being beautiful because it offered irregularity and soft, earth-tone colors that blended well with the landscape. Quoting the German Romantic author and philosopher Johann Wolfgang von Goethe (1749–1832), Downing argued that “All beauty is an expression of inward good,” and through beauty, Americans could “attain a nearer view of the Great Master.”

Nathaniel Currier American, 1813–1888 James Merritt Ives American, 1824–1895 American Country Life. May Morning, 1855 Hand-colored lithograph Michele and Donald D’Amour Museum of Fine Arts, Springfield, Massachusetts. Gift of Lenore B. and Sidney A. Alpert, supplemented with Museum Acquisition Funds

This idyllic scene illustrates the type of Gothic-style country home promoted by Downing. Two ladies tend the extensive garden in the yard while a child plays with a pet lamb.

Thomas Cole American, born England, 1801–1848 The Present, 1838 Oil on canvas Mead Art Museum, Amherst College, Amherst, Massachusetts. Museum Purchase, 1950.190

Downing’s Cottage Residences, as well as other architectural advice books of the period, promoted soft, golden earth tones to harmonize with nature. They were meant to evoke the “mellow golden hue” of sunshine, “when diffused as in a fine evening over the whole landscape.” These are the colors of Cole’s painting, The Present, which laments days gone by— medieval ruins covered in moss and ivy, lit by an end-of-day glow from the sun.

Dress, c. 1837–40 American Silk Gift from the Estate of Miss Laura B. Pease, through Dwight Pease, 1950.401

Shawl, c. 1845 English Wool and silk Gift of Mrs. Maria D. Thompson, The Thompson Collection, 1922.246 Belonged to the donor’s mother.

Shoes, 1841 American Silk and leather Gift of Miss A. Gertrude Ensign, 1946.261–262

Bonnet, 1837 American Silk and cane Gift of Miss Amy L. Steiner, 1950.531

Judging by the number of surviving examples, every woman in the late 1830s or early 1840s must have owned at least one dress in this mellow, golden olive color. This, and similar soft shades of sage green, tan, and indescribable golden putty colors—various shades of “drab”—were the same contemplative earth-tone colors recommended in Gothic Revival architecture books and used in Romantic landscape paintings, such as Thomas Cole’s The Present.

Dress, c. 1837–40 American Silk Gift from the Estate of Miss Laura B. Pease, through Dwight Pease, 1950.401

Shawl, c. 1845 English Wool and silk Gift of Mrs. Maria D. Thompson, The Thompson Collection, 1922.246 Belonged to the donor’s mother.

Shoes, 1841 American Silk and leather Gift of Miss A. Gertrude Ensign, 1946.261–262

Bonnet, 1837 American Silk and cane Gift of Miss Amy L. Steiner, 1950.531

Dress, c. 1850 American Printed wool challis Gift of Miss Harriet A. Kellogg and her sisters, Julia A. and Laura C. Kellogg, 1943.161

Undersleeves, c. 1845–50 Cotton Gift from the Estate of Mrs. Louisa Gilman Lane through Miss Caroline Trumbull Gilman, 1923.410–411 This dress epitomizes the restrained femininity of women’s daywear in the 1840s, with its simple embellishment of narrow velvet ribbon on the sleeves and decorative gold buttons down the front. The forest green, floral challis fabric reflects the period’s interest in nature. The design of the dress takes inspiration from the fifteenth, sixteenth, and seventeenth centuries—“the dry bones of the past,” as Emerson proclaimed—in its capped and belled sleeves, and its elongated, pointed waist. Sponsored by Mary D. Doering.

Remarkable headdresses, flowing with flowers, fruits, and leaves, were worn on the padded hairstyles of the 1850s, as seen in this fashion plate. Parisian salons brought the manufacturing of faux flowers to the level of an art: “Artificial flowers ... almost rival the blossoms they are intended to imitate. ... the fair floriste adds to their beauty and charm, by giving to each a drop of the perfume peculiar to it.” (1847)

Reproduction fashion plate from Graham’s Magazine, 1851. Collection of Lynne Zacek Bassett

M. A. (Mary Ann) Bacon, Flowers and Their Kindred Thoughts (London: Longman & Co., 1848). Auerbach Library, Wadsworth Atheneum Museum of Art, Hartford, Connecticut

The Romantics assigned meaning to all manner of things, including flowers. Books on the “language of flowers” reached the height of their popularity in the 1830s and 1840s. As they tended to give different meanings for various flowers, they do not seem to have had a practical purpose. Rather, cultivating flowers, displaying beautifully bound gift annuals named for flowers, decorating with flowers, and wearing faux flowers was, in fact, the language of gentility.

