Beasts of Burden Booklet - Texas Civil War Civilian Living History

Beasts of Burden
The Basics of Yoking and Driving Oxen
Presented by Barrington Living History Farm
February 11-12, 2012
Part I. Yoking Them Up
In the old days, the very old days, a yoke might have consisted of a log tied behind the horns and
across the neck of the animals. As time passed, yokes became more sophisticated and
developed into two styles, the head yoke and the neck yoke. The head yoke is a precisely carved
beam shaped to fit the poll of that team. It then lies against the horns of the oxen and is tied
securely to the horns and the forehead.
The neck yoke is carved and rounded to fit comfortably on the neck of the team. Bows hold the
yoke in place, and each bow is securely fastened with a bow pin.
Yoking a well-trained team should be fairly easy, but an inexperienced driver or team will need
practice in order to make things proceed smoothly. Yokes can be quite heavy, so it may be
necessary to put the yoke on the team with the assistance of another teamster until the skill can
be mastered. Yoking (using a neck yoke) is then done in several different stages:
One of the most important things to do when yoking is to tie the team to a secure
object. This prevents any running away and allows for a higher degree of safe
handling.
Inspect the necks of each animal for anything that may cause pain under the yoke.
Lay the bows of the yoke upside down over the necks of each animal.
Place the bow pins and spacer blocks on the hitching rail or inside a pocket to
insure easy access.
Standing next to the nigh ox and in the driver’s position, lift the yoke, rotate it
one-quarter turn with the iron rings towards the animals’ tails. Slide the yoke
across the neck of the nigh ox and over the neck of the off ox. Turn the yoke so
the iron rings point toward the ground.
Remove the bow from the nigh ox, insert it from below and through the holes of
he yoke, place the spacer block over the section of the bow with the holes, and
insert the bow pin.
Move to the right side of the team and near the head of the off ox, remove the
bow, and insert it from below and through the holes of the yoke. Place the spacer
block over the section of the bow with the holes and insert the bow pin. At this
point the team is yoked.
To take the yoke off, simply do the whole process in reverse. Once again, make
sure the team is tied to something secure.
Whenever yoking up a team, always think in terms of safety as full grown oxen can cause severe
injuries if the driver gets careless while handling the animals. Even little calves can leave a
powerful bruise if not handled properly. Depending on the teamster’s abilities and the team’s
temperament, it may be necessary to try other methods of yoking. Use common sense and think
in terms of safety when trying other methods.
Part II. The Basics of Oxen Driving
Centuries ago, children as young as ten carried the title of teamster as they walked alongside the
oxen while mom or dad held the plow. Back then, because it was something necessary in order
to survive, driving the team probably rated low on the list of things people enjoyed. Today
driving a team can be an enjoyable, even relaxing pastime, but the basics of oxen driving remain
the same:
Oxen should respond to the teamster’s voice commands which are given in a clear,
firm voice.
Oxen respond to the teamster’s body movements and to the touch of the driver’s
whip or ox goad as well. The goad is used to reinforce the voice commands.
The drover drives the team from the left of the nigh ox, near the ox’s head but
taking care to not move in front of or lag behind the team as this can cause the
animals to react to these positions.
All drivers use similar voice commands
1. Walk Up
Moving the team forward is achieved when the driver, standing next to the yoked team and
beside the head of the nigh ox, calls out ‘walk up,’ ‘step up,’ or ‘come up’ and takes a step
forward, then reaches behind and above the backs of the oxen with the driver’s whip or goad. In
a perfect world, the team will respond to the command and walk forward, following the
teamster. However, if the team is not paying close attention, clearly say the names of the oxen,
restate the command, and use the whip or goad on the animals’ rumps, tapping only as hard as
necessary to gain compliance.
2. Whoa
When a team weighs several thousand pounds, ‘whoa’ becomes the most important of all the
commands. The driver stops walking and at the same time calls out ‘whoa’ or ‘ho.’ The team
should be watching the driver and listening to the voice command and if so, will stop on
command. Once again, in a perfect world, the team will stop immediately without having to be
told twice. If forward motion continues by more than a few steps, the driver then repeats whoa
and blocks the oxen’s line of vision with the driver’s whip or goad.
