A QUARTERILY REVIEW FOR GIWL WAR REENACTORS Guarding

A QUARTERILY REVIEW FOR GIWL WAR REENACTORS
Volume 7, No. 4
Guarding your interests..
Our Row to Hoe
The 1999 season is winding down.. .and with it comes the
usual plethora of self-congratulation. Some commanders rightly
assert that never before were battalion structures, staff positions,
and ration issues and ammunition issues more fully utilized.
One battalion commander told me: "The 'one-company
regiment' is dead." Others commented on the much-improved
state of individual impressions.. .Union and Confederate. One
thing is certain: the spate of recent full-color uniform and
equipage books, how-to publications, the Internet, and of course
this fine publication have all contributed to a tremendous
knowledge base from which to center, or improve one's
impression. "It's all paying off." quipped one of my pards at the
135'j' Chickamauga, "The farbs seem to have finally gotten some
religion."
Before too many of us pull our arms out of joint trying to
pat ourselves on the back, I am writing this to tell you that the
progressive "movement" still has a long row to hoe. There is,
in fact, significant improvement at larger events, where
expectations are high. The large battalion maneuvers
(unfortunately)belied a significantlack of mastery of the "School
of the Company" at a company level. Hundreds bivouacked at
135'j'Chickamauga without tents; dozens of others shuffled to
their cars bearing sleeping bags or coolers carried like sedan
chairs or perched atop their heads. Modern eyeglasses adorned
the nose of a fellow who had sought me out. Spatterwear cups
dangled from miles of string attached to haversacks. I even
witnessed a modern aluminum mess kit pot on a cook fire that
contaminated an otherwise pristine Federal company bivouac
site. Apparently, a boiler made from a tin ration can was beyond
the ken of that reenactor.
These comments only scratch the surface. A disturbing
number of smaller events have apparently signaled the OK to
relax even the modest gains of progressives, and revert to wholly
incorrect drill, foodstuffs, and practices. I won't even touch the
uniform and equipage deficits, which have actually gotten worse
at many of those local offerings. Miles of canvas and collections
of ironware abound. At one of these local events, the subject of
poor quality impressions came up, and its impact on the
truthfulness of the history imparted to visitors. One participant
fantastically opined, "The truth really doesn't matter." When I
challenged this remark, he backpedaled and eventually ended
.
Fall 1999
up by saying that no matter how much we research, we can
never accurately do it just the way "they" did. Does this mean
that because we don't know the precise way a Civil War soldier
cut his salt-pork, that it's suddenly OK to bring in the canvas,
the coolers, the cigarettes, and the modern eyewear?
The key to success in our desire to turn hearts and minds
back to the nineteenth century is continued research, and
constancy of purpose. "Good" can never be "good enough." We
must continue to ever strive, to push the envelope, to ask
ourselves that all-important question when first confronted with
an issue or concern: "What did the ancients do?" Seek the
nineteenth-century answer. And never give up.
Every hand-sewn buttonhole is a victory; every properly
rolled cartridge a triumph that commemorates in a profound
way the respect and awe we hold for our Civil War ancestors.
Isn't their memory and dignity worth our very best efforts?
Mr. Braun
.
Ramblings among the vendors..
Over the past two months your correspondent has had the
opportunity to look at offerings from two relatively unknown
vendors.
The first, TP&H Trading (Tim Bender) is an excellent
hatter. The publisher has had a civilian hat of his for review [I]
and I have had the opportunity to examine several in his traveling
establishment. More to the point, I have recently had the
opportunity to examine a current example of Mr. Bender's
excellent Hardee hats (or 1858 dress hat).
I had seen one of Mr. Bender's early Hardee hats at Grant
vs Lee this summer. In every respect, it was the equal of a wellknown maker of Hardee hats. [2] Mr. Bender, however, was not
satisfied. He consulted with Mr. Bill Brewster, the collections
curator at the Wisconsin Veterans Museum, and examined the
original hats in their collection. Mr. Bender is currently
producing a beautiful reproduction. He has procured a limited
amount of 100 percent silk grosgrain ribbon and blanks of the
proper thickness. These reproductions are a true pick of the
litter. His civilian hats bear the same attention to detail.
Mr. Bender is also an excellent source of period cutlery,
pipes and Cartes de Visite. [3]
In preparation for the recent Chickamauga event, your
correspondent received a so-called Mobile "mystery" jacket from
Mrs. Becky Nall of Cotton City Tailors, of Mobile, Alabama.
Made of piece dyed (period receipt) "sumac" jeans cloth from
Tart, Brantley and Benjamin of Spring Hope, NC, with all
topstitching (and etc.) done in logwood dyed thread, it is a well
made reproduction garment that is a close match for either jacket
of this type found in the Gettysburg NMBP Visitors' Center
collection.
Mrs. Nall also makes the so-called Columbus Depot jacket
and the "Richmond Depot Type 11" (Les Jensen's typology), as
well as Confederate central government issue trousers. She has
a variety of jeans cloth available, though your correspondent
has a weakness for Mr. Tart's work.
Lastly, some time ago your correspondent had an
opportunity to view a "Richmond Depot Q p e II" produced by
David Scofield. [4] Mr. Czekanski has had their clothing
available in his "Hardcore Emporium" at several national events.
Also constructed of Mr. Tart's excellent jean cloth, this was a
well-done reproduction. In discussion with Mr. Scofield, your
correspondent discussed a few minor points that my fellow editor,
Mr. Rick Simmons, had noted, but these were areas that Mr.
Scofield had already given his attention.
Mr. Murley
[I] See review on page 13. The short crown civilian hat provided by Mr. Bender
for review is of excellent workmanship. Details will be provided in our ongoing
series on men's hats in future issues.
[2] A vendor who has asked the DOG not to review his products...so he shall
remain nameless. ARF!
[3] TP & H Trading Company, Tim Bender, 121 Camage Dr., Birdsboro, PA
19508 and (610) 582-0327.
[4] David Scofield, 1512 Belmont Ave., Yakima, WA 98902 and (509) 453-6335
By Invitation?
The past year saw a great increase in the number of
invitation-only events for reenactorslliving historians. Often
these events were looked upon as elitist and not designed to
promote the welcoming of newcomers. I have attended many of
these events, and never was the idea of "excluding" anyone a
consideration. The purpose of the invitation-only events is to
maintain more control over the numbers and to encourage the
highest quality impressions to attend. Often smaller sites are
not equipped to handle the multitudes that would descend upon
hearing of an event, taxing the capabilities of the administration,
security and finances. By hosting those groups or individuals
who have become known for their willingness to adhere to strict
guidelines, the site is guaranteed a quality event to present to
the public. Invitation-only event coordinators are often willing,
when asked, to work with an individuallgroup to improve their
impressions to the point where they could take part.
Reenactors are also always encouraged to attend invitationonly events as spectators, asking questions of the participants
in order to continue to learn and improve. As we end this century,
many of us have been involved in reenactinglliving history for
twenty to thirty years. Some of us are gradually transferring our
love of the period specifically to a civilian viewpoint. Others
are weary of continually working to improve an impression only
to be camped next to an assortment of anachronisms. The
invitation-only events are providing an alternative to the megaevent, not intending to replace them, but to further enhance our
immersion into knowledge of Civil War era civilian life-style.
Mrs. Kalil
Publisher's Notes
I polled the editors as to their desires for input to the front
page of this issue. Mr. Simmons responded with a question,
"How about a readers poll asking them to tell us about their
favorite local museum and asking them to describe some of
their contents as relating to our era This would be a great way
of getting: (1) our readers involved, and (2) some idea of what
is out there on a smaller or local level. What do you think ?'It
is a great idea. We hope that you will take a moment to check
your local historical museum, small private museum or perhaps
a friend's collection. There may be an original item that can be
examined and photographed for our pages. We also would like
to know what items are out there in these type of collections.
Items that have known provenance or that can be linked to an
individual soldier, location or time frame are especially desirable
for study. Send us your findings by letter, phone or e-mail.
After two years the DOG's Relief Guard has settled in for
the duration. There is just enough structure to keep everything
organized and the issues published regularly. We are always
open to suggestions, questions and new ideas on how we can
bring you and the reenacting community the information that
will improve our impressions. We are making incremental
improvements in the graphics and hope you take advantage of
the color versions posted on the DOG's web site.
By now all should know that the new subscription rates are
in effect ($15 for one year, and $13 for each additional year or
$28 for two years and $41 for three years). A number of you
took advantage of our three-year special (subtly adyertised) in
the last issue. The foreign rate is $20 (US) per year.
The DOG's 1999 preservation donations will be announced
i the Winter issue. The recipients have not been finalized, but
:st assured the checks will be mailed before the end of 1999. I
xpect the amount of the total donation to be $1000 to $1500.
The Dogcatcher is looking for information on two members
f the merchant species who have been reportedh, been negligent
I the application of their terms of commerce. I am requesting
copies of documentation of any tales of woe or mistreatment.
While I rarely publicly make such a request it is due to the
extreme nature of the grievances. I can promise no action other
than the accumulation of documentation. It will be used to justify
their being on the Dogcatcher's list. The two merchants are In
Touch With History and Ole Church Emporium.
The merchant and supplier list in draft form is available
a the cw-reeanctors web site. The list will be refined in the
qeeks to come and merchants having products reviewed or
ecommended by the DOG will be designated. The URL is
http:l/www.cw-reenactors.com
.
And finally, a personal note.. .thanks for your patience and
support during my successful battle with prostate cancer earlier
this year. Am!
Mr. Christen
I
THE WAT(=DOG
FALL 1999
1
I
THE VIGILANT SOLDIER: HOW TO USE WHAT YOU CARRY
Knapsack and Haversack Packing 101
[Editors' note: Kevin O'Beirne's methodology for improving the
portrayal of soldiers on campaign approaches the "Vigilant Soldier"
philosophy. It is presented here with numerous Editors' remarks as
the "Soldier" is still in development.]
"Bring for your men shelter-tents ....and drop all excess of
baggage." Major General John McClernand, Thirteenth Army
Corps, April 21, 1864 (Red River Campaign).