Brisé fan, 1840s Possibly German Carved ivory Gift of Mr. and Mrs. James Lippincott Goodwin, 1952.22

Flowers were carved into folding fans, cast into gold jewelry, and held as decorative nosegays— indeed, flowers decorated every form of women’s fashion. Each blade of this fan is intricately carved with a different flower.

James Fenimore Cooper, The Last of the Mohicans (Philadelphia: 1833, first published 1826). Watkinson Library, Trinity College, Hartford, Connecticut

Thomas Cole American, born England, 1801–1848 Scene from “The Last of the Mohicans,” Cora Kneeling at the Feet of Tamenund, 1827 Oil on canvas Bequest of Alfred Smith, 1868.3

Cole painted several scenes from James Fenimore Cooper’s The Last of the Mohicans. Daniel Wadsworth’s admiration for this painting affirmed Cole’s fulfillment of the Romantic sublime in this scene of Cora, at the mercy of Tamenund’s judgment: “... the Grand & Magnificent Scenery... The heavenly serenity of the firmament, contrasted with the savage grandeur, & wild Dark Masses of the Lower World,—whose higher pinnacles only, catch a portion, of the soft lights where all seems peace... .”

Spring & Summer Fashions, 1842 Published by Scott & Wilson, New York Lithograph American Antiquarian Society, Worcester, Massachusetts

Niagara Falls became a popular honeymoon destination by mid-century. This fashion plate depicts elite attire for visiting the natural wonder. The men generally wear frock coats with pinched waists, sloped shoulders, and full skirts that echo the fashionable silhouette of women’s dresses. The woman on the left wears a riding habit, while the woman on the right wears a shawl over a dress constructed and prominently embellished with V-shaped elements, a reference to Gothic design.

Beaded bag, mid-19th century Iroquois (New York, Quebec, and Ontario) Glass beads, wool, and silk Special Gift Fund, 1958.666

Among the attractions of the Niagara Falls region were the Native Americans. The Iroquois capitalized on public sentiment and developed crafts for the tourist trade. Surviving in greatest quantity are the beaded bags, with scroll and heart designs, and floral and bird patterns worked over paper templates on top of scarlet wool or dark velvet to increase the sparkle of the beadwork.

Beaded bag, c. 1852 Iroquois (New York) Wool, silk, paper, and glass beads From the collection of Old Sturbridge Village, Sturbridge, Massachusetts, 26.29.129

This Iroquois beaded bag contains a note: “This bag was bought of the Indians in 1852 at Niagara Falls by Grandpa Allen.” In addition to purses for girls and women, various forms of caps, especially floral-beaded, boat-shaped, Glengarry caps, were fashionable Native American tourist items crafted for men throughout much of the nineteenth century. Sponsored by Marguerite Rose/Panache on New Park.

William E. Winner American, 1815–1883 Garden Scene Near Philadelphia, c. 1840 Oil on canvas The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 1942.444

This family scene represents the practice of allowing children the freedom to romp outside in unrestrictive clothing. Well-dressed but not overly dressed, two boys tussle over a hoop, and a girl with a wreath of flowers in her hair sits on the lawn (her silk apron offering a modicum of protection to her dress). The straw “gypsy” hat on the bench (another is depicted in the engraving on the section label) was fashionable for girls and young women in the Romantic era. The name is evidence of the period’s fascination with “natural” people living outside of the typical norms of civilization.

Child’s dress, c. 1830–50 American Cotton Gift of Miss Jane W. Stone, 1924.7

Child’s dress, c. 1840–60 American Printed cotton Gift of Miss Clara D. Capron, 1949.344

Early nineteenth-century advice authors discouraged clothing that restricted children’s movement or jewelry that irritated their skin. They suggested that mothers trust nature to guide—or even provide—what was necessary for comfort: “The practice of putting caps on infants is happily going by... nature furnishes a covering for the head... .” (1837). The off-the-shoulder style of children’s dresses represents the interest in being natural and unrestrained in this period.