3. Gee
Needless to say, a team cannot continue in a straight line. When it becomes necessary to make a
right hand turn, the driver calls out ‘gee,’ then begins walking to the right, moving towards the
head of the nigh ox. If the team does not begin their gee turn, the driver taps the nigh ox on the
tail to speed him up, while putting the driver’s whip or goad in front of the nose of the off ox to
slow him down.
4. Haw
When the team needs to make a left turn, the driver calls out ‘haw,’ then begins to fall back
towards the flank of the nigh ox, pushing against his rump if necessary. If the team does not
begin their haw turn, the driver taps the off ox on the tail to speed him up, while putting the
driver’s whip or goad in front of the nose of the nigh ox to slow him down.
5. Back
Occasionally, it will be necessary to back the team up. In order to move the oxen in reverse, the
driver stands in front of the animal that needs to move back, taps it gently on the brisket, the
knee, or in-between the split of the hoof and says ‘back’ while speaking the animal’s name. If
both animals need to move, the driver does the same thing with each one.
6. Stand
If only for a moment, drivers must occasionally walk away from the team. This doesn’t mean
that the team can trot all over the place while the driver is absent. In order to walk away, the
teamster must give the ‘whoa’ command, place the driver’s whip or goad on the ground and in
front on the team, then command the team to stand still by calling out ‘stand.’ A well-trained
team should remain in stand while the driver tends to business elsewhere. Stand may be one of
the most difficult commands for a team to master as they may not want to oblige for a number of
reasons. Should the oxen begin to move out of stand, the driver must whoa the team and restate
the stand command once again.
Although it may seem that the oxen are taking forever to learn these commands, repetition,
along with proper behavior from the driver, will eventually shape these magnificent animals into
a team that will work faithfully for their driver until the end of their lives.
Part III. Problems Do Arise
Just like children, oxen, even well-trained oxen, will occasionally misbehave. Misbehavior can
arise if the oxen are testing the teamster (yes, they are that smart), not feeling well, bothered by
flies, fearful, etc. and can come in the form of running away, kicking, aggressiveness,
inattentiveness, and grazing while in the yoke.
The good teamster knows that oxen must not be allowed to get away with any type of
misbehavior and must obey. Once an ox has learned naughty behavior, it is hard to undo and
any misbehavior from these powerful animals can be VERY DANGEROUS for people, animals,
and equipment. Most importantly, if the driver makes the mistake of removing the yoke after an
episode of misbehavior, the team will most certainly act up again if misbehavior is rewarded by
removing the yoke when they do their own thing instead of what has been expected of them.
So what is a Teamster to Do?
The teamster must immediately go into action to correct the misbehavior armed with a great deal
of patience and consistency. Just as in teaching the commands, the good teamster never
punishes the animals by yelling at them or beating them with the whip or goad. This will only
serve to teach the team to fear that driver, which will cause them to misbehave more, and cause
the driver to yell and beat more, and cause more misbehavior, and so on, and so on. All
teamsters who drive those oxen in the future will probably have problems with that team
because they were handled inappropriately at some point.
Once a team has misbehaved, the teamster must make the team obey the command they were
given until they do that command correctly. Once compliance is achieved, then and only then
can the yoke come off. If a team does not comply with the driver, the team must continue to
repeat the command until they have done what was expected of them. This might mean more
time in the yoke, but in the long run it will be worth it, especially when the oxen are full grown
and outweigh the driver by thousands of pounds. The driver must be the lead bull, not the oxen!
Finish on a positive note. Once the yoke comes off, praise them, brush them, and spend a bit of
quality time with the team. In the long run it will be worth it when your team works well for
you in an effort to please you.
Conclusion
Learning to work a team of oxen or any other working animals can be a very rewarding
experience. The art of using draught animals is one that you do not often see any longer.
Although oxen can still be seen working in the fields of historic sites, many of the skills
associated with this activity are no longer being taught. You have chosen to carry on this
tradition of working animals by participating in this workshop. It is our hope that you may take
the things you learn here and use it in future living history opportunities. Most of all, we hope
the experience of life as a 1850’s farmer has come alive with our Beasts of Burden.