"...considering.. .the fact that three days ' [rations] has heretofore
been the maximum amount [carried], the board recommends as
follows: I. That all extra clothing, except a change of underclothing,
be stored. 2. That five days' rations of bread and small-stores be
placed in the knapsack. 3. Three days' cooked rations in the
haversack, and five days' fresh beef upon the hoo$ 4. Two mules
per regiment to carry camp-kettles, rice, beans, &c. Each soldier
will carry-Haversack 5% lbs., Knapsack 6 lbs., Blanket 5% lbs.,
Clothing 2 lbs., Total, 19 lbs. Making 13%pounds in the knapsacks,
being 2% pounds less than the weight usually carried by soldiers
in this army in their knapsacks." Report of Board of Officers
Convened per Army of the Potomac General Orders No. 65, March
7, 1863 (prior to the Chancellorsville campaign).
"The troops carried through the campaign only those things
most necessary for their constant use ...A blanket should have been
taken, but no overcoat. Both weigh a man down too heavily, and
are not necessary'in moderate weather " Brigadier General Rufus
Ingalls, Chief Quartermaster, Army of the Potomac, May 29, 1863.
The average reenactor qualifies as a "heavy camper", and one
of the easiest, most satisfying and least-expensive ways to improve
your impression is to lighten your load. Reenact with less. While it
includes packing of eight days' rations -more than any reenactor
would ever carry -it is interesting to note that the recommendations
of the Board of Officers in response to General Orders No. 65 (see
above) was adopted by the Army of the Potomac for the
Chancellorsville campaign. Reenactors should consider the fine
example set by the Federal soldiers of 1863 the next time they pack
their gear for a two-day reenactment.
The first resolution to make in lightening your reenactor's load
is to use no more than what you can comfortably carry in a single
trip, and never bring your car into an encampment site. If the Army
of the Potomac could go eight days without issuing rations from
wagon trains, then surely a hearty and hale living historian can
survive a two-day reenactment without having to use a motor vehicle
for anything other than transportation to the event's participant
parking lot. Once you arrive at the parking lot, don your traps and
knapsack, shoulder your musket and march into camp. Not only
will you be more accurate, but you will also avoid the hazards and
traffic problems associated with bringing your vehicle into and out
of a campsite.
The second (and final) resolution is to pack so that your
knapsack and haversack contain only the essentials, and only items
that a soldier of 1861-1865would have had on campaign. Remember,
your pack should be light enough for you to comfortably wear it into
I
each battle scenario during a weekend-long event. If the pack is too
heavy to wear to all the battles, then start lightening the load by
casting off the non-essentials.
Below is a packing checklist that I use in preparation for living
history events. Your "essentials" may vary.
Knapsack [I]
One Blanket: One good five pound, 100 percent wool blanket is all
any reenactor needs, even in cold weather. Make sure the blanket is
good-sized; my blanket is fifty-seven inches by eighty inches and
was obtained from the Wisconsin Veterans Museum Store. [DOG:
Since the "Auggie Wiessert" blanket is no longer produced, we
suggest the "Abraham Thomas" Federal issue blanket from
Quartermaster Woolens. I t is a fine piece of work, ARF! See the
Abraham Thomas US issue blanket review on page 12. We also
understand (and have seen the original) that the Wisconsin Veterans
Museum Store is going to be selling a Confederate blanket. As of
this issue we have no further information on it. ]
One Gum Blanket: Essential for use as a ground cloth, raincoat, or
shelter. Excellent, large (forty-six inch by seventy inch) gum blankets
with properly-sized grommets can be obtained from C&D Jarnagin.
[DOG: Often soldiers were offered an option: rubber blanket or
shelter half?]
One Shelter Tent Half: Decent shelter halves can be obtained vendors
such as Haversack Depot, Artifakes, Heywood and a selected, few
others [2]. A proper shelter half should weigh only 1.5 pounds,
compared to an actual weight of 4.0 pounds for a Panther Lodge
shelter half or similar type constructed from heavier than specified
canvas. A shelter half is essential for protection from the elements.
Individual soldiers should not cany full tents (i.e, two shelter halves).
Evidence that triangular end-pieces for dog tents were ever available
to the average Billy Yank is exceedingly scant. [DOG: Shelter tents
were not a s essential as we think. Based letters, diaries and QM
reports neither were they present on campaign as often as reenactors
might prefer]
A Journal Book and Pencils: A non-essential personal item which
comes in handy for a soldier on campaign to record his thoughts,
write letters home, use as a fire-starter, or to use as "paper" in "an
emergency".
Extra Pair(s) of Wool [or cotton] Socks: Perhaps the real soldiers
did not always have extra socks, but it is recommended that all
reenactors carry a second pair for warmth at night and for healthpurposes. Further, one extra pair of socks is a small, light addition
to your pack. [DOG: Usually soldiers were initially issued two pairs
of socks, two pairs of drawers and if a US soldier, two governmentpattern issue shirts. Having these extras depends on the time and
place.]
Extra Drawers: A non-essential item that was not available to most
soldiers on campaign. [DOG: Drawers were issued and an extra
pair doesn't weight much. The issue we see is trying to get most
reenactors to wear period drawers in the first place!]
Extra Shirt: Completely non-essential in the warmer months, an
extra shirt is a necessity for colder-weather reenacting. [DOG: Our
experience is that even in the summer a clean and dry shirt on
Saturday evening is quite refreshing, and it's very authentic to wash
I
the other one and have it drying for use the next day.. .this goes for
stockings too. Alas, the poor soldier on campaign probably only
had one shirt.]
A Vest:Nonessential, and used mainly for colder-weatherreenacting.
The idea that every soldier in the field had a vest is a "reenactor
myth", so take your choice on whether you want to carry one.
A Greatcoat: Leave the greatcoat home in warm weather (soldiers
placed them in storage from late spring until autumn). However, a
Federal-issue overcoat for reenacting in the colder months is one of
the most useful items in the living historian's kit. It serves as both a
coat and a blanket, and at night the cape can be used to completely
cover your face and head for warmth.
Small Towel(s):Not of the modern day terrycloth variety.. .a periodcorrect towel, such as "Huckabuck" towels sold at Wal-Mart, or the
excellent NPS reproductions, is useful in washing up your person
andlor your gear. Carry a bar of lye soap (or, better yet, part of a bar)
with the towel. [DOG: Soap was issued along with candles, but not
always while on the on campaign. Don't forget the weight of the
soap in your calculations]
Extra Ammunition: Pack ammunition correctly in paper packages
of ten rounds plus one paper tube with twelve percussion caps. This
approach is accurate and takes up the least space in your knapsack.
Roll of Twine (String): About twenty to thirty feet of twine or hemp
is the campaigner's essentialcompanion for rigging up shelter. Make
sure the twine has no modem fibers. [DOG: That much twine, or
cording, might be for a whole company. A few feet of it for tying a
blanket role, securing a rubber blanket, or replacing a shoe lace
ought to be enough.]
Extra Food: Food for a two- or three-day reenactment should fit in
the haversack but, in the event you pack heavy, or are bringing more
than three days of food, put the extra into the knapsack.
Haversack Articles: Minimize your haversack items, and to increase
room in the haversack (which is primarily for rations), place some
of your articles into the knapsack. Articles a soldier might well have
carried include a tintype of his family, a bible, shaving gear, sewing
kit, a few pieces of dry kindling, pipe and tobacco, and other personal
items. Evaluate all your items and determine if they are "essential"
for a soldier on campaign. Chances are, after some soul-searching,
you will decide that most of them -especially "necessary" flasks
-are useless trash that take up important room in your pack. [DOG:
many soldiers stuffed personal items in their trowser or coat pockets.]
Haversack
Rations: Limiting campaign-rations primarily to salt pork or beef,
hardtack, coffee and sugar not only makes one more authentic, but
these items take up less room and weigh less than the rations
consumed by most reenactors. Forget about canned food! You can
also lubricate your weapon with the pork fat (it will not rust the
metal). [DOG: The army rarely issued full rations by weight when
on active campaign. There were sporadic issue, incomplete issues
and time when there was no issue at all. Don't forget that a soldier
might have also had other issued or purchased such as vegetables
prior to going on the march.]
Tin Plate: A good tin plate is essential as a serving dish, frying pan
and, if necessary, digging implement (for fire pits or earthworks).
Assuming it fits inside, a plate adds rigidity to your haversack. A
canteen half will serve the same purpose.
Eating Utensils: A knife, fork, and spoon are essential, and living
historians may want to consider wrapping them in a rag or in a
small canvas sack. Also, a pocketknife in your pants pocket or
I
haversack is essential.
En Can: A period-correct tin can with a wire bail attached is excellent
for use as a coffee boiler and as supplemental mess furniture.
Candle: One beeswax candle is useful. A candle holder is not
required; just turn a tin cup upside down.
Matches and Matchsafe: It is a good idea for each reenactor to carry
one box of matches in a matchsafe (i.e. a small box that protects the
box of matches from being crushed). Matches can also be carried in
a jacket pocket. Reproduction matchsafes are generally not very
correct but, with some careful shopping at an antique store or relic
vendor, one can find a fairly inexpensive period matchsafe.
Handkerchiefs: Carry one or two period-correct handkerchiefs (not
the modern blue or red bandannas sold by the "sutlers").
Hygiene Items: The writer carries a muslin poke bag with a wooden
toothbrush, comb, and two small glass vials with corks (one vial
contains baking soda for tooth powder, and the other is for sunscreen).
As personal preference, the writer carries these in the haversack
instead of the knapsack, in a location where pork grease will not
contaminate the toothbrush. [DOG: Toothpowder containers were
generally made of wood or porcelain. Why not take a cue from patent
toilet and writing kits of the period, and roll up one's modest toilet
articles in one of the towels or handkerchiefs, tie it with a piece of
cord or shoe lace? By putting this in the knapsack the nasty salt
pork could be avoided.]