D. W. Kellogg & Co. American, Hartford, Connecticut, active c. 1830–1842 Satisfaction, Benevolence, and Modesty, c. 1830–40 Hand-colored lithographs Gift from the Estate of John H. Sage, 1925.933, .971, .883

In the early nineteenth century, lithographs of idealized women and families were a popular way to spread the sentimental and religious values of Romanticism. The titles were the virtues they represented—Modesty, Benevolence, Satisfaction, Charity, Devotion, and Tenderness. The woman personifying Modesty is dressed in pseudo-Renaissance costume, and is posed with the downcast eyes that characterized the demure ideal of a Romantic woman.

Mrs. S. T. Martyn, The Golden Keepsake or Ladies’ wreath: A gift for all seasons (New York: 1851). American Antiquarian Society, Worcester, Massachusetts

“Gift annuals”— small books with decorative covers—were commonly given as Christmas or New Year’s presents in the pre-Civil War era. These books provided an important outlet for essays, poems, and illustrations that promoted Romantic ideals of womanhood, piety, and nature.

Augustus Washington American, Hartford, Connecticut, c. 1820–1875 Lydia Huntley Sigourney ( 1791–1865), c. 1855 Daguerreotype Watkinson Library, Trinity College, Hartford, Connecticut

Lydia Huntley Sigourney of Hartford, the most celebrated American female poet prior to the Civil War, frequently published her work in gift annuals. Her poetry is now regarded as cloyingly sentimental, but was much loved in the Romantic era. Daniel Wadsworth offered Sigourney ongoing encouragement and patronage.

Lydia Huntley Sigourney, Letters to Young Ladies (1833). Watkinson Library, Trinity College, Hartford, Connecticut

In her advice book, Letters to Young Ladies, Sigourney offered four cardinal rules for dress: “Not to permit fashion to impair health” (the major concerns being tight-lacing and thinsoled shoes); “Dress should never infringe on delicacy” (modesty); “Dress ought not to involve unnecessary expense;” and “Dress should not engross too much time,” especially for church. Sigourney took her own advice. In the daguerreotype nearby, she is well dressed but modest, with a plain dark dress. Her downcast eyes characterize the demure ideal of the Romantic woman.

Friendship album of Deborah Blaskeslee, Hitchcockville, CT, 1830–33 Winterthur Museum, Wilmington, Delaware Friendship album of Sally Wetherbee, Troy, NH, 1829–33 Winterthur Museum, Wilmington, Delaware

The custom of collecting the verses, drawings, and inscriptions of friends in bound albums became popular in the late eighteenth century at the beginning of the Romantic era. These examples from the early nineteenth century are filled with poems about meeting again in Heaven, statements of remembrance, lithographs of Gothic scenes, and locks of hair from loved ones.

Dress, c. 1840–45 American Cotton/wool Purchased from Special Gift Fund, 1958.567a

Scarf, c. 1830–50 American Embroidered cotton Gift of Mrs. Grace (C. Wilbur) Cary, 1946.361

Day cap, 1840s American Embroidered cotton Costume and Textile Purchase Fund, 2012.31.10

Eyeglasses, 1830–40 Collection of Thomas G. Shaw, The Clothing Bureau

Pin, c. 1820–50 American Gold, pearls, glass, and hair Bequest of Miss Adele Kneeland through her niece, Mrs. Philip A. Means, 1938.428

Housewife, c. 1830s American Printed cotton Collection of Mary D. Doering

Shoes, 1842 Tan leather Gift of Mrs. Willard Jones, 1963.217a,b

Modesty, piety, and industry—valued characteristics of a Romantic-era woman—are suggested by this ensemble that features a day dress designed to echo the silhouette of a Gothic arch, a demure scarf held in place by a pin made with the hair of a loved one, and a “housewife” roll-up sewing kit.

Dress, c. 1845 American Silk Gift of Miss Katheryn T. Beers, 1963.476

Undersleeves, c. 1846–52 American Cotton mull with embroidered ruffles Historic Northampton, Northampton, Massachusetts

Pelerine, c. 1845 American Embroidered cotton Gift of George H. Gilman, Jr., 1962.554

Mary Jane Badger (1819–1847) of Middletown, Connecticut, wore this dress. The remarkably small bodice with a nineteen-inch waist suggests that Mary Jane had a wasting disease, such as consumption (tuberculosis). She died after five years of marriage, having given birth to two children in that time. The pelerine belonged to Hannah Belden Churchill (1805–1886), who also owned the fancy chair seen earlier in this exhibition. Unidentified Photographer Julia Seymour Day (1829–1915), c. 1850 Daguerreotype Gift of Percy Hamilton Goodsell, Jr., 1961.576

This daguerreotype portrait of Julia Seymour Day provided curatorial inspiration for the ensemble nearby. She was the daughter of a prominent Hartford businessman, Calvin Day (1803–1884), who was a founding trustee of the Wadsworth Atheneum. Julia married George Perkins Bissell (1827– 1881) of Hartford in 1854; in this portrait, she wears a large plaid bow. The Romantic era’s passion for Scotland’s landscape and history led to a fashion for plaid fabrics in the 1850s.

