INTRODUCTION

These guidelines for the Newport Historical Society, Newport Rhode Island are written for a speciic event depicting the occupation of Newport by the British in 1777. Many of the occupants of Newport led the British, those that remained often had British sympathies, had no where to go, or chose to stay to protect their property. Under the occupation supplies of goods, especially fresh provisions and irewood were scarce, the needs of the Army were met before those of the townspeople.

The challenge of accurately portraying the clothing of Newport 1777 is that much of the visual primary sources like dated portraiture of New Englanders, so abundant before the Revolution, are very limited in this wartime period. We can look to England, but how much of the new found their way to an occupied Newport is a dificult question to answer.

However, there is a fair amount of documentation available from the period just before the Revolution. Using these sources provide a good base for determining an accurate impression of both upper and working class impressions of 1777 Newport.

We have written the standards as simply as possible, providing imagery to guide you in the development of your impression of Rhode Islanders under siege in 1777. The standards are divided by class, upper, lower/middlin. Remember when trying to portray a speciic date, you can go back, but you cannot go forward in time.

Hallie Larkin & Stephanie Smith Larkin & Smith at the Sign of the Golden Scissors N OTES FROM A NEWPORT TAILOR’ S ACCOUNT BOOKS

Several years ago, we had the opportunity to spend the day with the account books of James Gould at the Newport Historical Society. The books from 1771-1772 give some interesting data, which is helpful in providing documentation for men’s clothing of pre-war Newport.

We know that the tailor was reseating , turning , and “ripping and cleaning” coats, suggesting that the fabric was too valuable to throw away when your garment was worn or torn.

We are also given clues as to common fabric choices based on some of the clothing being made in this tailor’s shop:

Broadcloth was the fabric of choice for many of the well to do men in Newport, especially sea captains.. Superine broadcloth for a “Hussah” for Captain James Clark in 1772 was listed at 4 1/2 yards at 180/0/0. The making of the was 24/0/0.

Other common fabrics/clothing mentioned:

Black Lustring Breeches Corduroy Breeches Plush breeches

Nankeen Camblet coat Coatea of Fusten (sic)

Captain Thomas Forister: Making a pair of silk velvet breeches

Multiple mentions of Basket Buttons

“Hussah" are being made for ship captains

Captain John Earl: Coat and of homespun of homespun

Josias Hazard a pair of white knit breeches “stript holland for backs of your silk ” (waistcoat) M EN’ S CLOTHING U PPER CLASS

Coat or coat, waistcoat, breeches and are the main garments for upperclass men. Cocked , neckcloth or neck stock, sleeve rufles, bosom rufles, sleeve buttons, and toys, and walking sticks are appropriate accessories that add to the overall appearance and impression.

Visible seams should be hand-inished, fabrics should be of a quality that the level of society portrayed. broadcloth, Manchester velvet, silk taffeta, igured silks are good choices for the main garments of the upper classes as well as solid in shades of brown, blue, white and natural are acceptable choices for summer wear. An upper class gentleman would most likely wear a ditto suit (all pieces matching), or matching coat and breeches with an embroidered silk waistcoat, or plain silk satin waistcoat.

Details in individual garments should be based upon original artifacts whenever possible. Look for guidance on how to wear your clothing from period prints and portraits. In many prints of the 1770s, upper class men are wearing their own hair, though older gentlemen appear to hang onto their wigs. Neckcloths are tied over the and around the collar, the end folded over and tucked into the waistcoat. Alternatively one can wear a neck stock worn with a bosom rufle. Sleeve rufles attached to the sleeve cuffs are typical. Small details such as those will add to the overall end product of portraying the upper classes in 1777 Newport, Rhode Island.

A CCESSORIES Walking sticks are an appropriate accessory for a gentleman. Make use of your pockets for your personal items. Your servant would be carrying any larger items.

C OATS AND /WAISTCOATS Coat or is required. Fitted frock coats have become more fashionable either with a falling collar or without. They are well it with tighter sleeves and smaller cuffs than the coats of the 1760’s. Fabric should be suitable for your station and impression.

Waistcoats are upper-thigh length cut at an angle either matching coat and breeches (ditto suit) or of silk, plain, embroidered or trimmed. Though note that the front of the waistcoat still covers the the waistband of the breeches and at least half of the fall of the breeches but is itted and the pocket laps are shaped.

Frequent use of death’s head buttons, basket buttons or fabric covered buttons are seen.