Bibliography
Conroy, D. (1999). Oxen, a Teamsters Guide, Rural Heritage
www.prairieoxdrovers.com
Additional Information
Books
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Oxen: a Teamsters Guide by Drew Conroy
The Bullock Driver's Handbook by Arthur Cannon
The Pride and Joy of Working Cattle by Ray Ludwig
Power for Prairie Plows by Grant MacEwan
Movies
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A Yoke of Oxen and the Early Settlers (Rural Route Videos)
Basic Training of Oxen (with Drew Conroy - Butler Publishing and Tools)
Training Oxen (with Drew Conroy & Tim Huppe)
Magazines
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Rural Heritage
Small Farmer's Journal
Organizations
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Tillers International - program that offers ox training courses
Midwest Ox Drovers Association (MODA)
Links
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American Livestock Breeds Conservancy A non-profit membership organization working to protect
over 100 breeds of cattle, goats, horses, asses, sheep, pigs, and poultry from extinction. It is the pioneer
organization in the U.S. working to conserve heritage breeds and genetic diversity in livestock.
BerryBrook Ox Supply Berrybrook has a large supply of quality ox supplies, yokes, and equipment.
Drew Conroy An ox teamster and teacher of oxmanship courses at Tillers International.
Farm Auction Guide Online farm auction.
Livestock Forum A website devoted to making auction sale bills easier to find on the internet. All sale
bills are fully searchable, with complete information and many have photos.
Midwest Ox Drovers Association An organization dedicated to keeping our country’s heritage alive and
show how oxen can be used even in this modern world.
Noah's Livestock Rare Livestock Internet Marketing Co-op.
Rural Heritage A bimonthly journal in print since 1976, online since 1997, in support of small farmers
and loggers who use draft horse, mule and ox power.
Tillers International At Tillers you learn early draft animal practices and move on to integrate new lowcost technologies. Join us to explore combining the best of yesterday and today in strategies that can
vitalize small farms around the world.
The Randall Cattle Registry, Inc. Protects, enhances, and certifies the purebred status of Randall
Cattle.
Barrington Farm Volunteer Clothing Guide
All Barrington Farm costumed interpreters full time and volunteer, shall strive to present a positive
image to the visiting public, considering the cultural diversity and the reasonable expectations of our
broad constituent base while at the same time maintaining a period appropriate appearance. Hair should
be if possible, maintained in a period appropriate style but if not it should be kept clean and combed.
Makeup should be kept to a minimum. Lipstick, eyeliner and eye shadow are expressly forbidden. It is
important to present an authentic and period appropriate image to the public while maintaining positive
public relations.
Men’s ClothingThe following is based on contemporary artwork, descriptions found in contemporary journals
and books, period tailoring and seamstress manuals as well as original garments.
**everyday clothing for men should consist of a “common” shirt with either an overshirt, vest or
some sort of top garment over this, a pair of broadfall or fly front trousers, a pair of brogans or boots,
suspenders, a cravat or stock and topped off with a hat
Trousers- Past Patterns has an 1840’s-50’s fly front pattern that would be appropriate for the common
laborer(#014) - a draft taken from Men’s Clothing 1830-1900 could be altered to conform to the wool
jeanscloth, broadfall trousers on display at the Star of the Republic Museum (87-9) and dated to the mid
19th century - wool jeanscloth, hemp, linen or even cotton would be appropriate materials depending on
the wearer and weather – trousers during this period usually have side seam pockets or frog pockets
which can be very useful for male interpreters as a safe place to carry keys and other small items needed
when on site
-trousers are generally straight leg with fly fronts but this period in history sees both fly and broadfall
trousers, many originals seem to have bone buttons for fly/fall closures as well as for suspenders, tie,
tape or belts are found at back waist for adjustments, cuffs can be flared, vented or not, at times
references to linings in trousers show up and it is speculated this was done on working class trousers,
frog pockets can have button closures or not, watch pockets are not always present, colors of all sorts
along with plaids, stripes and checks are appropriate
Shirts- The Workwoman’s Guide 1838, laboring class (pg 137-138), gentlemen’s (pg 142-146),
waggoner’s smock (plate on pg 130b, instructions on pg 137)… general instructions can be found on
pages 138-141 – Thoughts on Men’s Shirts 1750-1900 by William L. Brown offers a detailed look into
the styling and construction of men’s shirts of the 19th century - paintings by William Sydney Mount and
George Caleb Bingham both show shirts that match the descriptions in The Workwoman’s Guide and