During the preparation of this article, the writer packed his
knapsack and haversack as recommended above and then weighed
each. The haversack contained two day's rations of salt pork,
hardtack, and coffee (total weight of rations per Army Regulations:
3.7 pounds), along with a few haversack items and mess gear,
including a tin dipper attached to the outside of the haversack. The
total weight of the haversack was 5.7 pounds The knapsack was
packed with a blanket, gum blanket, authentic shelter half, greatcoat,
towel, socks, extra drawers, forty blank cartridges,journal book and
pencils , and a few miscellaneous articles. The weight of the full
knapsack was 17.5 pounds; when the greatcoat was removed, the
weight of the knapsack was 14.0 pounds. [DOG: Forty ball rounds
plus tins weigh four pounds. The greatcoat should not be included
when comparing it to total weight for late-April to early-September
campaigning. The soldiers on campaign during this period in 1863
would not have had space for some of the articles listed here because
the space was occupied by extra rations.]
How does the recommended reenactor's packing list stack up
against the Army of the Potomac's marching load at the beginning
of the Chancellorsville campaign? Answer: fairly well. The
reproduction items weighed included only two days' rations, plus a
gum blanket and the weight of the haversack and knapsack proper.
The Board of Officers' recommendations included three days' full
rations in the haversack; in the knapsack were five days' rations of
hardtack, two pounds of clothing (roughly equivalent to a pair of
socks and a shelter half), and a blanket. Note that the Board of
Officers' recommended load does not include the weight of a gum
blanket, which was carried by all soldiers of the Army of the Potomac
during the Chancellorsvillecampaign, or the weight of the haversack
and knapsack themselves. (For copious quartermasters' reports on
how the Board of Officers' recommendations fared on campaign,
see the War of the Rebellion: Official Records of the Union and
Confederate Armies, Volume 2.5, Part 2, pages 544-559). [3] The
Board's recommended load includes about 7.9 pounds of food not
in the reenactor's haversack and knapsack, while the weight of the
reenactor's gum blanket, haversack, and knapsack totaled about 7.5
1
FALL 1999
1
pounds. The reenactor's journal book, forty blank cartridges,
and other nick-knacks more than account for the difference of 0.4
pounds. Therefore, it can be concluded that the packing list
recommended in this article is fairly authentic. Further, I assert, based
on personal experience, that it is sufficient for protection from the
elements and includes enough food for a two-day reenactment. Note
that the list does not include a whiskey flask, lantern, ammunition
box, tent poles, camp stools, multiple blankets, canned food, railroad
spikes for tent stakes, or other useless items that do nothing but add
bulk and weight to your campaign kit and detract from your
authenticity. Try reenacting with the packing list included in this
article, and you'll be surprised at how easy it is how comfortable
you'll be, and how authentic you'll feel. [DOG: The next logical
step is to make your packing completely accurate by closely observing
the type and amount of items for specific campaign impression
scenarios.]
Kevin O'Beirne
NOTES:
The topic of what an infantry man should carry as determined by US Army officers
in 1863 is also being explored in a three-part series in TheLong Roll, the newsletter
of the Army of the Pacific. The first two parts have been published. Reprints may
be available at a small charge from Dom Dal Bello at PO Box 1863, Goleta, CA
93 116, especially if you ask politely.
[I] Next year the DOG would like to do a review of knapsacks similar to our
bootee series. We encourage suppliers to submit samples and solicit field reports
on those on the market from our readers.
[2] The DOG'S favorite shelter tent sources :
The Haversack Depot (Phil Cavanaugh)
PO Box 311262, New Braunfels, TX 78131 and (830) 620-5192
Artifakes @on Rademacher)
1608 W. Pearl St., Stevens Point, WI 54481 and (715) 341-5893
Heywood Shelters (Dan Cheatum)
616 Bakersfield Rd., Carbondale, I1 62901 and (618) 529-3038
The Arsenal (Eric Hector) [see product review below]
PO Box 5103, W. Lebanon, NH 03784 and (603) 448-9854
Records of the Warof the Rebellion, Series I: Burnside's Order:
[3] Official
vol. XXIII ( ~ 0 0 k ~ o . 3 5Chancellorsville:
);
vol. XXV, Parts 1 & 2 (BookNo 39
& 40); Ingalls' fiscal year report: Vol. XXM, Part I (Book No. 48) and Vol.
XXXVI, Part 1 (Book No. 67)
Kevin O'Beirne has been a living historian since 1993and is the author of several
magazine articles on Civil War history and reenacting "how-tos". He is a member
of the Irish Volunteers Battalion and is a civiYenvironmenta1engineer in western
New York State.
PRODUCT EVALUATION (EQUIPMENT):
SUPPLIER:
ITEM
REVIEWER(S)
Heywood Shelter Tents (Dan Cheatum)
Shelter tent half (1862 or early version) [I]
Rick Simmons
ITEM RECEIVED: 28JN1999
PAGE: 1 of 1
Cost: $75 with reproduction bone buttons and $80 with original buttons
Item description: Federal issue shelter tent half (66 inches long by 63 inches wide)
Component material(s): eight ounce cotton drill,
hemp twine for stake loops and guy line
heavy cotton thread for button holes
linen twine for grommet holes
Pattern1 Model/ Style:
1862 early issue, three panel (outer panels 28.5 inches, center panel 6.5 inches)
4 inch by 4 inch reinforcement pieces at the corners only
23 button holes (7 on the fronts, 9 on top)
8 sewn grommets (4 on bottom for stakes, 4 on top for guy ropes and poles
23 bone buttons
Comments: A very nicely made item. Machine sewing is done a eight stitches per inch. Button holes are hand sewn and the grommets
neatly done by hand with the proper color and thickness thread. The buttons are reproduction bone but the maker has taken
the trouble to stain them a little darker so they are hard to distinguish from originals. All buttons have a small square of
material sewn on the opposite for a backer. This detail is found on an example (four actually) in a private collection. The
inspector's stamp is copied from one of these originals and reads "Geo. F. Moulton US INSP. CIN'T OHIO." He is listed as
inspector of tents from 1 November 1863 to February 1864. All in all this is a very good product.
Supplier contact info:
Heywood Shelters, Dan Cheatum, 616 Bakersfield Rd., Carbondale, IL 62901 and (618) 529-3038
NOTE: [I] Heywood also produces an 1864 (late war or General Order No. 65 version) version priced at $75, It is based on an original carried by Corporal L. Heywood of
Company E, Sixth Maine Infantry. This tent is constructed with a ten ounce tabby weave canvas as per the original but varies from the eight ounce drill called for in the
Quartermaster specifications. Proper grommets, tent loops and paper-backed tin bunons are included.. Perhaps Mr. Cheatum could be persuaded to make an 1864 version
with the correct weight drill. Like the "Weissert" blanket this is a very good copy of a particular item. Heywood Shelters also offers two-piece tent poles .
TO OUR READERS: The review above is an example of a technical sheet-typereview format that the editor's use when making notes and exchangingreviews. We
present it here and on page 13. Let us know if sou find this format useful. It can stand alone or it can supplement a more formal review. Any preferences?
THE WATCHDOG.
THE VIGILANT CITIZEN: HOW TO CARRY WHAT YOU USE
Bags, Bags, Bags, by Any Other Name Would Still Come in Handy When...
Between 1860 and 1866 the lowly shopping bag had many
aliases, including traveling bags, traveling reticules, traveling
satchels and carriage bags. Bags were created with various
materials and in many styles and designs.
Needlepoint bags were referred to as canvas-work bags or
~erlin-workbags. These bags got their names from the flexible
open canvas and Berlin wool, which was used to make them.
The canvas was covered with decorative stitches, creating a
colorful, sturdy material, which could be applied to a bag frame
or sewn into the shape of a bag or pouch. Crocheted bags were
made with wool and often imitated the shape and design of the
canvas work bags. Cloth bags could be made from solid colored
calico, wool, linen or silk. Once embroidered with wool, cotton
or silk even bags made of the simplest materials became ornate.
The most common shape for a bag was a ten by twelve inch
rectangle. Sometimes these rectangular bags were mounted on
forms called bag frames. Frames were made of cloth and leather
sewn together. The body of the bag frame consisted of two layers
of fabric. The outside fabric was a dark, solid colored cotton,
called a dark calico and inside the fabric was a striped ditto or
striped pillow ticking. The body of the bag frame was a long
piece of layered fabric that wrapped from front to back. A
convenient pocket for a handkerchief was located inside the
frame. The sides and handles of the bag frame were made of
leather. Standard size bag frames were readily available but more
expensive custom frames could be made upon request.
Less expensive bags were created without using a bag frame.
Instead of the Berlin work, crocheted piece or fabric being tacked
onto the outside of a frame, it was simply sewn into the shape of
a bag. When this was done a piece of cardboard or boning was
placed inside the top edge of the bag to help maintain the shape
of the bag and to aid in supporting the handles of the bag.
Canvas-work bags were created using medium or course
weight canvas, ten to twelve threads per inch and wool, silk,
cotton or chenille threads. Sometimes beads were used to further
embellish the finished bags. The tent stitch, cross-stitch, gobelin
stitch, Irish stitch and German stitch were the basic stitches
used in canvas work. Variations of these five basic stitches were
later created.
back of the work should be uniform, each row of stitches
resembling a twisted cord.
Cross Stitch
The cross stitch is worked over two threads in a diagonal
direction. This is done in two steps, first bringing the needle up
on the left, and putting it down on the right, thus forming half
the stitch; then it is crossed by bringing the needle up again on
the right and passing it down on the left. Finish each stitch
before beginning another. A background done in cross-stitch
should be done in alternate rows backwards and forwards as in
the tent stitch.
Gobelin or Tapestry Stitch
Gobelin or tapestry stitches are worked upwardly over two
threads of canvas and across two threads in width. This makes
the stitch the same width as the tent and cross-stitch. Gobelin
stitches are usually used on fine canvas. Flowers and figures
can be done in this stitch but it is more suitable for patterns that
are drawn on the canvas, not count work. Count work refers to
the placing of stitches by counting the meshes in the canvas to
create the design.
Irish Stitch
Tent Stitch
To make a tent stitch, begin at the bottom of the work in
the left hand comer. The needle is brought up from the right,
and passed down on the left. The wool or silk should cover the
threads of the canvas. With a little practice each stitch will
become uniform and even. If this stitch is used to fill in the
background of the design, work in straight rows and alternately
from left to right and right to left. When done correctly the
The Irish stitch is used for background instead of the tent or
cross-stitch as it takes much less time to do. It is also the best
stitch to choose when using chenille. Begin work in lower left
corner. The first stitch is a short one covering two threads; the
second stitch is a long one covering four threads. Alternate these
stitches forward and backward across the rows. Scrolls,
geometrical shapes and flowers may be worked with this stitch.