Purse, 1841 American Embroidered wool Gift of Miss Mary E. Lincoln, 1927.140

The purse was embroidered in cross stitch by Elizabeth E. Packard in 1841. Such handmade items were valued as evidence of a woman’s creativity and (especially) her industry because idle hands indicated a flaw in a woman’s character.

Wedding dress, 1838 American Silk satin Connecticut Historical Society, Hartford, Connecticut Worn by Martha Webster (1820–1894), who married Henry Lewis Miller (1806–1861) of Hartford.

Without modesty, there was no hope of marrying a worthy man, a fact taught through period literature. The emphasis on feminine virtue made white dresses—symbolizing virtue and purity— common among brides who could afford them. Published descriptions of Queen Victoria’s 1840 wedding ensemble further popularized white wedding dresses, which royal brides had worn since the early eighteenth century.

Orange blossoms wedding headdress, 1850s French Wax, wire, and cotton Museum of Fine Arts, Boston. Source unidentified, 2015.2383

Another element of Queen Victoria’s wedding ensemble that helped to spread Romantic fashion ideals was the use of orange blossoms, seen here as the ornamentation of a headdress. For centuries, the orange blossom had symbolized fertility.

Unidentified Photographer Antoinette Utley (1832–1861) and Levi Ford (1832–1899) of Hartford upon their marriage in 1856 Ambrotype Gift of Miss Florence Tuttle Hubbard and Mrs. Ethel E. Hubbard, 1965.493.2 A thousand thoughts of all things dear Like shadows o’er me sweep I leave my sunny childhood here; —Oh, therefore let me weep! This verse from the 1848 poem, The Bride’s Farewell, speaks to the sentimentality associated with marriage and the fact that a woman truly staked her life’s happiness on her choice of a husband. The couple in this photograph had a brief (but one hopes happy) marriage that produced two children.

Wedding vest, 1856 American Silk and cotton The Elizabeth Hart Jarvis Colt Collection, 1905.1589

The sober black business suit became the staple of men’s wardrobes in the early nineteenth century, but men still enjoyed color and pattern in vests (sometimes worn two at a time for a double dose of color in the first quarter of the century). Men’s wedding vests often coordinated with the bride’s dress. This example is the wedding vest of Samuel Colt (1814–1862), who married Elizabeth Hart Jarvis (1826–1905) in 1856 in Hartford.

Brooch, c. 1820–40 American Probably watercolor on ivory, set in gold-over-silver pin Gift of Mrs. Grace E. Odell, 1952.75

For centuries, jewelry has served as a sentimental gift. In the nineteenth century, a number of forms were often homemade, such as painted brooches, bead watch chains, and hair jewelry. The desired message could be represented literally in words, or figuratively in symbols. This brooch bears the inscription, “Friendship the Fountain of Love.”

Watch chain, 1834 American Made by Sarah Dodge (1805–1900) Loom-woven glass beads Gift of Miss Mary W. Clarke, 1943.435

Bead watch chains were a fad among young women in the 1830s and early 1840s. Woven on a bead loom, the chains often bear expressions of friendship, religion, or virtue. This example features two phrases, “If Happiness You Wish to Gain Let Virtue Be Your Guide and Aim” and “Friendship.” It was made by Sarah Dodge for her fiancé, George H. Westcott (1810–1877), a jeweler in Providence, Rhode Island; they were married in 1834.

Maternity dress, c. 1830–35 English Printed cotton Costume and Textile Purchase Fund, 2012.31.1

Pelerine, c. 1830–35 Embroidered cotton Costume and Textile Purchase Fund, 2012.31.7

Shoes, c. 1835 American Silk satin and leather Gift of Mrs. Willard Jones, 1963.218a,b The role of the mother in shaping the hearts and minds of her offspring was celebrated in song, story, poem, and image. This dress has an apron-front skirt, meaning that it is open across the front of the waist and down the side seams to above the knee. The waist is on a drawstring so that it can be adjusted. This construction had been an option since the 1780s and was convenient for pregnancy.