Thoughts on Men’s Shirts – Past Patterns offers a mid 19th century Gentleman’s Shirt pattern with an
1830’s and an 1840’s-50’s cut(#007) - overshirts would be appropriate for farm use and would be made
slightly larger than the “common” shirt
-shirts of this period share several details regardless of what they are intended for… cuffs are generally
3” to 3 ½” long with buttons set very close to the cuff/sleeve seam, plackets use anywhere from one to
four or five buttons, collars tend to be 3” to 3 ½” tall though some shorter collars show up on working
shirts, both pleated and plain fronts are appropriate for common laborers though plain fronts are
probably most appropriate, small to medium sized shoulder reinforcements are commonly found on
shirts during this period, gussets are found under the arms, at the side vents and at the collar/shoulder,
overshirts show up with welted pockets on either side of the chest and some shirts favored by miners and
drovers have an exceptionally large placket that looks very much like a bib but with one button to close
it rather than several, when working in the field or in conditions where the shirt can be easily soiled it
was common for men to turn their cuffs back on themselves to maintain the look of a clean shirt, if you
are not wearing a vest or topgarment then an overshirt should be worn, colors of all sorts along with
plaids, stripes and checks are appropriate, collars, cuffs and pleated fronts tend to be white
Cravats/Stocks- The Workwoman’s Guide 1838, plate 18 (pg 142b) instructions on pg 147… can be
made from silk, polished cotton or any other suitable material – Past Patterns includes a cravat pattern in
their Mid 19th century gentleman’s shirt pattern(#007)
-cravats and stocks are a very individualistic item regarding how the bow is tied and what fabrics are
used… it’s hard to go wrong with this piece of clothing but it is an item that should be worn at all times,
cravats are long triangles of cloth folded once or twice, wrapped around the neck and tied off in a bow
at the throat, stocks are a band that wraps around the neck and buckles, ties or buttons closed at the
back with a prettied bow at the throat, colors of all sorts along with plaids, stripes and checks are
appropriate, collars, cuffs and pleated fronts tend to be white
Braces/Suspenders-Simple single straps with buttonholes at ends are appropriate as are more elaborate
styles utilizing buckles and leather tabs – County Cloth carries nice reproduction brass, wire, two
pronged suspender buckles… reference Mount and Bingham paintings for styling when visible
-braces can be sewn together where they cross in the back or left loose, if buckles are used the brass two
prong suspenders buckles are very appropriate, colors of all sorts along with plaids, stripes and checks
are appropriate for the suspender straps
Belts-Plain leather belts in russet, natural, brown or black leather with iron tongued brass buckles are
appropriate as are double billet styles or belts utilizing roller buckles however the plain styles are the
most desirable – Bison Saddlery makes excellent quality leather goods with appropriate buckles
Vests Past Patterns offers an 1840’s-50’s vest pattern with variations in construction techniques(#018) Men’s Clothing 1830-1900 by R.I. Davis offers drafting instructions for mid 19th century men’s vest
styles
-vests can be shawl standing or shawl collared but the shawl or horse collar is most appropriate, single
or double breasted is appropriate, one, two or three pockets are found on period vests, ties, tapes or
buckle tabs are used for adjustment at the back waist, chests can be wadded or not and the Past Patterns
#018 vest pattern offers an option for a removable chest wadding for summer use, vests like cravats are
another very individualistic clothing item and colors of all sorts along with plaids, stripes and checks
are appropriate
Top Garments- A variety of top garments are appropriate for a laboring class impression… used
clothing and out of date fashions would be most appropriate… roundabouts, tailcoats, frockcoats or
paletots would all be available and would vary in materials from wool broadcloth, linen, wool or cotton
jeans cloth and possibly linsey woolsey - The Tailor’s Masterpiece 1838 has drafting instructions for
roundabouts, tailcoats, frockcoats and overcoats - Past Patterns offers a pattern for a mid 19th century
paletot(#009) - Mount and Bingham show all of these styles on mid 19th century laboring class men
-whether you are looking at a roundabout(short waist length jacket),a tailcoat(roundabout with tails
reaching to the bend of the knee) a frockcoat(mid thigh to knee length coat) or paletot(similar to
frockcoats but cut differently) the sleeves should fit fairly snug but not too tight you can’t work in the
garment, pockets can be put in at the waist, breast or pleat folds at the skirt vent, single or double
breasted garments are both appropriate, shawl, horse or rolling collars are all appropriate, chest
wadding and collar structuring is found in nearly all period garments except in summer garments,