I
THE WAXHDOG.
FALL I999
1
German Stitch
The German stitch is only used for background. It is quicker
to work than the tent or cross stitch and looks very nice with
patterns worked in cross stitch. This stitch is placed on the
diagonal, as in the German Stitch illustration. Alternate long
and short stitches.
There were many variations to these five basic stitches including, the ferne stitch, feather stitch, star stitch, basket stitch,
mat stitch, bead stitch, braid stitch, plait stitch, diamond stitch,
square stitch, Venetian stitch, Peruvian stitch, Hungary stitch
and plaid stitch.
In 1863 the feather stitch was introduced:
In 1864 the star stitch appeared:
Canvas-work patterns were often copied from charted
embroidery, crochet or knitting designs of the time. Stripes,
geometric and floral patterns were also popular.
Choosing colors for bags was always matter of personal
preferences, however it was advised that colors used in bags
should complement each other by providing plenty of contrast.
Solid colors and shaded wools were used separately or together.
Bags without frames were lined with twilled calico or a
dark silk. Cord ties were added and the same twisted cord was
carried up the sides and seams. A buttonhole and button could
be added to secure the bag.
Crocheted bags were made following charted patterns. Each
row of the pattern was read from right to left, breaking off the
thread at the end of each row. Each square on the pattern would
equal two single crochet stitches. These bags were reinforced
with cardboard or boning at the top edge of the bag and lined
with twilled calico, silk or linen [see illustration on next page].
The 1864 ladies' cloth traveling bag is made in the shape
of a very large purse. The original pattern suggested the use of
violet wool (a dark purple) with white silk embroidery. Not
everyone followed these suggestions however and varied the
colors and materials. Two and one half yards of material that
was twenty-seven inches wide was required for the outside of
the bag. Another two and one half yards of white calico was
suggested for the lining. TWO and one quarter yards of silk fringe
were needed for trim as well as two ivory rings and some pearl
buttons. The embroidery patterns were worked on both ends of
the bag, but only on one side. This bag was completely lined
and a pocket formed on each side once a slit was made in the
center back of the bag for the opening. Two rings were slipped
over the slit and pearl buttons and silk loops further secured the
slit closed. Edge each pocket with silk fringe up to the beginning
of the slit in the center back. The graceful appearance and the
rapid construction of this bag gave it a great advantage had
over other ladies' traveling bags.
Brown Holland was the suggested fabric for making a shoe
bag. The dark serviceable color and the sturdiness of the fabric
made it a popular choice. The fabric was cut slightly larger
than the shoes it would contain. One end of the fabric was
rounded. The embroidery and word "shoes" was worked with
scarlet crewel wool. This bag was sewn together and ornamented
Illustration of a Crocheted bag
with a quilling of scarlet ribbon, this bag was then completed
by the addition of ribbon strings and bows.
Bags were extremely useful for carrying small parcels and
various other items when shopping or traveling. Temporarily
tacking a piece of oil cloth inside a bag would transform the
bag into a picnic conveyance. Later the oil cloth could be
removed and washed. Bags served so many practical purposes
they were often made and given as gifts. Why not let your
imagination soar, and create one for yourself or a friend?
Janice Jones
with a plaited scarlet braid. Scarlet braid was also run
through the top hem and used to draw the bag shut. These bags
were very useful at home and during travel.
SOURCES:
Miss Lambert, Handbook of Needlework, Philadelphia, J. L. Gihon, 1854
Ladies Work Table Book,Philadelphia, T.B. Peterson, 18601
Peterson's Ladies National Magazine, T.B. Peterson, 1860
Peterson's Ladies National Magazine, T.B. Peterson, 1864
Godeyk Ladies' Book, Louis A. Godey, 1864
London E. Harrison, Young Ladies Guide to the Work Table, 1892
Mrs. Warren, Mrs. Pullman, lkeasures in Needlework, 1976
The Ladies Self Instructor in Millinery & Mantua Making, Embroidery
&Applique (1853), reprint, R. L. Shep, 1988
Readers having any questions about this article may contact Janice Jones at Once
Upon A Pattern, P.O. Box 31616, Mesa, AZ. 85275-1616 and by telegraph at
jjones@onceuponapatternmcom
and http://www.onceuponapattern.com
The 1866 cloth carriage bag is very easy to recreate. Linen
was used as the foundation of this bag. One-quarter inch wide
velvet ribbon and one half inch white taffeta ribbon were sewn
on the linen foundation. Scarlet and Green embroidery was
worked on the white ribbon. Lined with scarlet silk and finished
8
THE
Janice Jones discovered at an early age a talent for all types of needlework and a
passion for history. During the last ten years while portraying Victorian women,
she has incorporated her needlework into the historically accurate costumes she
created. As owner of Once Upon a Pattern, she translates and sells Victorian knitting
and crochet patterns and one of a kind finished items.
'CHDOG.
FALL 1999
PRODUCT REVIEWS
Past Patterns #712: Apron Front Hoop Skirt with Hoop Flounce
As a newcomer to civilian reenacting the first thing I learned
was that correct underpinnings were most important and that I
should work on my wardrobe from the inside out. One of the
items needed to display a good impression is a hoop skirt.
Meeting some of the editors of The Watchdog at the National
Park Service 1860 Election Day event at Harpers Ferry, West
Virginia in October, 1998, I was asked if I would like to complete
Past Patterns Hoop Skirt Pattern #712. My experience as a
seamstress is very limited and taking on this project was
challenging for me. My goal was to see how legible and easily
understood Past Patterns products were in regard to instructions
and illustrations.
The most rewarding prize I found with Past Patterns was
the history they provided on hoop skirts. The research was
excellent and helpful to understand how hoop skirts and cage
crinolines came to be. The pattern sizing was accurate as well
as the list of supplies needed for construction. The only problem
I ran into was finding the fabric material called "Dobby weave"
suggested by the designer Cathy Johnson. I finally used good
quality cotton available at a reputable fabric store, not a discount
fabric store. Remember you want this to last and you get what
you pay for.
The pattern was clear and concise. I do have one suggestion.
In the section of construction of the skirt, after the panels are
cut out, I would like to see instructions to mark the panels for
the areas where the bias tape casing will go. This is mentioned
in the general instructions, but would have been helpful to have
it written in these instructions. At the end of the pattern it
instructs you to hand buttonhole the casing to allow the boning
to be inserted. I found the bias tape to fray easily. This makes
the opening larger when your stitching is complete. I also agree
with the designer suggesting tying the boning to keep its shape.
Overall I was very pleased with the end result. If you are
looking for an elliptical hoop skirt this is a wonderful pattern to
use. The elliptical look is slight and graceful which makes a
nice impression.
Catherine Thornton
Apron Front Hoop Skirt with Hoop Flounce, Past Patterns
Ar112 (Multi-sized S, M, L, XL, XXL) - Cost: $20 from Past
Patterns, PO Box 2446, Richmond, IN 47375-2446, phone:
(765) 962-3333, FAX: (765) 962-3773. Saundra Altman of Past
Patterns can also be reached at [email protected] and a web
site: http://www.thepoint.net/-pastpat/
Catherine Thornton has resided in Staunton, Virginia for the past two and one
half years (2 112 years). Her college education is in Business Administration. For
the past fourteen years she has been a professional quilter and teacher. She and her
husband, Ryan, are new to CW reenacting. She states, "My experience in sewing
clothing is small and that was the reason for having me do the Past Patterns hoop
skirt to see how easy it was for a 'non-sewer' to accomplish the pattern."
Corded Petticoat by Lynne Doddington
At a recent event in Michigan, while visiting with lady
friends, I was given the opportunity to review a hemp-muslin
corded petticoat. Lynne Doddington (associated with the
Heirloom Emporium) had brought us this sample of her work.
While I have never seen an original made of this particular
fabric, I was amazed at the apparent durability and noted the
give and flexibility of this petticoat.
Mrs. Doddington credits her documentation to an existing
garment in eastern Pennsylvania.
As I stated, the petticoat is made of hemp-muslin. She allows
for creativity in the waistband and uses homespun check. The
muslin is pleated into the waistband for a flat appearance that
allows less bulk at the waist. She uses two white china underwear
buttons (four hole), and makes several button holes for ease in
adjustment. She also makes the waistband in several different
lengths to accommodate waist size variation. The petticoat I
purchased was a thirty to thirty-six inch waist.
The petticoat is thirty-three inches long and includes six
channels that are 1'12 inches apart for sisal rope insertion. The
bottom three channels are only a finger-width apart. This really
creates the nice corded effect as an option for work dresses or
day dresses that need a modest flair.
The petticoat uses two panels. One is thirteen inches wide.
The other panel is fifty-six inches wide. The seams are finished
using a flat felled technique. The waistband opening is ten
inches. The raw edges are finished to prevent fraying.
I highly recommend making a $75 investment in this
petticoat. Remember ladies (or gentlemen) that Christmas is
right around the comer.
The petticoat withstood the Chickamauga event. I wore it
the entire weekend. All I had to do was give it a really good
shake when I returned home and the dirt and dust was gone. I
cannot say the same for other clothing items worn that weekend.
Christine Ballard
Corded Petticoat: $75 + shipping, Lynn Coddington, 3229
Offutt Rd., Randallstown, MD 21 133 and (410) 521-0563 and
corsets0yahoo.com
Christine Ballard has been reenacting for eleven years. She lives in Comstock
Park, Michigan and has been active in a number of civilian organizations and
activities. She has an intense interest in ladies' bonnets and headwear, and conducts
bonnet making workshops across the country.
LOOKING AT ORIGINALS
Examination of the Construction of a Confederate Drawstring "Poke" Sack in
the 16thRegiment Museum of Confederate History
The city of Greenville, South Carolina has one of the best
small museums I have ever seen. The 16h Regiment Museum
of Confederate History [I] has a great display of weapons, relics
and artifacts. They range from the 16Ih South Carolina
Regimental Flag to several homespun work dresses. The 16!"