It would not be unusual to see older gentlemen still clinging to earlier fashions with larger cuffs and with coats not quite as itted, along with long straight cut waistcoats. Miles Sherbrook 1771 JS Copley.

Wiliam Paca 1772 MD Historical by CW Peale. John Lathrop by John Durand National Portrait Roger Sherman 1775 Galery c 1770

Portrait attributed to John Durand the subject of the owner’s blog post http:// www.antiquesandfineart.com/articles/article.cfm? request=976 Gulian Verplank by JC Copley 1772

This untitled and undated portrait from Antique Associates of West Townsend aaawt.com shows a man who may be a sea captain or ship owner. His style of clothing is consistent with the look one might expect in 1777. What is striking is his waistcoat.

There are two mentions in the Newport Tailor’s account books that might help date this fabric choice.

In August 1772 for Job Lawton, he provided 2 1/2 yard of spotted ermine.

In October of the same year he made an “ermin jacket” (waistcoat) for John Murfey.

His neckware is similar to the style worn by John Lathrop in the John Durand portrait - a neck stock with a black silk neckcloth at the base of the neck.

S HIRTS Long sleeved with a two-or three button collar made of white linen fabric. Cuffs are narrow with full sleeves and delicate sleeve rufles. The would be secured with sleeve buttons.

Detail: John Habersham 1722 Humphrey Somers by Theus 1772 (MESDA) Smal rufe at .

N ECKWEAR Linen neckcloths simply wrapped and tucked inside the coat or neck stock and bosom rufle. Sometimes worn over the collar, sometimes covering the collar. Henry Benbridge 1772. Neckstock over colar James Habersham by The 1774 with bosom rufe Neck Rufe, Very high stock over colar

James Habersham by Theus 1772. Thomas Heyward, Jr by CW Peale Bosom Rufe with Neckstock covering Colar over neck stock with bosom colar rufe.

B REECHES Breeches are more closely it to the leg than in the prior decade and the waistband is covered by the waistcoat. Breeches fronts are fall fronts. Leather breeches are encouraged if portraying an upper class hunting or “undress” impression. Breeches are buckled at the knee.

S TOCKINGS Over the knee in silk, or wool. Avoid horizontally striped stockings. White silk is most common for upper class impressions.

S HOES Period style with appropriate buckles.

H ATS AND HEADWEAR Cocked wool or fur felt .

W IGS Wigs should be a non-military style unless you are portraying an oficer. The popular style is that of a single or double curl and a queue. Peyton Randolph 1773 by Wiliam Pratt Lambert Cadwalader 1771 CW Peale Virginia Historical Philadephia Museum of Art

Captain Benjamin Beale Quincy, MA Painting owned by Roberts S. Fastov, Esq and described in blog post www.sloansandkenyon.com

N OT ACCEPTABLE Fashions of the 1780’s period as they are too forward and didn’t yet exist. Muskets, cartridge boxes, haversacks are also not acceptable.

U PPER CLASS WOMEN’ S CLOTHING Open front with robings and , in the English (en fourreau back) or French style (sacque). worn with stays are the primary choice for upper class impressions. A , Joseph, Short Sacque, or Riding Habit would be an appropriate alternative.

Fabrics should be documentable to the 1770s or late 60s, in silk, cotton or wool (damask, worsted, or calamanco). Taffetas both striped and plain, Damasks, Figured or brocaded silks were very common.

Cotton Prints were worn, but if you choose to wear one, you will will need to document the print to 1777 or earlier.

We don’t have a lot of evidence that the ladies of Newport (especially those remaining in an occupied city) were wearing the high fashions being worn by the fashionistas in England in 1777 (speciically the worn with a bumroll). As a result, we would recommend a conservative approach to selecting upper class gown opting for a stomacher front gown with either sleeve lounces simple cuffs or puckered cuffs.

Mr. & Mrs. Ralph Izard JS Copley 1775 Elizabeth Carr Colonial Wilamsburg c.1774 Elizabeth McClure 1774 CW Peale

Mrs & Mrs. Isaac Winslow JS Copley 1773 Museum of Fine Arts R IDING HABITS Riding habits (non-military style). Flat silk covered hats trimmed with feathers are most typical. Accessories like walking sticks or riding crops may be carried.

The Tannatt Family c.1775 by Henry Benbridge National Galery of Canada

Louisa Lennox 1777 by George Romney

P ETTICOATS Two , consisting of under and petticoat are recommend. Petticoats should match or complement the gown fabric. Avoid wearing a printed gown with a striped petticoat of another fabric. Avoid drawstring waistbands, waistband should tie at the sides or in the back. Quilted petticoats were common.