summer garments should be made from linens or heavy cottons while winter garments can be made of
woolens or other heavier fabrics, colors of all sorts along with plaids, stripes and checks are
appropriate
Hats- Tim Bender of TP & H Trading offers excellent reproductions of period 19th century hats(and is a
state approved vendor) - refer to Mount and Bingham paintings for styling and colors… Marcy suggests
using a felt for hard summer wear and Bollaert suggests very similar practices
-hats can be high or low crown with or without a bell to the crown, medium to wide brim, with or
without brim binding or crown lining, dark colors are appropriate for winter while light colors are good
for summer hats, straw hats are appropriate
Caps- The Workwoman’s Guide 1838, plate 19 (pg 150b) instructions on pg 157-158... several styles are
offered – refer to Mount and period daguerreotypes for prevalent styles
-caps were commonly worn by mechanics, and laborers of all sorts, they can have peaks(bills) of
leather, painted cloth or cloth similar to what the hat is made from, shapes of caps can range from the
“forage cap” of the 1830’s-40’s or can be more like modern ball caps, caps from this period are
commonly found with wadding in the crown and sometimes with leather or pasteboard in the cap bands
and reeds in the cap crowns for structuring, woolen goods, other heavy fabrics, painted cloth and
sometimes leather were used for the body of caps, colors of all sorts are appropriate
Boots/Shoes- Robert Serio of Missouri Boot and Shoe offers excellent reproductions of period 19th
century boots and shoes(CS-1, CS-6, EN-2, MW-1, CV-TAB, CV-5, BO-1) – refer to Mount and
Bingham paintings for styling - square toes, two piece construction for boots, pegged soles and low
heels are all hallmarks of mid 19th century footwear
-boots and shoes can be smooth or rough out, shoes should be low quarters or ankle high, boots should
be no more than mid shin to calf high, low heels and square toes are very appropriate, shoes should
have leather laces, heels can have plates to extend their life, boots should be two piece and can have
pull tabs
Men’s AccessoriesThe following is based on contemporary artwork, descriptions found in contemporary journals
and books, as well as original pieces.
Scarves- Scarves were worn in cold weather and can have fringing on the ends or can be left plain…
wool would be the best material for a winter scarf and could possibly be made by the domestic
interpreters as part of their daily routine
Handkerchiefs- Handkerchiefs are sometimes seen peeking out from the pocket of a gentleman in a
painting or daguerreotype and are useful especially in the hot summer months… cotton would be the
best material for a handkerchief and could possibly be made by the domestic interpreters as part of their
daily routine
Jewelry- Rings should not be worn unless they are plain or resemble an otherwise period style, wedding
rings are the exception to the rule… for the common laborer rings would really be inappropriate
Men’s HairstylesThe following is based on contemporary artwork and photographic images.
Hair- Hair was sometimes brushed over to one side or the other but not parted in the middle, hair was
often collar length or longer but sometimes cut shorter or what was commonly termed “cropped”
Women’s ClothingThe following is based on contemporary artwork, descriptions found in contemporary journals
and books, period tailoring and seamstress manuals as well as original garments.
**everyday clothing for women should consist of a dress with accompanying petticoats(chemise and
stays or corset are recommended for the period look),shoes or brogans and topped off with a cap and
or bonnet
Shifts/Chemises- The Workwoman’s Guide 1838, plate 6 fig. 3,4,5,6 (pg 46b) instructions on pages 4650... made of “fine Irish linen or calico, for the upper classes, and of stout linen, or strong but soft calico
for poor children” - Past Patterns offers a pattern for a mid 19th century chemise or shift(#707)
Petticoats- The Workwoman’s Guide 1838, plate 14 (pg104b) instructions on page 104... made of
“calico, twill, dimity, cambric, and jaconet muslin” and for the lower classes they can be made of
“calico, strong dimity, calamanco, stuff, and bombazine” – the basic instructions for flannel petticoats
can be used for common petticoats as can the instructions for making up skirts - pleated or “tucked”
petticoats or corded petticoats are common for everyday wear to maintain the period shape - Past
Patterns offers a pattern for mid 19th century petticoats(#706)
Pockets- The Workwoman’s Guide 1838, plate 10 fig. 11,13,14 (plate not included in book) instructions
on page 73... made of the same material as the petticoat when fastened into it of “dimity, calico, jean,
twilled muslin, and sometimes of nankeen or brown jean” – this is an item very useful for female
interpreters as a safe place to store keys and other small items needed when on site
Gowns/Dresses- The Workwoman’s Guide 1838, plate 14 (pg 104b) instructions on pages 106-113...