South Carolina reenactment group and Curator Bert Miller, with
the untiring support group of local reenactors, Sons of
Confederate Veterans members and interested citizens have
achieved an outstanding success. The arms collection is
undoubtedly the best I have seen in a museum of this size. If in
the area, please stop by, view the fine collections and make a
donation to a very worthy effort.
Thanks to Bert, I was able to view a Confederate drawstring
"poke" sack that belonged to Private William Watson of the
16IhSouth Carolina Regiment in Brigadier General States Rights
Gist's Brigade, Army of Tennessee. The sack and original letters
are on display under a Plexiglas case. Directly behind the case
are transcripts of the letters that William carried in the sack.
William was killed in the charge at Franklin and family lore
has this sack with his correspondence returned to the family
shortly thereafter. The sack has stains and damage that the family
attributes to William's wounds at the time of his death. I was
very honored to view this piece.
edges folded into themselves and single stitched (very tight,
almost backstitched) down to form a noticeable seam on the
bottom and side (Photos 1-C and 1-B). [2] The collar has been
folded in approximately two inches with the selvedge edge left
exposed. The collar is then stitched down with small stitches at
'18 inch intervals I14 inch from the selvedge edge (Photo 1-D).
The thread is medium weight white cotton. The drawstring is a
medium weight cotton twine that has been doubled, and drawn
through two hand stitched eyelets '14 inch from the side seam
about inch from the top of the collar (Photos 1-A and 1-B).
The twine appears to have been strung and the two inch lip
turned down and stitched into place.
Conclusions
The sack appears to have been made of a cotton fabric
manufactured commonly in the South during the war. It might
have been shirting material. I have seen this type of material
used in depot jacket linings also. It is impossible to tell who did
the actual sewing The stitching is good and even and fairly
uniform. I would guess that this size sack was always used for
personal items as it had no food stains. I can not identify the
stain in the collar area or assess the reason for the damage.
Implications
This is just one example of "poke" [3] bags that I have
viewed. I have seen a variety of fabrics and closure methods.
Reproducing any of them should be correct. The size of the
sack could vary as long as construction is consistent with
originals. The use of twine doubled is very interesting, as I have
recently been using cotton twill tape for drawstrings. This
particular sack would appear to be made of either shirting or
lining material. Not a bad sewing project for the recycling of
that old and trusted shirt.
Charles McCulloh
Just the facts
The sack is eight inches by twelve inches and made of what
appears to have been a blue and red alternating check on a light
background. The material is cotton with the checks being
approximately '14 inch apart and the widths being ' 1 4 inch for
the horizontal blue check and I l s inch for the vertical red check.
The check threads themselves appear to have two dark, possibly
brown, threads as defining borders (Photos 1-A through I-E).
The material now has a light brown cast, but probably was a
lighter color, perhaps white or cream. The interior has the raw
'
WAT
NOTES:
[I] 16" Regiment Museum of Confederate History, 15 Boyce Ave., Greenville
S.C. 29607 and (864) 421-9039. Open Wednesday from 10 AM -3 PM for school
tours, Friday from 5-9 PM, Saturday from 10 AM -5 PM and Sunday from 1-5
PM.
[2] This is commonly known as a French seam.
[3] The word "poke" means a pocket or a small bag. As such the word and can be
used alone. From A Dictionary of the English Language, abridged from Noah
Webster's American Dictionary of the English Language, by F, J. Huntington, New
York, 1854
Charles McCulloh is a 47 year old Landscape Architect and Land Surveyor for
the City of Birmingham Alabama Urban Planning Department. He has been
reenacting for the last six years with Rambo's Battalion in the 1st Confederate
Division. He tells the DOG, "I am a 'high' private in the 22nd Alabama Infantry
Regiment and am proud to galvanize as the 9th Indiana .....AND after several years
of uniform research I have discovered that the more I learn, the less I know."
All the photographs
were taken by Charles
McCulloh with the
permission of the 16*
Regiment Museum of
Confederate History.
The DOG will make
sure that all of Mr.
McCulloh's fine color
images of the William
Watson poke are posted
on our website.
'OG.
FOLLOW-UP
Bootees
I made a mistake in the Summer 1999 issue by mentioning
that Fred Rickard might be a source for bootees. He does not
manufacture or offer any for sale. My apologies to Mr. Rickard
for any inconvenience.
Jim Pahl, a long time subscriber, talked with us at the
Jackson, MI Civil War Muster last August and displayed the
first pair of bootees made by Jim Lammers (Cedar Creek Supply
Depot). Mr. Pahl states:
I lived just a few miles from Jim [Lammers] at the time and I
was the guinea pig, so to speak. I broke them in mowing the
lawn a few times and they made their debut at the 125th of First
Manassas. I have been wearing them ever since, some 15 years.
They have been resoled once, but have the original heels. My
feet come back from reenactments only tired.. .not sore like they
used to. This is a first class bootee.
After the last issue was published I received a pair of Federal
issue bootees from Mattimore Harness. These bootees have been
shipped to Mike Cunningham for his inspection and checking
of details. They will also be field-testing during the coming
year. The bootees are nicely finished with correctly pegged soles.
The heels are pegged not nailed. I did note that there are no
lace holes in the vamp, but will defer to Mr. Cunningham for
the final assessment (in the next issue). The Mattimore Harness
bootee costs $95 + $6 shipping, the company can be contacted
at 509 Second St. Laramie, WY 82027 and (307) 745-8460
Evenings only.
Tom also produces a CS issue "Oxford" bootee patterned
after a dug original ($loo), a wartime production bootee that is
sewn at 3 112 stitches per inch with a single rather than a double
row of pegs ($85), and a hand sewn welted shoe ($150). This
shoe, based on research presented to the Honorable Company
of Cordwainers, has a pegged heel. Mr. Mattimore believes this
may have been wartime expedient to prevent early "down at the
heels" syndrome.
No other samples from other suppliers have arrived, but
we know of at least three or four more sources. We hope to be
able to inspect samples of these so that this study can be
completed in the next issue.
Leather Canteen Straps
Subscriber (and expert observer of originals) Fred Gaede
reports that The NPS collection at Gettysburg has a complete
leather strapped canteen, and the one in John Henry Kurtz's
collection is pictured in Jerry Coates' article in Military
Collector & Historian Fall 1997 issue. Mr. Braun adds a few
comments on leather canteen straps:
I am becoming increasingly leery of the "leather canteen strap"
craze. Fred is more than correct in identifying the Gettysburg
collection canteen with strap. There are other unique specimens
within their collection as well. One in particular featured a
canteen with a leather strap connected one end to the other
I
with entwined loops cut from the strap itself! There is no doubt
that some leather slings were issued and used at least during
the first half of the war. However, there was a conscious decision
by the Philadelphia Depot to stop producing leather straps for
canteens around the end of August 1862 and later that fall.
Jerry Coates' article in MC&H suggested that other depots
apparently followed suit...at least those that once provided leather
slings. I would suggest that for the Federal reenactor doing a
midllate-1863to the war's end impression the sewn cotton, linen,
or web sling is more representative of Federal depot issue.
More on the Combination Set
I have spent a lot of ink on this, but it is an important
(B.I.R.D.) example of the overall scheme of things. I received
a note from Bob Tuftee (Upper Mississippi Valley Mercantile)
in regard to his combination knife, fork and spoon set. He states
that the next shipment of this product from his supplier will
have a spoon made of plain steel. We appreciate the efforts of
Bob and Jack at the Mercantile to correct this. They note: "We
strive to provide the most authentic supplies we can." Now I
can again eat my rations with great satisfaction using the DOG'S
"Combo set" from Upper Mississippi Valley Mercantile.
Shelter Tent Poles
You may remember that in the Summer 1998 issue Mr.
Braun discussed poles for shelter tents ("Raised Upon Two Poles,
A Primer on Civil War Shelter Tent Poles"). Because there was
no widespread issuance of these items I am .very hesitant to
recommend that every infantryman have them. Recently I had
the opportunity to inspect a set of shelter tent poles manufactured
by Phil Cavanaugh of The Haversack Depot (HD). His twopiece wooden poles are an excellent accompaniment to the
shelter tent halves that he sells.
The poles are almost identical to four original poles that I
have examined. The provenance accompanying these original
poles (loaned temporarily to the DOG by Dom Dal Bello)
indicates that they came from Bannerman's Island (Mecca of
CW surplus that has long since vanished). They were labeled
as "Civil War issue." The French Army issued tent poles of the
same design as early as 1855 and the US Army Quartermaster
adopted specifications for a similar pole in 1879 (CW era poles
are supposedly identical to these). Compared to three of the
four originals on hand, the HD poles are '11.5 inch wider in
diameter, but are exactly one inch in diameter per the
specifications of 1879 and one of the four original poles. The
assembled HD poles are forty-six inches long (also per
specification). The two originals that actually fit together are 1
314 inch longer.
The HD poles have the correct tin socket and appear to be
poplar wood (same as 1879 QM specs). They are treated with
linseed oil. Each set of poles (you, or a pard, will need two sets)
is $15 + $5 shipping. The latest address for the HD is PO Box
3 11262, New Braunfels, TX, 78 131 [Note new PO box number]
BC
PRODUCT EVALUATION (EQUIPMENT):
SUPPLIER:
ITEM
REVIEWER@)
Latham Denton & Co. (Mark Latham)
Confederate tin drum canteen
Rick Simmons
ITEM RECEIVED: 3JN1999
PAGE: 1 of 1
Cost: $65
Item description: Confederate drum canteen
Component material(s): sheet steel with hot tin coating
cork secured with string
Pattern/ Model/ Style:
a type of canteen often issued to Confederate troops [see Time-Life's Echoes of Glory (Confederate),
pages 210-2111
tin spout (1 inch by %inch)
1 ' 1 8 inch opening on the three strap keepers
keepers are of folded construction (not raw-edged)
small brass oval make's tag by spout ("Latham Denton & Co.")
Comments: These canteens are made from the same dies used by Andy Adams ten years ago. There was a small amount of water in the
canteen reviewed and no sign of rust. The reviewer's Adams-made canteen is still going strong with no signs of leaking or
rust. Drum canteen variations with concentric rings andor "CS" markings are also available. This is a very nice reproduction
and I can find no fault with the craftsmanship and materials.