S HIFT Sleeves reach past the elbow in the 1770s. Neckline should be low and not fully gathered on a drawstring. Sleeves had narrow wristbands secured with sleeve buttons Sleeve rufles were narrow and lightly gathered.

S TAYS Stays are required for wearing a gown, riding habit or other itted garment. H ANDKERCHIEF A ine ,sheer, white linen or silk gauze handkerchief trimmed in lace secured with a bow , bosom pin, or nosegay.

Margaret Stiles 1770 Cosmo Alexander Brown University

A PRON The style and fabric of the should be appropriate for your impression. Upper class women should wear white ine muslin, linen or silk.

J EWELRY Multi-strand or rufles tied in the back with ribbon are frequently seen. Use period portraits for inspiration. A simple black silk ribbon is also appropriate.

S TOCKINGS Over the knee stockings in silk, cotton or wool. Avoid horizontally striped stockings.

S HOES Reproduction shoes with buckles are recommended. C AP AND HAIR The hair is worn in a pouf. of this time period were tall with pleated wings coming to a point at top.

Detail: Mrs Izard JS Copley A Woman by CW Peale 1775 Met Museum H ATS Low hats of straw or silk covered straw. Flowers on hats were not yet in vogue. Hat decorations should be of self fabric or ribbon. The hat would have been tilted forward to accommodate the pouf of the hair. Black silk bonnets or white silk bonnets would also be an appropriate choice

The Rival Miliners

Mary Hickey by Joshua ?R?eynolds

A Man of Business 1774 Lewis Walpole Colection

Rural Happiness 1773 Lewis Walpole Colection C LOAKS AND HOODS Silk or wool short cloaks with hoods. Fabrics should be in line with your impression.

H ANDKERCHIEFS White of sheer linen or ine muslin. Handkerchiefs are frequently trimmed with lace. G IRLS CLOTHING

B ABIES Gown and are the minimal requirements. Petticoat and under caps are optional. Small hats with feathers for toddlers or pudding caps are other suggestions.

Back lacing gowns with bib , cap and petticoat are required. Neck ribbons and hats are optional. Period shoes and stockings are encouraged.

Young Woman in a Landscape, 1760

Girl with a Lamb, 1770, Cosmo Alexander Y OUNG GENTLEMEN 1775 Gilbert Stuart (1755-1828) Detail fom: Sarah Rivera (Mrs Aaron Lopez) and son Joshua

Hugh Barron, ‘The Children of George Bond of Ditchleys’ 1768

Coat, waistcoat, shirt, and breeches for young men. Hats are optional.

Period shoes and stockings are encouraged.

Shirt collars are frequently in the “round robin” style with a black ribbon around the neck, tied in the front with a bow.

M EN’ S CLOTHING L OWER AND MIDDLIN’ CLASS

Colonial Newport was occupied by the British in December, of 1777. Approximately 7000 troops occupied Aquidneck Island, by August of 1777, the troops had been in place 9 months. The needs of the local populace took second place to that of the British Army and these standards for civilians relect that fact. Imported goods were still available in Newport in 1777, but with a scarcity of provisions and resources, making do by the locals would be in order, rather than spending limited resources on stylish clothing.

The following are guidelines to adapt what you have and to provide visual aides for putting together your impression of a working class man such as a farmer, dock worker or a craftsman such as a cobbler.

Coat or frock coat, workman’s jacket, sailor’s jacket, waistcoat, sleeved waistcoat, slops, , breeches and shirts are the main garments worn by working class men. Hat, knitted cap, workman’s cap, apron, handkerchief, neckcloth are appropriate accessories that add to the overall appearance and impression. These additions provide individuality as well as historical accuracy. Paying attention to the tie of a or cock of a hat, can make a difference in overall appearance.

Visible seams should be hand-inished, ideally the entire garment should be handsewn, but machine stitching is acceptable when it is not visible. Fabrics should be of a quality that suits the level of society portrayed. Kersey, linsey woolsey, broadcloth, worsteds and serge are good choices for the main garments of the lower classes as well as solid in shades of brown, blue, white and natural as well as woven linen with colored stripes and checks.