servants or working class gowns are made of “print, linen, stuff” and for best wear “light ginghams,
merino, or bombazine” while ladies wear “muslin, gingham, silk, merino” and for best “lighter or richer
materials, as satins, velvets, gauzes & c.” - The Workwoman’s Guide 1838 offers detailed observations
on the construction and make up of gowns as well as detailed observations and suggestions for materials
on the various styles of dresses presented therein – it should be noted that The Workwoman’s Guide
1838 illustrates many dress patterns and styles that would be very outdated by the period portrayed at
Barrington Farm (1844-1857 with a special emphasis on the year 1850) however it is included here for
using as a base to build from if individual interpreters or volunteers wish to make their own dresses –
Fashions and Costumes from Godey’s Lady’s Book by Stella Blum is an excellent guide for identifying
styles for the period in question - Past Patterns offers a pattern for a mid 1840’s working dress(#017)
that would be very appropriate for everyday farm use as well as a pattern for a nicer dress(#800-#801)
that would work well for everyday use or for a “dressier” occasion
-dresses intended for work or daily wear tend to have simple straight sleeves, bodices and skirts tend to
be less elaborate, bodices can button down the front, dresses intended for dressier or formal occasions
would have pleats and ruffles on the sleeves as well as the bodice and skirt and in general would be
much more elaborate than the previously described dress, colors of all sorts along with patterns, florals,
plaids, stripes and checks are appropriate
Caps- The Workwoman’s Guide 1838, plate 9 fig. (pg 62b) instructions on page 62-68... made of linen,
calico, check, muslin, jaconet muslin – the patterns and styles presented in The Workwoman’s Guide
1838 may be a bit out of date but should still be appropriate for everyday farm use – Miller’s Millenry
offers several appropriate patterns of caps(#9603, #K19)
Bonnets- Slat, quilted or sun bonnets can be made of many of the same materials as the caps, such as
linen, calico, check, muslin, jaconet muslin or even silk – look at period artwork for references to styles
and patterns – Miller’s Millenry offers several appropriate patterns of bonnets(#9305, #9101, #9704,
#9302, #0501)
Socks & Stockings- The Workwoman’s Guide 1838, instructions on pages 253-255… cotton or wool
would be most appropriate for the common laborer - excellent period reproductions are made by Terre
Lawson and can be purchased from Jersey Skillet Licker – period stockings can be purchased from Jas.
Townsend & Son, Inc.
-socks & stockings can come a few inches above the ankle to mid shin or calf high, usually have a
ribbed band worked into them at the top for structuring, can be just about any color but should be solid
but sometimes the toe and heel patches are contrasting colors on socks
Shoes- Robert Serio of Missouri Boot and Shoe offers excellent reproductions of period 19th century
working shoes(CS-1, CS-6, MW-1, CV-5) – Robert Land of Robert Land Footwear offers excellent
reproductions of mid 19th century ladies shoes(the Balmorals, and lacing shoes are very close) square toes, pegged soles and low heels are all hallmarks of mid 19th century footwear
- shoes can be smooth or rought out, shoes should be low quarters or ankle high, low heels and square
toes are very appropriate, shoes should have leather laces, heels can have plates to extend their life,
cloth shoes were worn by women on a daily basis in the 19th century however they would not hold up
very well to life on a farm in the fields
Aprons- The Workwoman’s Guide 1838, instructions on pgs 76-79 for various patterns of aprons… can
be made from linen, Holland, print, silk or muslin - reference period artwork and daguerreotypes for
styling
Women’s AccessoriesThe following is based on contemporary artwork, descriptions found in contemporary journals
and books, as well as original pieces.
Scarves- Scarves were worn in cold weather and can have fringing on the ends or can be left plain…
wool would be the best material for a winter scarf and could possibly be made by the domestic
interpreters as part of their daily routine
Pelerines/Fichus- Pelerines and Fichus are triangular shaped scarves made from various types of fabrics
and worn around the shoulders
Jewelry- Rings should not be worn unless they are plain or resemble an otherwise period style, wedding
rings are the exception to the rule… for the common laborer rings would really be inappropriate…
earrings should not be worn except on special occasions and should be of a period style
Women’s HairstylesThe following is based on contemporary artwork and photographic images.
