The Hummel Bonnet
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THE HUMMEL BONNET An investigation of its production, design and significance in military uniform Robert Ashley Cooper B.A. (Hons.) Submitted May 2013 for the degree of Master of Philosophy by Research The Department of Archaeology, The University of Sheffield. ABSTRACT The role of experiment has long been established as an effective means through which to explore past aspects of material culture, architecture and site formation processes (Coles 1979, Mathieu 2001 etc.). Items of dress have not routinely been incorporated in experimental projects. This investigation explored the utility of archaeological methods for gaining insight into how aspects of the uniformed body was constructed in Victorian Britain, focusing specifically on the production, design and significance in military uniform of the hummel bonnet. The work included a detailed review of available sources of evidence especially Calotypes, detailed study of extant artefact evidence and an experimental reconstruction of a hummel bonnet, using recognised experimental archaeological theory. In undertaking this task, the techniques and approaches used are typical of experimental archaeology and analysis and examination of historical costume and are put to the test in order to evaluate their utility for this kind of research. The research considered material and method of construction aiming to adopt as near an accurate reconstruction as possible. Findings of the research offer insight into experimental techniques and how these could be developed to further understanding of historical artefacts and makes comment about the role and value of re-enactment as a presentation of ‘history’ and the risks this may pose. 2 CONTENTS Abstract 2 Contents 3 Acknowledgements 6 List of illustrations 7 Chapter 1 Introduction 14 Chapter 2 Application of the principles of experimental archaeology 22 • Introduction • Experimental Archaeology: Principles, Guidelines and Rules. • Towards an Experimental Approach to Items of Historic Dress. Chapter 3 The Undress Uniform of the Gordon Highlanders in 1846 30 Chapter 4 Calotype Evidence 37 • Introduction • The Calotype Process • Art or Science, the Calotype. • The Work of Adamson and Hill • Costume and the Calotype • Selecting the Calotypes • Information Revealed • Conclusions Chapter 5 Interpretation, perception and value of art 59 • Conclusion 3 Chapter 6 The Character of the Knitted Bonnet 68 • The Origin of the Hummel Bonnet • Adoption by the Military • International Appeal • Continuing Use • Summary Chapter 7 Analysis of the Hummel Bonnet 83 • Introduction • The Analysis Process • Contextual Evidence • The Physical evidence • Construction Methods • Materials • The Example Selected for Reconstruction • Summary Chapter 8 The Reconstruction 99 • Untangling the yarn: Identifying production sequences • Yarn Types • Matching Colours • Dyeing with Indigo • Spinning • Knitting • The Block • Shrinking the Bonnet • The Liner 4 • Finishing • Conclusion Chapter 9 Evaluating the Finished Reconstruction 123 • Introduction • Evaluating the accuracy of the Reconstruction Materials and Techniques • Comparisons with Calotypes • First Impressions • Inhabiting the Bonnet • Personal Reflections • Summary Chapter 10 Conclusion 147 • Introduction • Modes of production and variability • Skills Dilemma • Authenticity and re-enactment • The power of the text • Opportunities • The Research Question Answered • Summary References 168 APPENDIX A Master list of Calotypes 183 APPENDIX B Record of Extant Artefacts 197 5 ACKNOWLEGEMENTS Mrs. Stephanie Bowman of Skelton, Cleveland for her support in understanding the craft of knitting. I would like to thank all museums contacted whilst conducting this research. All members of staff have freely given their help, expertise and hospitality. Their honest and open approach to their collections was both refreshing and rewarding. I would like to give specific thanks to following people and institutions: Mr. John Spencer, Curator of the Regimental Museum of the Duke of Wellington’s Regiment, Halifax. Major Robin Maclean, Curator of Regimental Museum of the Royal Scots Dragoon Guards (Carabiniers and Greys), Edinburgh Castle. Emma Halford-Forbes, Collections Manager at the Regimental Museum of the Black Watch, Perth. Rod Mackenzie of the Regimental Museum of the Argyll and Sutherland Highlanders, Sterling Castle. Catherine Brain, of the Dumfries Museum & Camera Obscura. Jason Sutcliffe and Linda Fairlie of the Dick Institute, Kilmarnock. Sharon Lawler, from the Special Collections Department, University of Glasgow. Margaret Wilson and Philip Hunt, of the National Museums of Scotland. Alison Stoddart of Central Library, Edinburgh. Peter Condon of the School of Art Design and Architecture, University of Huddersfield. David Freeman, of Butser Ancient Farm I would like to give specific thanks to Professor Roger Doonan who supervised me during the research. Roger not only helped me to understand the challenge of working across multiple disciplines and fields, but demonstrated the rare skill of being able to accurately interpret my thoughts, and therefore allowing me to present my own ideas with clarity and academic rigour . 