Details in individual garments should be based upon original artifacts whenever possible. Look for guidance on how to wear your clothing from period prints and portraits. Because the lower classes could not afford to have their portraits painted, the details about working class clothing are adapted from the British print culture, c.1759-1775. C OATS AND JACKETS Coat, frock coat or a jacket is required. Coats and jackets can be collarless or with a tapered band collar. will have collars. In general, coats are less full than the 1760s, sleeves are tighter and pocket laps and cuffs are smaller. Aprons are commonly worn by tradesmen and can fasten to the waistcoat with a single buttonhole, aprons of linen or leather would be the most common. Clothing fabrics should be suitable for station and impression, for jackets and short coats linsey woolsey, linen, or lesser quality broadcloth, serge or kersey.

Battle Royal, 1774, Lewis Walpole Library A Ladies Maid Purchasing a Leek, 1772, Lewis Lower class man wearing a jacket, neck Walpole Library. handkerchief shirt,

Newport Mercury, August 15, 1774

S HIRTS Long sleeved shirt with a collar. White or brown linen, colored linen check, lannel. Wristbands are narrow, no larger than 3/4 inch wide with full sleeves, .

Wristbands are narrow with ful sleeves.

The blacksmith lets his iron grow cold attending to the taylor's news, 1772, Lewis Walpole Library

Shirt sleeves roled up for work and a smal band colar on the shirt. The blacksmith lets his iron grow cold attending to the taylor's news, 1772, Lewis Walpole Library

February 7, 1774, Newport Mercury N ECKWEAR Small knotted handkerchiefs worn outside the upper garment are commonly seen on sailors and working class men. White linen neckcloths simply wrapped and tucked inside the coat or jacket are also common in period prints, along with colorful printed and stamped handkerchiefs.

Modern Beau in Distress, 1770-1775. Yale Center for British Art. The City Taylors Wife, 1772, Lewis Walpole Library.

W AISTCOAT-SLEEVED WAISTCOAT-JACKET-UNDER J ACKETS

While fashionable waistcoats have shortened in length the waistcoats of the working classes continue to be depicted in a wide variety of lengths. Waistcoats for the working classes are made in a wide range of fabrics and even styles. From the Newport Mercury:

“outside grey jacket with red binding” October 25, 1774

‘red and blue duffel waistcoat”, May 28, 1774

“cloth coloured outside serge jacket”, “green underjacket”, August 14, 1775

“blue and white flannel jacket”, “striped linen jacket”, June 13, 1774 Macaroni Print Shop, 1772, Lewis Walpole Library

The blacksmith lets his iron grow cold attending to the taylor's news, 1772, Lewis Walpole Library Collarless sleeved waistcoats are often seen as the outer garment on working men. It is sometimes dificult to differentiate between the terms sleeved waistcoat, jacket and underjacket.

Mirth and Friendship, 1765 The Humors of the Fleet, 1763

B REECHES AND TROUSERS Breeches for the fashionable are tighter to the leg for the fashionable, the working man is more apt to have less itted breeches. Breeches from the 1770s as well as the 1750s are acceptable as the falls will be covered by the waistcoat. Leather breeches are encouraged for the working class.

The blacksmith lets his iron grow cold attending to the taylor's news, 1772, Lewis Walpole Library The Morning News, 1772, Lewis Walpole Library S TOCKINGS Over the knee stockings in cotton or wool. Avoid horizontally striped stockings. Be prepared to document your choice of an unusual color. White, mixed, blue, clouded, grey, natural and black are frequently mentioned colors in advertisements.

H ATS AND HEADWEAR Flat or cocked wool or fur felt hats. Knitted caps in period patterns and workman’s caps (not quartered) are appropriate.

Saint Monday in the Afernoon, 1770-1775, Deny it if you can- nine Taylors Makes a Man, British Museum 1774, British Museum S AILORS-DOCKWORKERS

Jacket, shirt and breeches, with optional slops and waistcoats. Breeches must be worn underneath slops. Blue wool pea coats and shorter waistcoats are typical emblems of sailor attire.

Humors of an Irish Wake, 1765

Seated sailor with short jacket, handkerchief and slops.

Sailors wearing short blue jackets, colored neckcloth/handkerchief, cocked hats and slops. Proclamation of Proclamations, 1765

S HOES Period style shoes with appropriate buckles or two hole laced style.

W IGS Wigs should be non-military style in an earlier style such as a bob. Working men are frequently depicted with long hair hanging down to chin length or longer.

S TOCKINGS Shaped, handmade wool or thread over the knee stockings with a stitched back seam and a common heel. Recommended colors: White, Blue, Grey, Black, Brown, Mixed. Acceptable: Machine made back seamed stockings in wool, linen or cotton.