Hair- Hair was sometimes parted down the middle and sometimes parted in two lines forming a “V” the
bottom of the V pointing towards the face the remaining hair was then braided into loops, swept back
over the ears or sometimes in front of them, some daguerreotypes show what appears to be a “bun” or
roll of hair on the upper back of the subjects head
Vendors for purchase of Period Clothing and Accessories:
Past Patterns PO Box 60299 Dayton, OH 45406-0299
Phone: (937) 223-3722 FAX (937) 223-3731 merchant@pastpatterns.com
Saundra Altman Proprietress
TP&H Trading Co. 121 Carriage Drive Birdsboro, PA 19508
Phone: (610) 582 0327 (Telephone calls accepted between the hours of 6am and 9pm eastern time zone)
tph_trading@msn.com
Tim Bender Proprietor
Millers Millinery P.O. Box 8077 Lancaster, PA 17604-8077
Phone: (717) 285-3373 Fax: (717) 285-3629 bonnets@earthlink.net
Lynnette Miller Proprietress
Missouri Boot & Shoe 951 Burr Crossing Road Neosho, MS 64850
Phone: (417) 451-6100 jeffersonbootee@excite.com
Robert Serio Proprietor
County Cloth, Inc. 13797-C Georgetown St. NE Paris, Ohio 44669
crchilds1@verizon.net
Charlie Childs Proprietor
Tart, Brantley and Benjamin 1451 Old Goldsboro Rd. Newton Grove, NC 28366
Phone: 252 883-5374 (214 696-1885?)
Ben Tart Proprietor
William Booth, Draper
2115 Ramada Dr. Racine, WI 53406
Phone: (815) 648-9048 Fax: (262) 886-9133 wmboothdraper@wi.rr.com
William Booth Proprietor
Robert Land Footwear Ltd. 3909 Witmer Rd. PMB 139 Niagara Falls, NY 14305
Phone: 519 835-7147
Robert Land Proprietor
The Clothing Bureau 116 West 49th Street Minneapolis, MN
Phone: 612 720-3114 mahan-shaw@visi.com
Thomas Shaw Proprietor
Allegheny Arsenal 120 Serenity Lane St. Simons Island, GA 31522
Phone: 912-638-2842 sacbg7@lynchburg.net
Steve Abolt Proprietor
Jersey Skillet Licker 8 Arlington Place Fair Lawn, NJ 07410
Phone: 800 431-1862 Fax: 201 796-7776 joe@skilletlicker.com
Joe Hoffmann Proprietor
Jas. Townsend & Son, Inc. 133 North First St. Pierceton, IN 46562
Phone: (574) 594-5852 Fax: (574 594-5580
Jonathan Townsend Proprietor
Bison Saddlery 6220 Jasper Rd. Helena, MT 59602
Phone: (406) 449-7231(8 AM to 6 PM MST)
Steven Stefely Proprietor
Steve@Bisonsaddlery.com
BibliographyThe Workwoman’s Guide 1838, A Guide to 19th Century Decorative Arts, Fashion and Practical Crafts
by a Lady – Piper Publishing
Thoughts on Men’s Shirts in America 1750-1900 by William L. Brown III – Thomas Publications
Early Victorian Men, The Tailor’s Masterpiece: All Kinds of Coats(1838 revised edition) by George
Walker – R.L Shep Publications
Men’s Garments 1830-1900, A guide to pattern cutting and tailoring(revised second edition) by R.I.
Davis – Players Press Inc.
Men’s Fashion, The Complete Sourcebook by John Peacock – Thames and Hudson Ltd.
Fashions and Costumes from Godey’s Lady’s Book Including 8 Plates in Full Color by Stella Blum –
Dover Publications, Inc.
Internet ResourcesThe Daguerreian Society –
http://daguerre.org/index.php
The Library of Congress Daguerreotype Collection http://memory.loc.gov/ammem/daghtml/daghome.html
Tasha Tudor Clothing Collectionhttp://www.whitakerauction.com/Tudor_auction.htm
James Gilchrist Benton Artwork-http://www.cartermuseum.org/books/encountering/art/jb2.htm