Nursing dress, c. 1845 American Printed cotton Gift of Mrs. Louis P. Merriman, 1965.474

Women in the early Victorian age were not as prudish about breast feeding as has been assumed. In fact, as proof of the sentimental, maternal bond, it became fashionable in the 1840s for mothers to be photographed nursing their babies. The fan-shaped gathering across the front of this dress bodice hides openings over the breasts to allow for nursing an infant. The openings fasten with hooks and eyes. Most nursing mothers (judging by the aforementioned photographs) used front-opening dresses.

E. B. & E. C. Kellogg American, Hartford, Connecticut, active 1840–1847 and 1855–1867 The Happy Mother, 1848–49 Hand-colored lithograph Collection of Michael Shortell

The dress worn by the mother in this lithograph is constructed in the same manner as the dress shown nearby—the “fan” front bodice was a common design. Godey’s Lady’s Book frequently published essays that emphasized women’s maternal duties: “She is not only the mother of our children, but she is emphatically the framer of their infant minds.” This lithograph celebrates the perfect mother and her perfect children.

E. B. & E. C. Kellogg American, Hartford, Connecticut, active 1840–1847 and 1855–1867 Look at Papa, c. 1844 Hand-colored lithograph Connecticut Historical Society, Hartford, Connecticut, Gift of Samuel St. John Morgan

The ideal Victorian woman obeyed her husband. Hartford resident Catherine Beecher, author of the 1840 advice book, A Treatise on Domestic Economy, advocated for this arrangement in the opening chapter: “...in order to secure [woman] the more firmly in all these privileges, it is decided, that, in the domestic relation, she take a subordinate station, and that, in civil and political concerns, her interests be intrusted to the other sex...”

Dress, c. 1845 American Silk Gift of Miss Elizabeth J. Ratmond, 1965.219a,b

Brooch, c. 1850 American Hair under glass, gold-filled setting Gift of Mrs. Susan T. Darling, 1923.150

Baby’s dress, early 19th century American Embroidered cotton Bequest of Miss Louise E. Hatheway, 1910.148

Baby’s cap, early 19th century American Embroidered cotton Gift of Mrs. John Sparhawk, Jr., 1947.215a

While many advice books admonished mothers for lavishing too much expense and fussy ornamentation on infants’ clothing, others suggested that a lack of embellishment “evinces a lack of feeling.” The embroidery of this cap and dress could have been professionally stitched or worked at home. The long length of the dress was standard for infants who were not yet crawling and does not necessarily indicate that it was a christening gown.

Jared B. Flagg American, 1820–1899 Reverend Horace Bushnell, 1847 Oil on canvas Source unknown, 1850.10

One of America’s leading theologians in the Romantic era, Connecticut native Horace Bushnell (1802–1876) was the minister of Hartford’s North Congregational Church (now Immanuel Congregational) from 1833 to 1859. Bushnell’s belief in the interrelation of man, nature, and God are manifested in Bushnell Park—America’s first publicly funded park—located a block west of the Wadsworth Atheneum. Bushnell proposed the creation of the park to the city’s political leadership; approved by public vote in 1854, the park took almost another ten years to develop. D. W. Kellogg & Co. American, Hartford, Connecticut, active c. 1830–1842 Sorrow, c. 1837–40 Hand-colored lithograph Gift from the Estate of John H. Sage, 1925.880

Romantic society fed on melancholy in a complex intertwining of nature, contemplation, religion, and death. Immersion in melancholia was believed to elevate the national, as well as personal, character. Mourning was an important part of the personal and public performance of melancholy. The subject of this lithograph wears a formal dress in the colors of mourning—purple and black. While the melancholy nature of mourning made it admirable, some women were accused of donning mourning dress simply because they knew that they looked good in it.

Woman’s mourning dress, c. 1857–60 American Black cashmere Gift of Miss Harriet S. Smith, 1924.491

Woman’s mourning bonnet, c. 1860 American Black silk taffeta with net veil Gift of Miss Harriet S. Smith, 1924.492 Going into mourning following the death of a loved one was not universal, because the cost of a new wardrobe of sober black was expensive. But, for those who could afford it, mourning was guided by somewhat flexible rules as to duration and materials. This outfit was worn by Clarissa Cheney Savage (1794–1874) of Berlin, Connecticut, probably following the death of her husband in 1857. Etiquette suggested one year of mourning for a spouse. Sponsored by a grant from the Cheney Family Fund at the Hartford Foundation for Public Giving.