6 LIST OF ILLUSTRATIONS Fig. 1:1 The Warrior Vase, National Archaeological Museum, Athens. Fig. 1:2 Cast of Trajan’s Column, Victoria and Albert Museum, London. Author’s image. Fig. 3:1 Private from title: Soldiers with child sat on gun (N.M.S.ref M. 1953.538.2) Fig. 3:2 Sergeant from Sergeant and Private of the 92nd Gordon Highlanders. (S.N.P.C. ref. PGP HA 2661) Fig. 4:1 Octavius Hill, Rev. Dr. Thomas Chalmers - salt print HA0052 Glasgow University Collection Fig. 4:2 Octavius Hill, detail from The First General Assembly of the Free Church of Scotland; signing the Act of Separation and Deed of Demission - 23rd May 1843 Image © Free church of Scotland, Photograph by George T. Thompson LRPS. Fig. 4:3 Elizabeth Johnstone, The Beauty of Newhaven, 1844-1848, David Octavius Hill & Robert Adamson, Salt paper print from calotype negative 67.397 copyright V & A Fig. 4:4 Fishermen Ashore, c.1843-47, David Octavius Hill & Robert Adamson, Salt paper print from calotype negative 67.693 copyright V & A Fig. 4:5 Hill, D. O. & Adamson, R. (1846) 92nd Gordon Highlanders and their wives at Edinburgh Castle, National Museums of Scotland (NMS ref. M. 1937.119.11) Fig. 4:6 Hill and Adamson, Soldiers with drummer with drum on back. (NMS Ref:T.1977.4.7) Fig. 4:7 Edward Hull, (1830) Detail from Military Costume, Drummer of the Royal Marines. 1830, Hand coloured lithograph by M.Gauci Fig. 4:8 Hill and Adamson, Soldiers in Edinburgh Castle (Capital collections Ref: 4141) 7 Fig. 4:9 Hill and Adamson, 92nd Gordon Highlanders reading the orders of the day. Edinburgh Castle. (S.N.P.G. Ref: PGP EPS 15) Fig. 4:10 Hill and Adamson, Officer of the 92nd Gordon Highlanders Reading to the Troops, Edinburgh Castle (Met. Ref: Met-3274) Fig. 4:11 Hill and Adamson, Sargeant of the 92nd Gordon Highlanders reading the orders of the day. Edinburgh Castle. (Ref: PGP HA 4557). Fig.5:1 Sentry from 92nd Gordon Highlanders and their wives at Edinburgh Castle. Fig. 5:2 Tall Private from 92nd Gordon Highlanders reading the orders of the day. Edinburgh Castle. Fig. 5:3 Hill, D. O. (1846) Edinburgh Old and New. Oil on Canvas, National Galleries of Scotland, Fig. 5:4 Dubois Drahonet, A.-J. (1833), Lance-Sergeant Donald Cameron, 92nd (Highland) Regiment of Foot. Fig. 5:5 Dubois Drahonet, A.-J. (1833), Private Alexander Ritchie, 79th Regiment of Foot (or Cameron Highlanders), Both copyright The Royal Collection. Fig. 5:6 Artist Unknown (c.1842), Private John Orr, Watercolour, Fig.5:7 Artist Unknown (c.1840), Sergeant J. McLaran, Watercolour Fig. 5:8 Tombstone of C. Valerius Crispus, legionary of LEGIO VIII AUGUSTA, Wiesbaden, 1 st century AD. Fig. 5.9 William Henry Fox Talbot, Calotype, detail, Dublin Castle Guard c.1840, Science Museum, London. Image No. 10312920 Fig. 6:1 Monmouth Cap, Monmouth museum, Monmouth. Fig. 6:2 Knitted Bonnet discovered at Arnish Moor, Lewis. Early 18th century Fig. 6:3 David Morier (1745-85) An Incident in the Rebellion of 1745, detail, Oil on canvas, The Royal Collection Fig. 6:4 Sir Joshua Renolds, (1784), Alexander Montgomerie, 11th Earl of Eglinton (1726-96), The Royal Collection 8 Fig. 6:5 The Ruddle Pit, from Walker’s Costumes of Yorkshire Fig. 6:6 Edward Hull (1830), Military Costume, Bugler of The Seventeenth. Undress. Fig. 6:7 Knitted Bonnet, Regimental Museum of the Duke of Wellington’s Regiment, Bankfield Museum, Halifax. Acc. No. DWR.174 Fig. 6:8 Roger Fenton, Private of the 28th (North Gloucestershire) Regiment of Foot in full marching order, 1855, National Army Museum, London. (Acc. No. NAM. 1964-12-151-6-15) Fig. 6:9 Roger Fenton (1855), The Remains of the Light Company of the 38th Regiment, 1855, National Army Museum, London. (Acc. No. 1964-12-151-6- 18) Fig. 6:10 Gustav Sohon, sketch Adolphe a Flathead Chief Smithsonian Intuition, Washington Fig. 6:11 Gustav Sohon,sketch Iroquois Guide Aeneas, Smithsonian Intuition, Washington Fig. 6:12 Cornelius Krieghoff, Winter Camping Scene c.1850s-1860s Watercolour sketch, Copy from the Dick Institute ,Killmarnock. Fig. 6:13 Image by Father Nicolas Point. Probably from Montana or Idaho c. 1840s. Image from the Dick Institute, Killmarnock. Fiq. 6:14 H.M.The Queen presents new colours to the Royal Regiment of Scotland, Edinburgh, 2nd July 2010. http://www.army.mod.uk/infantry/regiments/SCOTS.aspx Fig. 7:1 Machine knitted Glengarry produced by Robert Mackie & Co., c..2010. Regimental Museum of the Argyll and Sutherland Highlanders, Sterling. Fig. 7:2 Hand knitted Glengarry, c.1854, Regimental Museum of the Argyll and Sutherland Highlanders, Sterling. Fig 7:3 Feather Bonnet and Hackle c 1854, detail, Regimental Museum of the Black Watch, Perth, Scotland. Acc. No. 1078/1 9 Fig 7:4 A Pillbox Cap,c.1854, 2nd Royal North British Dragoons (Scots Greys) detail. Regimental Museum of the Royal Scots Dragoon Guards, Edinburgh Castle. Acc. No. 21215 Fig, 7:5 Pins used to aid the counting of stitches. Knitted Woollen Cap, first half of 19th century, Regimental Museum of the Duke of Wellington’s Regiment, Bankfield Museum, Halifax.