Supplier contact info: Latham Denton & Co.. Mark Latham, 109 Lebanon St., Melrose, MA 02176 and (781) 665-6788
PRODUCT EVALUATION (CLOTHING):
SUPPLIER:
ITEM
REVIEWER(S)
T. P. & H Trading Co. (Tim Bender)
1858 dress uniform hat [I]
Rick Simmons
ITEM PURCHASED: 22JL1999
PAGE: 1 of 1
Cost: $95
Size: 7
Component material(s): wool felt
grosgrain ribbon hat band
painted leather sweat band
label ("US ARMY EXTRA MANUFACTURE") printed on cloth
Pattern1 Model/ Style:
1858 US Army dress hat
brim = 2 7/8 inches
crown = 5 3 / 4 inches, crown taper = ' 1 4 inch, crown height = 5 ' 1 2 inches
sweat band = 2 ' 1 2
two rows of stitching on brim, ' 1 4 inch from the edge and '18 inch apart
hat band ribbon = inch
wool felt thickness = ,082 inch
Comments: The sweat band is sewn at nine stitches per inch. The brim stitches are four per inch (as per originals). The label is great
and appears to be printed on a thin cloth (linen?). It is pasted into the crown. The thickness of the wool felt is within the
.059 inch to .095 inch range found in the survey done in the Mudsill's Company Wag (Volume 3, Number 1, January 1990).
This is an extremely well-made product.
Supplier contact info:
T.P. & H. Trading Co., Tim Bender, 121 Carriage Dr., Birdsboro, PA 19508
[I] Also known in 1860 as a "Jeff Davis" hat, a "Kossuth" hat or "that dammed Pilgrim" hat, and by reenactors as a "Hardee" hat,
63
THE WATCHDOG.
FALL 1999
IN THE FIELD
I wish to thank all the folks that stopped by The Watchdog.
Field Office and Boarding House at Chickamauga. I am sony
that I did not have more time to be around to talk shop. Mr.
Braun, Mr. Murley and I were doing military impressions for
the weekend. The overall military aspect of the weekend was
very good. I only wish that life on the other side of the river was
as nice.. .quieter and more accurate. We have learned that unless
the majority of the staff is available we will not be setting up the
entire field office at mega-events. There will be an effort to get
to some local events next year, as it is a great opportunity to
have folks stop by and educate us as well as exchange
pleasantries. In the interest of finding a better neighborhood we
might try for the edge of the civilian area or a designated
"progressive area. (Note to event managers: The DOG would
be happy to act as the host of such a site). As far as the
Chickamauga event experience, we consider our $90 "merchant"
fee a donation to preservation efforts.. .we hope.
An Important Meeting in Gettysburg on
Remembrance Day Weekend
Mrs. Kalil, Mr. Murley and I will be attending an important
meeting on Sunday morning of Remembrance Day Weekend at
Gettysburg. The meeting will focus on future eastern events
that we hope will concentrate on progressive campaign scenarios
and opportunities for accurate impressions (military and
civilian). The following information came from Dave Pridgeon:
The Fifth Battalion and the Independent Volunteer Rifles
( N R ) are pleased to announce that everything is in place for
the joint meeting of all Eastern campaigner organizations to
be held on Sunday, November 21st, 1999 in Gettysburg,
Pennsylvania.
The purpose of the meeting will be to establish a new
campaigner circuit of events here in the East. A discussion will
be held to establish criteria for events to be included on the
circuit. It is hoped that a three-year schedule can be established,
of perhaps three to four quality events per yeal: Presentations
will be given for such events as Sailor's Creek (April 2000,
Fifth Battalion), the Peninsula Preservation Event (May 2000,
the IVR), Rob Hodge's October 2000 event, McDowell (May
2001, Fifth Battalion), Cedar Mountain Preservation Event (late
summer 2001, fund-raiser for APCWS), among others.
The meeting will begin on Sunday morning (Remembrance
Day weekend) at 10:OO a.m. The meeting room is located in the
Eisenhower Inn & Conference Center,2634 Emmitsburg Road.
It is exactly 2.6 miles south on the Emmitsburg Pike from the
Peach Orchard.
The Gettysburg meeting is open to all military, civilian,
sutler, reenactorAiving historians in the East who yearn for a
more fulfilling period experience. It is hoped the new circuit
will provide quality events where authenticity truly has a place,
meaningful living history scenarios are commonplace, correct
military tactics are employed, civilians and other period
impressions have '~unctional"roles, and raising money for
preservation is always paramount.
We hope as many campaigner organizations/messes as
possible can attend the Gettysburg meeting and we lookforward
to your input and the advancement of our community here in
the East. Any questions can be addressed to Dave Pridgeon
(Fifth Battalion) at [email protected] or Mike Hendricks
(Independent Volunteer Rifles) at [email protected]. We greatly
appreciated your support.
Rob Hodge's October 2000 Preservation March
I met with Mr. Hodge last August at a very nice living history
event at Sharon Woods, Ohio. After getting an outline of the
October 2000 event and more information about its purpose I
told him that The Watchdog. will support this event. According
to Rob the event is designed to offer an immersion experience
and to generate funds to purchase Civil War battlefield land in
the East and West. The event is based on the successful
Chancellorsville preservation march done in May 1998. It will
be a large-scale campaigner driven march. Rob states:
Marching down unpaved roads in the Piedmont of Virginia in
peak autumn foliage with horse-drawn artillery, wagons and a
couple thousand military reenactors with stone walls, stone
houses, pastures galore, all in the shadow of the Blue Ridge rain or shine, will be, if nothing else, some sort of the most
realistic and beautiful scenery one could imagine.
The Watchdog. has engaged the Great Kanawha Freight
Company to provide at least one wagon and perhaps an ox-cart
for transporting staff, lackeys, anyone with sore feet and
refreshments for the troops. More information will be available
in future issues. The march will take place at the end of October
2000. Contact Mr. Hodge at [email protected] for
additional details.
Conferences and Seminars of Interest
Association of Living History Farms and Agricultural
Museums (ALHFAM) Annual Conference, 11-16 June 2000,
New London, CT, hosted by Old Sturbridge Village and
Mystic Seaport
ALHFAM: Judith Sheridan, 8774 Route 45 NW, North
Bloomfield, OH 44460 and sheridan @orwell.net.The ALHFAM
URL is http://www.ALHFAM.org
Midwest Open Air Museums Coordinating Council, (a
subgroup of ALFLHM) Meetings: Spring 2000 MOMCC,
23-25 March 2000, at Lincoln's New Salem Village,
Springfield, IL, and Fall 2000 MOMCC, November 10-12,
at Hale Farm, Ohio
MOMCC: Shirley Willoughby, 23 1 South Pendelton, Pendelton,
IN 46064. The MOMCC URL is http:// www.momcc.org
OG.
IN THE FIELD (continued)
MORE PRODUCT REVIEWS
The National Association for Interpretation's "Interpreting
Our Heritage at the Gateway to the 21st Century"
Workshop, 6-9 April 2000, St. Louis, MO
M1851 Shirts
Ted and Rachel Quednau are now producing reproductions
of the MI851 Issue shirt. Based on originals in the collections
of Don Troiani and the Wisconsin Veterans Museum, and Dean
E. Nelson's article in The Military Historian and Collector,
they are making the best shirt available to date. As with the
originals, they are made of white mixed dommet cotton and
wool flannel, with a tin button at the foot of the collar, a button
at each wristband, and are entirely hand sewn. They come in
one size only, which is comparable to a large by today's
standards. In addition, they are also manufacturing the gray
contract shirt, with front placket and three buttons. This shirt is
based on the pattern made by William Brewster and the research
he did on contract shirts. Hand sewn shirts are expensive, but
they are worth the price for the work that is involved and they
are exact in every detail. The contract shirt utilizes some machine
sewing, which brings the price down on these.
NAI: Diane Pawling at (610) 777-6761 and
[email protected] or Jan Kehr at (317) 326-8132
and [email protected]
Costume Society of America's Annual Symposium, 31 May2 June 2000, at Williamsburg and Richmond, VA
CSA: 55 Edgewater Dr, PO Box 73, Earlesville, MD 21919
and (800) CSA-9447 or (410) 275-1619. The CSA URL is
http:Nwww.costumesocietyamerica.com
Company of Military Historians Annual Meeting, 4-6 May
2000, at the Sheraton National Hotel, Washington, D.C.
CMH: N. Main St., Westbrook, CT 06498 and (860) 399-9460
Ohio Civil War Flags Symposium sponsored by the Ohio
Flags Committee and the Ohio Historical Society, 8,9
September 2000, at Columbus, OH
Contact: Greg Biggs at (419) 586-5294 and [email protected]
1860s Southern Conference: Life at Home and in the Army,
21-23 July 2000 at Athens State University, Athens, AL
SC: PO Box 796, Frankewing, TN 38459 and
(93 1) 363-7 150, (93 1) 424-6267 and jenny @usit.net
The Conference on Women and the Civil War, 7-9 April
2000 at Shenandoah University, Winchester, VA
CWCW: 12728 Martin Rd., Smithsburg, MD 21783 and
[email protected] or (301) 293-2820 and
http://www.nfis.com/-eillen
Nineteenth-Century Traditional Arts
Forest Farm Academy for Nineteenth Century Traditional
Arts is now offering a variety of classes, both hands-on and
lectures, in a charming farm setting in Brighton, Michigan.
Full and half-day classes in spinning, weaving, knitting, lace
work, basket weaving, sewing arts and garment construction
will be offered. Class size is limited to a maximum of ten students
to assure personal attention. Program presenters and consultants
include, Mary Azzariti, William Davis, Betty Forsyth, Lynn
Kalil, Dianne Klamik, Mary Pineau and Beth Turza and the
hostess, Ruthann Davis Bell. Contact Mrs. Bell at 2900 Dunsary
Lane, Brighton, MI 48114 and (810) 227-4935. Mrs. Kalil will
be reviewing the classes at Forest Farm in future issues.