Child’s mourning dress, 1841–42 American Silk Gift of Mrs. Mary E. G. Olmsted, 1965.471

Children and servants often wore mourning clothes in families who could afford the expense. Two- year-old William Camp Butler (1839–1842) of Granby, Connecticut, wore this dress while in mourning for his father, Leander Butler (1806–1841), a native of Savannah, Georgia.

Brooch, mid-19th century American Brunette hair and gold Gift of Miss Lois Camp Warner, 1945.122

Brooch, early 19th century American Pearls, gold, glass, and blonde hair Gift of Mrs. Gurdon W. Russell, 1918.1607

Brooch, mid-19th century American Blonde and brunette hair and gold Gift of Miss Carolyn B. Taylor, 1952.269

Pair of bracelets, mid-19th century American Brunette hair and gold; engraved “CCS” Bequest of Miss Louise E. Hatheway, 1910.131–132

Pair of bracelets, brooch, and earrings, mid-19th century American Brunette hair and gilt metal; inscribed on bracelets “IBH” for I. B. Hosmer Gift of Mr. and Mrs. C. Alfred Weatherby in memory of Mrs. Charles N. Weatherby, 1929.184–188

Hairwork jewelry has strong associations with Romantic sentimentality. Hair had been clipped and saved as a memento of a loved one for centuries; in the mid-nineteenth century, hairwork was considered an art form. Long strands were braided into cords and chains or woven into forms such as lyres and acorns. Hair jewelry was not necessarily made for mourning, but more generally as a memento of a loved one who was still alive.

Man’s watch chain, c. 1850–75 Brunette hair Gift of Ethelbert Allen Moore, 1945.398 Hairwork was popularly worn by both sexes; while women’s hair jewelry could appear in any form, men wore watch chains of braided hair.

Mrs. Henry Peters Gray (Susan Clark) American, 1821–1877 Caroline Augusta Goodwin, c. 1840s Watercolor on ivory, probably in a gold-over-copper or silver case with clasps attached to hairwork bracelet Gift from the Estate of Miss Anne Wells Cheney through Clifford Cheney, 1944.269

This intricately braided bracelet forms a wide band, made with hair belonging to Julia Ann Goodwin (1824–1867), the original owner’s mother. The miniature depicts Julia’s sister, Caroline Augusta Goodwin (1822–1852). The artist was the wife of portrait and genre painter Henry Peters Gray (1819–1877), who became the second president of the National Academy of Design in 1870. Sponsored by a grant from the Cheney Family Fund at the Hartford Foundation for Public Giving.

Brooch, pair of earrings, and bracelet, c. 1848 American Made by C. Linherr, New York, New York Brunette hair and gold Gift of Mrs. Ansel G. Cook, 1923.73–75

This set of hair jewelry was made by C. Linherr, “Artist in hair,” at 577 Broadway, New York. It was probably an 1848 wedding gift to Sarah Tufts Richardson (1826–1858) from her husband, Edward Stimson (1823–1878) of Dedham, Massachusetts. The acorn was a common form worked in hair and symbolized the head of the family and protection against evil. Along with mourning customs, hair jewelry gradually fell out of fashion as modern society proclaimed such sentiment to be selfindulgent and of questionable taste.

Evening gown, 1984 Designed by Hélène Hayes (Australian, 1936–2001) Velvet and silk Gift of Susan E. O’Connor, 2013.28.5

Parisian couturier Hélène Hayes combined references to multiple historical periods in this Romantic evening dress. The puffed and slashed sleeves are modeled after Renaissance design, and the skirt draping is inspired by an eighteenth-century dress fashion called a “poloniase.” This dress appeared on the cover of Australian Vogue in 1984.

Benjamin West American, 1738–1820 Saul and the Witch of Endor, 1777 Oil on canvas Bequest of Clara Hinton Gould, 1948.186

Modern Goth culture is deeply rooted in the Romantic era. It draws upon the sublime in art, the Gothic horror literary genre, and the period’s spiritualism and morbid sentimentality about death. West, an early proponent of Romanticism, painted this work in response to a 1757 treatise by Edmund Burke, which described the sublime as “a response to terror, an aesthetic category the opposite of beauty.” In West’s depiction of this Old Testament story, King Saul prostrates himself in terror as the Witch of Endor summons the ghost of the prophet Samuel, who tells Saul that he will die in his next battle.