N OT ACCEPTABLE: Leather coats/jackets. 17th and early 18th century Pirate impressions. W OMEN’ S CLOTHING L OWER AND MIDDLIN’ CLASS

During the early 1770s open front gowns with robings and stomacher are the primary outer garments for working women. The other option would be a . There are rarely jackets depicted among the English lower classes at this time. Jackets should be avoided unless you can provide documentation for New England in the early 1770s.

Fabrics should relect the lower level of society being portrayed, plain, striped or printed linen for gowns and plain linen in shades of brown, blue, white, and natural. Striped linens with other colors in the stripe and natural or white grounds. Worsted, linsey woolsey, and wool in solid colors or stripes or patterns.

Visible seams should be hand-inished, ideally the entire garment should be handsewn, but subtle machine stitching is allowed if it cannot be seen.

Front closing gowns can be temporarily converted to open front gowns, by turning in the and placing robings over the turn in.

The lower classes are not wearing their hair in the extreme high hairstyles of the fashionistas in London. The hair can have some height but should be dressed simply. A new cap or an existing lappet cap is especially appropriate for an older lower class woman. Mitts in natural or white linen are also a nice addition.

The 18th century shoes and stockings you already have will do, as well as existing pockets and petticoats.

Because t the following are taken from British prints c 1750-1775. Clothing styles for the lower classes was slow to change and earlier prints and paintings can be used as references.

G OWNS AND Open front gown with robings, optional stomacher and cuffs in the English style, referred to as “en fourreau”. Gowns closing at center front and bumrolls are not appropriate for the lower classes. Hoops should only be worn for upper class impressions. Short gowns while found in references are unclear at this time as to their appearance and should be avoided.

Multiple petticoats give shaping to the gowns of the lower classes and quilted petticoats are especially appropriate.

Aprons are worn with gowns and bedgowns. For the lower classes apron fabrics of checked and plain linen, blue linen or linsey woolsey are encouraged. Castle Hill, Paul Sandby

Enraged Macaroni, 1773, Lewis Walpole Library

“red and white linen gown” Pennsylvania Gazette, 18 August, 1773

“striped linen gown” Pennsylvania Gazette, 26 October, 1774

“white linen gown” Pennsylvania Gazette, August 18, 1773

“a long lincey gown striped with blue and white” Pennsylvania Gazette, 3 November, 1773 S HIFTS Sleeves reach past the elbow in the 1770s. Neckline should be low in front and not up around the neck or gathered tightly on a drawstring. Sleeves are cuffed. Avoid lace rufles of polyester. Small ine linen rufles at the edge of the cuff are an option. Shifts for the lower classes can be of white or brown linen, or a cotton/linen blend.

Shifts with tight drawstring necklines can be easily converted by loosening the drawstrings and allowing the material to create a more open neckline. The bosom will then be covered with a handkerchief. Sleeves that are too long can be shortened to below the elbow and a small narrow cuff added.

“two Osnabrug Shifs one new, the other old” Purdy & Dixon’s Virginia Gazette, 21 July 1774

“two Russia linen shifs” Pennsylvania Packet, 9 January 1775

“a tow cloth shif” Pennsylvania Gazette, 29 March 1775

“one white shif, one brown ditto” Pennsylvania Gazette, 30 August 1775

The Polite Macaroni Presenting a Nosegay to Miss Blossom, 1772, Lewis Walpole Library

S TAYS-JUMPS Stays are necessary when wearing a gown. Jumps or an adequate sports are acceptable under a bedgown only. Stays can also take the place of a stomacher in an open front gown. If you are working and are in stays, shift, and petticoat, a handkerchief must be worn.

Sandpit Gate, Paul Sandby, 1752 P ETTICOATS Two petticoats, consisting of under-petticoat and top petticoat are recommended Petticoats do not have to match the gown fabric. Avoid wearing loral petticoats unless they match the gown fabric. Avoid drawstring waistbands. Hems can be ferreted with tape or left plain.

Kitchen at Sandpit Gate, 1752 Kitchen at Sandpit Gate, 1752 You can clearly see the top petticoat, which In this scene the gown are tucked into the appears to be lined, and the striped bottom or pocket slits, exposing the petticoat. Also clearly under petticoat. Both petticoats are ferreted seen are the apron ties around the back of the with tape around the hem. The upper petticoat gown. appears to be pinned in place. A PRONS Linen in white, natural or colored check linen fabrics are appropriate, blue and white check is the most common color combination. A varied selection of check styles are found in aprons. Aprons are worn with gowns and bedgowns.