Glenna Jo Christen
THE
MI851 Issue Shirt, $125, Ted & Rachel Quednau, 28W 658
Lester St., West Chicago IL 60185 and (630) 293-9054
The Abraham Thomas Blanket
Quartermaster Woolens is currently producing a
reproduction Federal Civil War blanket. Pennsylvania soldier
Abraham Thomas used the original blanket, which serves as
the model. A great deal of comparison has been made with this
blanket and the Auggie Weissart Blanket produced by the
Wisconsin Veterans Museum. Although there are similarities
between the two reproductions, both manufactured by Faribault
Woolen Mill Company, they are different. The Abraham Thomas
Blanket is woven with the correct 212 twill weave seen in most
originals. This is a feature that the mill was unable to replicate
when they made the Weissart Blanket. It also has a great deal
more shoddy material woven into the blanket in different colored
wool and undyed cotton. Unlike the olive color of the Weissart
Blanket, the overall color of the Thomas blanket is light brown
with a slight gray cast. Due to the fact that the original blanket
has been hemmed on three sides, the size of the reproduction
has been speculated at near regulation size of seven feet by fiveand-one-half feet. The original blanket also saw a great deal of
use and wear, and the finish is also speculative, but is consistent
with nineteenth-century blanket manufacturing. It is not fuzzy,
as many reproductions are, and has a pronounced twill weave. I
recommend this product for those who want the best available
issue blanket on the market at present.
Abraham Thomas' Civil War Blanket, $125 + $6.50 shipping,
Quartermaster Woolens, 20473 Idaho Ave., Lakeville, MN
55044 and [email protected] and
http://www.members.aol.com/QMWoolens
Scott Cross
Scott Cross has been a member of the Mudsill's for twenty years. He an Assistant
to the Curator at the Wisconsin Veterans Museum. He is a contributing editor for
The Company Wag, the journal of the Mudsills, and Militaly Images magazine.
Burnt Cork Revisited
Here's a quiz.. .Imagine that it's April 1861, and you're
working around the house, or journeying to the market, or
standing in line at a train depot. Which of the following popular
tunes would you have been whistling or humming?
Kingdom Coming
The Vacant Chair
Rocky Top
Just Before the Battle Mother
Goober Peas
I'm A Good Old RebelRocky Top
The correct answer is none of them. Why? Perhaps because you
can't whistle, but more likely because these tunes were as yet
unknown to the American public. Chances are astronomically
better, however, that you would have known at least part of one
of the following:
Miss Lucy Long
My Old Aunt Sally
Lubly Fan
Dandy Jim From Caroline
Miss Lucy Neal
Nelly Was a Lady
Never heard any of them? It isn't surprising, particularly since
the genre these songs represent is consistently under represented
or missing altogether at most living history events and
reenactments - nineteenth century America's most popular
form of public amusement, the minstrel show.
The Origin of American Minstrelsy
The Great Republic's first half-century brought sweeping
changes to the lives of many Americans. Great Britain's defeat
at the conclusion of the War of 1812 established the United
States as a major world power. Political and social issues expanding industrialization, urbanization, the burgeoning
immigrant population -left many ordinary American citizens,
particularly those in the North, feeling frustrated by events over
which they had no direct control, and left many more searching
for a collective cultural identity.
By addressing these issues through comparison and contrast
of African-American and Euro-American cultures, both
whiteface and blackface minstrels provided social and political
commentary in the language of the common man. Since most
Northerners had never experienced direct contact with blacks,
the blackface minstrels' interpretive portrayals of the plantation
darkey and the Broadway swell reassured the white working
class that the Ship of State was indeed on course, that those
most suited to govern were doing so, and that most of the nation's
problems were merely the result of growing pains.
The Types
Minstrelsy during the late 1820s and early 1830s was often
rowdy, rough-house, and almost exclusively performed by
Northern white entertainers, many of whom dubbed themselves
Ethiopian delineators or Negro minstrels. Their stock and trade
was the liberal use of blackface ...the practice of applying
powdered burnt cork to the face. The art of blackface had
antecedents in the folk and ritual practices of medieval and
-
renaissance Europe, and in many cases, the melodies, jokes,
and stock caricatures of American minstrelsy drew upon ancient
Anglo-Celtic materials. America's earliest exposure to the genre
was recorded in the late 1700s, when the famed English
blackface comedian Charles Dibden played a number of
successful engagements in Philadelphia and New York.
Although the terms Ethiopian and Negro were universally
employed by blackface minstrels to create and enhance the
mystique surrounding the "exotic" nature of African-American
culture, groups known as white minstrels shunned the use of
blackface. White minstrelsy, as the first theatrical offering of
the middle-class, reinforced the white male's position as enabler
of his own gender and cultural politics on the popular stage. In
contrast to white minstrelsy's ambivalence toward blacks, many
of the early Ethiopian connotations were openly sympathetic.
This sensitivity is evidenced by the development of such
characters as Gumbo Chaff, a black adventurer and kindred
spirit to such legendary frontiersmen as Mike Fink and David
Crockett and Long Tail Blue.
In 1827, an obscure job-actor named Barney Burns allegedly
cast America's first blackface stage character, Long Tail Blue,
as the epitome of rational reason and refinement. Burns'
character came to symbolize a growing segment of free blacks,
particularly in New York; however, Blue created an egalitarian
dilemma. Then in 1829, Thomas "Daddy" Rice countered with
an act that electrified the country, and spawned literally hundreds
of imitators.
It was probably no accident that Rice's droll stage character
personified a standard antebellum metaphor. He hailed from
the backwoods, flapped and hopped when he danced, delighted
in the ordinariness of his appearance, and croaked out stories
in song of his animalistic origins and superhuman exploits on
the ever-widening American frontier. His name was Jim Crow,
and his intent was to clip Blue's wings, both literally and
figuratively. Not to be outdone, George Washington Dixon
combined elements of both portrayals in the early 1830s. He
arranged a well known fiddle tune entitled "Natchez Under the
Hill" for orchestral accompaniment, added a dance step called
"Double Trouble", penned several verses that he sang while
cavorting about, and arrayed himself in the cast-off finery of
the social elite. By the time Andrew Jackson was inaugurated,
Dixon had introduced American audiences to the ludicrously
pretentious Broadway swell, Zip Coon.
The Instruments
Throughout the mid-1830s, minstrelsy was largely confined
to entree acts during larger theatrical productions, or sometimes
to solo circus acts. Consequently, a minstrel's tenure within a
particular venue was often tied to his versatility. The emergent
popularity of the banjo, however, made versatility affordable
and opened alternatives to the more elaborate orchestral
arrangements used by Dixon and Rice. The banjo also allowed
early minstrels like Joel and Sam Sweeney, John "Picayune"
Butler, and Billy Whitlock to demonstrate exceptional virtuosity
FALL 1999
when performing tunes like "Walk Along John",
"Camptown Hornpipe", "Bones in De Barnyard", and Tom
Briggs' immortal banjo classic, "Hard Times".
Instrumentation proved to be a catalyst for the minstrel
movement. When the now famous collaboration between Dan
Emmett, Dick Pelham, Frank Brower and Billy Whitlock
resulted in the formation of the Virginia Minstrels in 1843, the
minstrel band was born, and it literally became an overnight
sensation. The instruments that launched this meteoric rise in
popularity included the banjo, fiddle, bones, and tambourine.
From that point on with only minor variations, these instruments
provided the instrumental foundation for all bands that followed
and defined the hard-driving, characteristically rhythmic
minstrel sound.
Banjos of the period were quite different from contemporary
five steel-stringed resonator instruments. They were open-backed
and utilized natural materials such as skin heads and wooden
hoops. Each instrument employed either four or five gut or
horsehair strings. As a result, period banjos had a deeper,
mellower tone than today's banjos. The period style of playing
also differed markedly from contemporary styles, and was
referred to in period instructional manuals as "stroke" style,
requiring only downstrokes of the index finger and thumb. Four
such method manuals were widely circulated between 1855 and
1865. These included Thomas. Briggs' Banjo Instructor (1855),
Phillip Rice's Correct Method for the Banjo (1858), James
Buckley's New Banjo Book (1860), and Frank Converse's New
and Complete Method for the Banjo (1865).
The Shows
By the 1850s, minstrel bands existed all across the country
in numbers that rivaled contemporary garage rock bands. The
Virginia Minstrels were emulated by scores of other groups,
each claiming to have been the original article. Indeed, the New
York State Supreme Court upheld Ned Christy's claims to
originality. Other groups, however, such the Ethiopian
Serenaders, Buckley's Serenaders, the Sable Harmonists, and
White's Serenaders spent less time in litigation, and were playing
several shows daily to packed houses in Philadelphia, Boston,
Baltimore, Charleston, and Savannah. In New York City alone,
no less than fourteen theaters were strictly devoted to minstrel
performances.
In the 1850s even legitimate theater was not immune to
the influence of minstrelsy. One of the most popular of the
blackface entertainments of that decade was E. P. Christy's
burlesque of Harriet Beecher Stowe's Life Among the Lowly,
entitled "Life Among the Happy". The show lampooned the
moral overtones of the novel to the point that, when taken to
see it, Stowe herself was unable to follow the plot. Some of the
more raucous tunes that were written for the show included
such musical spoofs as "I'se So Wicked" and "Aunt Harriet
Beecha Stowe". Other tunes that enjoyed similar popularity
included:
Little Eva, Tom's Guardian Angel (1852)
Eliza's Flight (1852)
Poor Uncle Tom (1852)
17
I Am Going There (1852)
Little Topsy's Song (1853)
The Ghost of Uncle Tom (1854
Eva to Her Papa (1854)
St. Clare to Little Eva in Heaven (1854)
Uncle Tom's Religion (1854)
By the 1860s, the sectional strife that consumed both North
and South provided minstrelsy with a plethora of wartime
material. Minstrels were traditionally vociferous nationalists,
who took preservation of the Union to heart. In the early days
of the war, Jeff Davis' Southern Confederacy was vilified on
minstrel stages across the North, but when the focus of the war
shifted from preservation to emancipation in 1863, minstrels
bitterly denounced the Federal government for abandoning the
widows and orphans, exposed the substitute system as a means
to perpetuate class distinction, and attacked Congress for its
partnership with greedy industrialists. The minstrels' sharpest
invective, however, was reserved for the abolitionists, whom
they denounced as hypocrites, intent on using blacks to further
their political agenda. This disillusionment with new wartime
goals was evidenced by the proliferation of such ballads as "Dear
Mother I'll Come Home Again", "Just After the Battle Mother",
"Mother I've Come Home to Die", and its sequel, "My Boy,
How Can I See You Die?'.