Edgar Allan Poe, illustration in Graham’s Magazine, Feb. 1845 American Antiquarian Society, Worcester, Massachusetts

One of America’s best-known and best-loved Romantic-era authors, Poe (1800–1849) died in poverty under mysterious circumstances. In the course of his miserable life, he produced works of remarkable—and terrifying—originality that continue to thrill us to this day. His stories, including The Pit and the Pendulum (1843) and The Tell-Tale Heart (1843), form the core of the Gothic horror literary genre, and provide important inspiration for the Goth style.

Skirt, Spring/Summer 2007 Designed by Alexander McQueen (English, 1969–2010) Black silk crepe appliqued with lace and sheer white silk Private Collection

Reproduction blouse

McQueen acknowledged his debt to Romanticism and its fascination with emotion, history, and the macabre. The appliquéd lace birds on this skirt from his 2007 “Sarabande” collection are both beautiful and menacing— evoking the sublime and the raven of Edgar Allan Poe’s famous 1845 poem.

Nathaniel Hawthorne, The Scarlet Letter (1850). American Antiquarian Society, Worcester, Massachusetts

Another of America’s great Romantic-era authors, Hawthorne found his inspiration in seventeenth- century American history. He created haunting, dark stories of deep emotion and moral consequence. His bestknown work, The Scarlet Letter, examines profound love, sin, and transformation.

Dress, 2007 Designed by Alexander McQueen (English, 1969–2010) Velvet and satin Peabody Essex Museum, Salem, Massachusetts. Gift of Anonymous donors in London who are friends of the Peabody Essex Museum, 2011, 2011.44.1

Both Nathaniel Hawthorne and modern couturier Alexander McQueen had ancestors who were involved in the famous Salem witchcraft trials of 1692: Hawthorne descended from a judge and McQueen from a victim. Both drew upon these connections for their art. McQueen’s 2007 collection, “In Memory of Elizabeth Howe, Salem, 1692,” channeled Romantic historicism, terror, and emotion, adding power to his design aesthetic. Sponsored by The Costume & Textile Society of the Wadsworth Atheneum.

Coat/dress and belt, fall 2013 Designed by Sarah Burton for the House of Alexander McQueen Bonded felt and leather Costume and Textile Purchase Fund, 2013.22.1–2

Boots, fall 2013 Designed by Sarah Burton for the House of Alexander McQueen Leather Costume and Textile Purchase Fund, 2013.22.3a,b

Sarah Burton now carries on the historical sensibility of the House of Alexander McQueen. She modeled the standing collar of this coat on that of a Renaissance cardinal’s robe, and the shoulder cape and buckles on a style popularly associated (erroneously) with the Pilgrims of the early seventeenth century. The flared sleeves and lacy cut-outs are inspired by mid-nineteenth-century Victorian fashions, which were themselves derived from sixteenth-century modes.

Vampire suit (jacket and jeans), 1998 Cotton, lycra, and metal

Trench coat, 1998 Nylon, metal, and polyurethane

Tattoo shirt, 1994 Nylon

Belt, c. 1993 Metal

Chains, c. 1990 Metal and leather

Bag, 2000 Leather and metal

All objects above designed by Jean Paul Gaultier (French, born 1952)

Wallet, 2010 Sold at Hot Topic Leather and metal

Boots, c. 2000 Manufactured by Dr. Martens Leather, rubber, and cotton Collection of Richard Patrick Anderson

Ensemble styled by Richard Patrick Anderson

Tales of vampires have existed for centuries, but the first vampires in literature appeared in early Romantic poetry by Lord Byron and Samuel Taylor Coleridge. The earliest book on the subject was The Vampyre, by John William Polidori, published in 1819. Inspired by this Gothic idea, Gaultier (known as the “enfant terrible” of fashion for his irreverent style) created the “Vampire Suit.” The black jean jacket and pants have red flocking, suggestive of dripping blood.

Hospital gown, 2003 Nylon Corset-boned jacket, 1989 Linen; lining: rayon and acetate

Shirt, 1998 Cotton, nylon, and lycra

Skirt, 1998 Cotton, nylon, and lycra

Bag, 1993 Leather and metal

Boots, 1992 Leather and metal

All objects designed by Jean Paul Gaultier (French, born 1952) Collection of Richard Patrick Anderson Ensemble styled by Richard Anderson

Anderson, a collector of Goth couture and the stylist of these two Gaultier ensembles, states that his combinations are “almost Frankenstein-ish,” referring to a mix of time periods—which for Anderson, is “as Goth as one can get—timelessly living forever!” (Frankenstein, the best-known Romantic horror novel, was written by Mary Shelley in 1818.) Anderson chose to have Gaultier’s hospital gown worn backwards under the corset-boned jacket. Transformed into an elegant black lace overdress, the gown remains imbued with uncomfortable associations, fulfilling the Romantic/Goth desire to engage the sensibilities and elicit an emotional response.