Way to Preferment, 1758 Kitchen at Sandpit Gate, 1752

Linen Cotton Checks, Metropolitan Museum of Art C APS AND HAIR The hair can be higher than that of the 1760s but not to the extant shown by the fashion plates and worn by the elite. There are numerous prints of women with short hair in the mid 1770s. Caps are not overly large and are worn framing the face. Lappet caps tied under the chin and also left open are worn by this time mostly by servants and the older woman. Caps should be linen, or a linen/ cotton blend. Rufles on caps should be of a iner linen than the body of the cap. Even the poorest of women are depicted wearing a ribbon of some sort on their caps.

Billingsgate triumphant, or Poll Dab a match for the Frenchman, 1775, Lewis Walpole Library Al Sorts. From the lucious Tid bit to the bouncing Jack Whore - From the Bunter in Rags to the gay Pompadourbm, 1775, British Museum Phylis Wheatley, 1774

The Polite Macaroni, 1774, Lewis Walpole Library Ascent to the Round Tower, 1770, Paul Sandby, Royal Colection Trust H ATS Low crown hat of straw. Flowers on hats were not yet in vogue. Feathers should be reserved for children and riding hats and the upper classes. Hat decorations should be of ribbons in small puffs, or ribbons and bows.

Conlict, 1775, Lewis Walpole Library

C LOAKS Short cloaks with small hoods, or collars. Fabrics should be in line with your impression.

London Cries, Paul Sandby, 1760 In Somerset House Gardens, 1750-60 H ANDKERCHIEFS Check, printed, stamped or simple white handkerchiefs are good choices.

Kitchen at Sandpit, 1752 Tythe Pig, 1760 Colorful crossed barred handkerchief. She is She is wearing her plain handkerchief tucked working indoors in her stays and shif sleeves. under the strings of her lacing.

S HOES Reproduction buckled or tied shoes. Low or medium heels with leather soles.

Female Bruiser, 1770, Lewis Walpole Library Statute Hal, 1770, Lewis Walpole Library

S TOCKINGS Shaped, handmade wool or thread over the knee stockings with a stitched back seam and a common heel. Recommended colors: White, Blue, Grey, Black, Brown, Mixed. Acceptable: Machine made back seamed stockings in wool, linen or cotton. C HILDREN’ S CLOTHING B ABIES Cap and gown are the minimal requirements for babies. Undercaps, petticoats, mitts and stockings are nice additions but not a requirement. Children’s clothing was often made from existing adult worn out garments so a wide variety of options are available for gown fabrics. Caps should be white linen.

Wiliam Adam and His Nurse, 1752 The wife of Bob Nunn, 1755

B OYS Boys need breeches, jacket or coat, shirt, stockings and shoes. Jackets can be worn without waistcoats. Period shoes if possible.

A hat or cap is optional. Toddler boys should be dressed in a gown and petticoat.

G IRLS Girls should be wearing back lacing gowns, aprons, shift, stockings, shoes and a cap. White muslin gowns and for the elite and simpler white linen for the working classes, as well as cotton prints and printed linens. Older girls can also wear a bedgown, shift and petticoat combination.

Two Girls Holding a Basket, Paul Sandby Woman and Child Holding a Dol, Paul Sandby, 1760

Girl in a Landscape, 1770-1790, Paul Sandby, Royal Colection Trust O PTIONAL WOMEN’ S ACCESSORIES

Harlot’s Progress, 1732 Tythe Pig, 1760 Sandpit Gate, 1752 Hanging scissors and/or a pincushion from the are practical accessories for the working class. Avoid hanging “chatelaines” or equipages. Unless you are actively involved in an impression that involves cutting, such as an oyster seller, avoid hanging a knife

B ASKETS

London Cries: Mufn Man 1759 Two Girls Holding a Basket, Paul Sandby N OT ACCEPTABLE French or English “sleeveless bodice”. Modern eyeglasses. Heavy modern makeup. One piece shower cap style cap.

R ESOURCES FOR FABRIC SELECTION Anders Berch Collection

Richelieu Papers

Textiles in America, Florence Montgomery

Wintertur

Metropolitan Museum of Art

Barbara Johnson Album, Victoria and Albert Museum

A DDITIONAL ONLINE SOURCES 18th Century Material Culture

Yale Center for British Art

Lewis Walpole Library

All selected artworks are in the public domain. This document was created for educational purposes to provide clothing guidelines for the Newport Historical Society’s reenactment 2017.

©Larkin & Smith 2017