When Union victories mounted in late 1864, minstrels
returned to their early war patriotic themes. Although racial
ambivalence had characterized much of their work during the
war, minstrels could not ignore the fact that times had changed.
The emergence of troupes comprised of African-American
musicians created a new fad.. .colored minstrelsy. Tbo of the
most famous colored minstrels of the post-war period were Billy
Kersands and James Bland, who composed the minstrel standard
"Cany Me Back to 01' Virginny." Kersands' troupe, The Georgia
Minstrels, began to gain in popularity shortly after the end of
the war. Other black troupes, however, began moving away from
traditional minstrel material. Groups such as the Fisk Jubilee
Singers embarked on a new sound that emphasized black choral
singing and multi-part harmonies. This was the genre that Walt
Whitman called heart singing.
Although minstrelsy in its original form died out in the
1890s, its effect on popular entertainment was evident well into
the twentieth century. And, despite its intermittent use of ethnic
stereotype, minstrelsy's integration of folk instrumentation and
dance resulted in the first truly American musical theater genre.
The Recreated Groups
America's fascination with the War Between the States
continues to defy rational explanation. Hobbyists, reenactors,
living historians and enthusiasts from every quarter regularly
recreate this page of American history, individually and in
groups, generally sparing little expense in the process. In concert
with, or perhaps as a result of, this peculiar national obsession,
several groups of very talented musicians have successfully
broadened the scope of historical interpretation by focusing on
a largely ignored segment of the wartime entertainment
experience.. .the minstrel show. Resurrecting the sounds of that
THE WATCHDOG.
FALL 1999
by-gone amusement demands that these modern-day
practitioners pay homage by virtue of exhaustive research. But
the payoff for the reenacting community, as well as event
spectators, results in a splendidly colorful pageant of genuine
antebellum melodies, authentic musical arrangements, and
historically accurate instrumentation.
So, whether you're a Civil War reenactment organizer in
search of just the right musicians for a Saturday soirCe at an
upcoming event, or perhaps a living historian of the mid- 1800s
looking for musical information to complement the authenticity
of a well-researched impression, the following list can easily
provide a closer examination of the music that started it all and
the groups who specialize in the area. While this list is by no
means comprehensive, it is current as of publication date. Web
sites for each of these groups can be accessed on the Internet at
the following address:
This advertisement appeared on the front page of 29 June
1863 edition of the Grand Rapids Daily Eagle (Michigan). The
minstrels were expected in town for performances on the 8th
and 9th of July. Next to it was the latest information from
Gettysburg on "guests' arriving shortly in that town
BC
Iz
KUCE'S HALL.
-
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~ ~ , TWO
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The Sandy River Minstrels
547 1 Shawnee Drive, Huntington, WV 25705
(304) 736-6307
The Ethiopian Serenaders
11045 White Shop Road, Culpeper, VA
(540) 547-3861
The Amoskeag Players
1 Ridge Road, Deerfield, NH 03037
(603) 463-3036
Another group not listed on that web site is:
The Allendale Melodeons
Bill Gay, 3070 Bethel Rd., Columbus, OH 43220
(614) 760-8594 and [email protected]
a
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Sam Sbarpleyss 1YLinstreln,
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Mark Meadows
BIBLIOGRAPHIC NOTES:
Nathan, Hans, Dan Emmett andthe Rise of Early Negro Minstrelsy. University
of Oklahoma Press, 1962.
Lewis, Barbara, "Daddy Blue: The Evolution of the Dark Dandy." in Inside the
Minstrel Mask Readings in Nineteenth-Century Blackface Minstrelsy, ed.
Annemarie Bean, James V. Hatch, and Brooks McNamara, 257-272. Hartford and
London: University Press of New England, 1996.
Toll, Robert, Blacking Up The Minstrelshow in 19th Century America, New
York, 1974.
Paskman, Daily, and Sigmund Spaeth, Gentlemen Be Seated!A Parade of the
Old Time Minstrels, New York, 1928.
-
-
Mark Meadows is a native of Cabell County, WV, and is principal banjoist for
Japher's Sandy River Minstrels. The group recently completed filming an historical
documentary for Kentucky Educational Television, and will be performing at the
Saylor's Creek and Wilson's Creek reenactments next year.
BAA-
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Also in the same newspaper, but back in 2 June 1859:
"Did I understand you to call me a puppy sir?"
"Yes, sir, I called you a puppy."
"Lucky for you. The insult is too small to notice; but had you called me a
dog -- an old dog --I would have knocked you down."
ARF!
F WAi
FROM THE CLERK'S DESK
Invoice of Goods
Bob Sullivan (of Sullivan Press) furnished two copies of the following completed form. One was for the Fiftieth New York
Engineers (Walt Whitman's brother was in this regiment) and the other for the Ninetieth Pennsylvania Volunteers. The Fiftieth New
York's invoice was dated 10 October 1864 at a camp near Petersburg, Virginia for a sutler named, A.H. Towar [?I. I have transcribed the
Ninetieth Pennsylvania Infantry invoice with the Fiftieth New York quantities in brackets. The invoice lists items that were authorized
for sale by a regimental sutler. Items that have been struck through were crossed out by hand on the original form.
City Point, Oct 8 186 4
INVOICE OF GOODS for
Ninetieth
Regiment
Pennsylvania Volunteers taken
by
E WMay
Sutler of said Regiment, as allowed by General Orders,
No. 27, 1862, (Adjt. Gen'l) Act of March 19, 1862 and general Orders, (Adjt. Gen'l.) No. 35, 1863.
QUANTITY.
ARTICLES.
QUANTITY.
ARTiCLES.
50 1901 barrels
Apples.
30 kits [70 kits]
Mackerel.
40 kegs [ZOO0 pounds]
[2 dozen]
10 cases [same]
5 gross [none]
Butter.
ESrmms7
Boots.
Buttons, shirt
[ I 0 ?]
Needles.
6 gross [5 cases]
Oil, armor.
Be€&
I barrel [ I 0 gross]
12 gross [ 2 gross]
6 gross [none]
6 gross 2 dozen]
6 gross [ 4 dozen]
Blacking.
Brushes, blacking.
Brushes, clothes.
Brushes, hair.
Brushes, tooth,
&kbbhkk [for cleaning ?]
3 barrels [500 pounds]
3 barrels [500 pounds]
100 boxes [ZOO0 pounds]
20 boxes [I 0 boxes]
100 barrels [40 barrels]
Beef, dried.
Bologna Saamoec.
Cheese.
Candles.
Crackers
3 cases [10,000]
12 gross [4 gross]
Hmam [none]
5 barrels [500 pounds]
1 case 14 gross]
I case [2 cases]
I case [2 cases]
50 reams [same]
30 barrels [same]
3 cases [50 domes]
10 barrels [none]
12 gross [5 gross]
12 dozen [ 60 dozen]
12 dozen [none]
12 dozen [2 gross]
20 boxes [none]
[5 gross]
Cigars.
Combs, coarse and fine.
€h%el%
Codfish.
Cups, tin.
Clothing, uniform, for officers.
Drawers.
Emery.
Eggs.
Figs.
Flour, buckwheat.
Gloves.
Handkerchiefs, pocket.
Knives.
Knives and forks.
50 cases [40 dozen]
10 packages [none]
6 gross [ 3 gross]
6 gross [2 gross]
20 boxes [5 boxes]
20 boxes [20 boxes]
5 boxes [none]
6 dozen [6 dozen]
1 case [I 0 dozen]
12 dozen [5 gross]
20 reams [50 reams]
50 boxes 140 boxes]
Oysters, can.
Pins.
Pipes.
Pencils.
Pepper.
Pickles.
Poultry.
Pans, sauce.
Pots, (coffee,) tin.
Plates, tin.
Paper, wrapping.
Raisins.
12 dozen [5 dozen]
10 dozen [5 dozen]
6 barrels [50 cases]
2 cases [4 cases]
6 gross [2 gross]
6 gross [none]
12 gross [none]
6 dozen [none]
I box [500]
20 cases [5 cases]
12 dozen [2 gross]
12 dozen [2 gross]
6 cases [5 cases]
I case [20 dozen]
20 cases [50 gross]
50 pounds [none]
Razor strops.
Razors.
Syrup.
Stationary.
Soap, shaving.
Soap.
Suspenders.
Scissors.
Shoe strings.
Sardines.
Spoons.
Socks.
Shoes.
Shirts.
Tobacco.
Thread.
=Fwine
beat he^
50 cases [I 00 dozen]
3 barrels [none]
I case 20 gross]
100 cases 70 dozen]
50 cases [20 cases]
m
Milk.
Molasses.
Matches.
Meats, can.
Mustard.
I case [same]
100 cases [90 cases]
50 cases [I00 barrels]
10 gross [none]
I case [ 4 dozen]
20 boxes 5 cases]
Trimmings, for uniforms.
Vegetables, can.
Vegetables, fresh.
Wallets.
Wash-basins, tin
Yeast powders.
THE WATCHDOG.
PO BOX 1675
WARREN, MI 48090-1675
Guarding your interests...
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SUBSCRIPTION INFORMATION
The Watchdog. (ISSN 1067-2729) is published quarterly by The Watchdog
Quarterly, Inc., a non-profit corporation in the State of Michigan. Subscriptions
(US and Canadian) are $15 annually, with $13 added for each additional year.
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Bi Christen, Publisher & Editor
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Bob Braun, Associate Editor
Rick Simmons, Associate Fdtor
Mike Murley, Associate Editor
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FALL 1'
IN THIS ISSUE;.
lapsack and havcersack g
Heywood shelter tent half (early issue) prc,duct review
ladies' bags
...
hoop skirt pattern and corded petncoat
reviews
ex;
an original CSI poke s ;
instrelsy revisited
.
II
S blanket, Issue shirt, shelter tent Doles (agam)
and other prc
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Expertly printed by John Chmelko of Eastown Printing Service, Centerline, MI
Copyright O 1999 All rights reserved