Jules Verne, Around the World in Eighty Days (Philadelphia: Porter & Coates, c. 1873, first published 1870). Watkinson Library, Trinity College, Hartford, Connecticut

H. G. Wells, The Time Machine (London: W. Heinemann, 1895). Watkinson Library, Trinity College, Hartford, Connecticut

Steampunk developed from Punk and Goth in the latter part of the 1980s. Like Romanticism, its foundations can be found in literature—specifically, Victorian science fiction. Verne and Wells are the two most famous writers of such works, called “scientific romances” in the nineteenth century. The term “Steampunk” was coined in 1987 by writer K. W. Jeter to describe this grassroots movement, which has been characterized as “the intersection of technology and romance.”

Banjo Steampunk clock, 2015 Made by Klockwerks (Roger Wood, Canadian, b. 1942) Vacuum tubes, clock gears, radio control knob, knife switch and brass number tag, on a former banjo-type wall clock Collection of the artist

Steampunk artists mix up materials, as well as elements from different fashion periods, to create a science fiction-inspired vision of the past. Wood is a self-taught artist and flea market junkie. He states that he “madly collects odd, forlorn, mysterious, lonesome, intriguing, usually weathered and tarnished things—things with a history,” and transforms them into functional “eccentric” clocks. A basic Steampunk theme is the passage of time—illustrated in motifs of clock hands, springs, and gears. The whimsy of Steampunk offers an escape from “a world that is too often serious and ... chaotic.”

“Time Lady” suit, 2013 Designed by Nightwing Whitehead (American, born 1958) Synthetic fibers Collection of the artist

Whitehead acquired this suit’s gray fabric with woven swirls because it reminded her strongly of a design used in the British television series, Dr. Who. The show is a Steampunk favorite that features a character who travels to different times and places. Prepared for Dr. Who-type adventure, Steampunk followers dress in the fashions of another time, often with accessories such as goggles and ray guns. The design of this suit relates to women’s walking suits of the late Victorian and Edwardian periods; the batwing collar adds a Goth element.

Bee-Baby necklace, 2015 Designed by House of Coniglio (Beverley Coniglio, American, born 1972) Found materials including watch, ceramic doll, rhinestones, and gold-filled chain Collection of House of Coniglio

Along with vintage German and Czechcut crystals and stones, Coniglio’s jewelry often contains antique watch-works, and unusual examples of compasses and cosmetic compacts that date as far back as the mid-1800s. This necklace features an antique ceramic doll mounted within a watch case.

Dress, 2013 Designed by Nightwing Whitehead (American, born 1958) Synthetic fiber Collection of the artist

Necklace, 2015 Designed by House of Coniglio (Beverley Coniglio, American, born 1972) Found materials, including an antique mesh purse Collection of House of Coniglio

The do-it-yourself culture of Steampunk has led to a range of personalized fashions. Some Steampunk followers prefer reproductions of late Victorian or Edwardian costumes, while others enjoy imaginative combinations of historic elements (commonly corsets, top hats, watches on watch chains, and lace-up boots) and futuristic accessories. The laced fitting of the back of this dress is reminiscent of the laced “peasant” bodice fronts of Romantic-era dresses. The bustle effect at the back of the skirt is a popular Steampunk style, inspired by 1880s fashion.

Mirabilia Romae: Haute Couture Show Fall /Winter 2015–16, Rome, July 9, 2015 Designed by Maria Grazia Chiuri and Pierpaolo Piccioli for Valentino Video Running time: 10:57 minutes

As in the Romantic era, we are experiencing a period of social and economic upheaval—and we are again in a period of Romantic Revival. Maria Grazia Chiuri and Pierpaolo Piccioli of the House of Valentino created an elegant and unabashedly Gothic collection for the Fall/Winter 2015/2016 season. Black, red, and gold ensembles of floor-skimming dresses and capes accessorized with heavy gold chains, tiaras, and fifteenthcentury ferronières (jeweled head bands) across the models’ foreheads recall Romanticism’s fascination with the medieval and Renaissance eras. More than any other fashion aesthetic, Romanticism has proved to have lasting significance. It is revived over and over in counterculture, couture, and off-the-rack styles.