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Enamelled Objects.
The receptacles for all these compounds varied; some were of wood, beautifully carved, often embellished with brass mountings, the insides being lined with silk, and small mirrors were inserted in the lids. The pretty trinket trays, curiously coloured and decorated, boxes, and little candlesticks for "my lady's table," made of Battersea and other enamels, were much in favour a century or more ago.
Some remarkably charming boxes are met with stamped with the name of Lille, in France, where many such objects were made—the English enamels of that period are rarely if ever marked.
It would appear that very many of these little articles were the gifts of friends or purchased as souvenirs of the comparatively rare visits to fashionable places of resort. Many of those given by friends were chosen because of the mottoes and emblems with which they were decorated; for, like the combs, they were made use of to convey messages of love and friendship. We can well understand the fear that might arise lest patches became loose and rendered the fair wearer ludicrous; hence the little mirrors so often found within the boxes, which it may be mentioned were carried about in the pocket ready for use when opportunity served.
Many of the older specimens are found with mirrors of steel which, owing to exposure to damp, have become very rusty, and, in some instances, have perished altogether. Others with silvered glass mirrors show spots, and are much blurred from the same cause. The colourings of enamels vary; in some the groundwork is white, in others pink or rose-colour or blue. Little picture scenes are varied with the quaint mottoes or sentimental lines so much in vogue then.
The illustrations given in Fig. 63 are typical of the choicer decorations, showing the floral style as well as the pictorial miniature scenes for which the artists of that time were famous. Some of the toilet sundries took the form of scent bottles, others etui cases and boxes for toilet requisites, including manicure sets.
Perfume Boxes and Holders.
Perfume has always been associated with the requisites of the lady's toilet. Sweet-smelling spices are referred to in biblical records, and even to-day the offering of perfume is a symbol of honour to the guest in the East; and some very beautiful Oriental scent sprinklers and spice boxes are now and then met with among Eastern curios. The long-necked rose-water sprinkler is the most common form, supplemented by betel-nut boxes and receptacles made by Persian artists for the famous attar of roses. Scents and "sweet odours" became fashionable in Europe in the fifteenth and sixteenth centuries; articles of clothing were scented, and there was a profusion of scent for the hair and in making the toilet.
The pomander box, the favourite perfume holder of the sixteenth and seventeenth centuries of England, was in the form of an apple, the perfumes and spices being made up like a ball. It is said that the perfume was prepared from a sixteenth-century recipe, the basis of which was sweet apples or apple pulp, and scented gums and essences. From the pomander box smaller receptacles were evolved, and more elaborately prepared scents were kept in them. Some of the preparations consisted of camphor, mint, rosemary, and lavender in vinegar, a piece of sponge being saturated with the liquid. Then came the use of aromatic vinegar, and gradually beautiful little silver vinaigrettes were introduced. Many of them were very ornamental in shape, highly decorated with miniatures and floreated embellishment, the monogram or name of the owner often being added. In the outer case was usually a cover of perforated gold which closed over a piece of sponge, upon which aromatic vinegar or some similar preparation was poured. The best vinaigrettes are those bearing the hall-marks varying from 1800 to about 1840, when the making of vinaigrettes declined and other scents took their place.
The burning of perfumes in bedrooms and the fumigation of wardrobes and chests by means of a fumador was a custom much resorted to by Portuguese ladies in the eighteenth century. Sweet lavender is still used in the linen cupboard, although its use was much more general in the days when London street cries were heard.
Dressing Cases.
When people travel and visit their friends their luggage includes among other things a dressing case, for there are many toilet requisites which are of a personal character, and cannot well be substituted by others. It is true that the need of portable dressing cases has increased of late years owing to greater travelling abroad. Dressing cases, however, are by no means modern, for some very beautiful examples with silver-topped bottles, hall-marked in the days of Queen Anne, are among the collectable curios. There is a still older example in the Victoria and Albert Museum—a case of tortoiseshell, filled with a complete toilet set, consisting of four combs and thirteen toilet instruments, partly of steel and partly of silver. It is an historic case, having been presented by Charles II to a Mr. T. Campland, who is said to have at one time sheltered him. Many old families have interesting and valuable examples, and not infrequently isolated cut-glass bottles with Georgian hall-marked silver tops which have formed part of the equipment of dressing cases are met with.
Scratchbacks.
Old English scratchbacks are among the rarities of the curios associated with the toilet table. It is unnecessary to comment upon the habits and customs of those periods when scratchbacks were found necessary, or to refer to the hygienic conditions of the toilet then conspicuous by their absence. It is sufficient to allude to these curious little instruments, mostly shaped like a hand, often of ivory, and always fitted with a handle in length from 12 to 15 in. The hand in some cases is large in proportion, measuring as much as 2 1/2 in. in length, sometimes as an open hand, at others with the fingers closed, often very beautifully modelled. Horn and whalebone were favourite materials for the handle, although some were of ebony and other woods. Scratchbacks appear to have been made both in lefts and rights in this country; but the scratchbacks of the Far East were invariably rights. The accompanying illustrations, Fig. 65, show the usual types of these now obsolete toilet requisites, which it may be noted were sometimes duplicated by miniature scratchbacks carried about on the person, hung from the girdle.
Toilet Chatelaines.
The chatelaines worn by the ladies of olden time were bulky, and the various objects deemed necessary to carry about the person rendered them cumbersome in the extreme. A bunch of keys was always in evidence, and a glance at a few old keys indicates how large the keys of even quite small boxes were in olden time. There were the keys of the store cupboard, of the linen chest, and of the larder and the wine cellar. Drawers and cupboards and boxes, as well as the bureau or desk, were always locked, and to deliver up the keys was indeed to surrender one of the privileges of the matron and housewife which were jealously guarded.
There were articles of toilet use, too, worn at the girdle. It is recorded that Queen Elizabeth carried her earpick of gold ornamented with pearls and diamonds. The little set, which was worn at a lady's chatelaine in the eighteenth century, shown in Fig. 66, consists of toothpick, earpick, and tongue scraper of silver, whereas the set illustrated in Fig. 67 includes tweezers, a nail knife, and other instruments. There are some charming manicure sets extant, as well as isolated nail files of ivory and steel, and curious little instruments for simple surgical operations, such as strong-nerved ladies were not averse to perform in the good old days.
Locks of Hair.
Although long since separated from toilet operations, mention of locks of hair so carefully preserved may not inappropriately be made here. Many of these are associated with happy memories of childhood, others of more saddened recollections. It has been a common practice to preserve locks of hair of departed friends and relatives. In former days these locks of hair were often enclosed in lockets, some of which were very large. The simple lock did not always satisfy, for there are many artistic plaits and beautifully formed sprays, imitating feathers and even flowers, which were in years gone by cunningly interwoven and artistically arranged on cardboard preserved by glass, often in golden lockets and frames. Some persons have made quite important collections, one of the most noted being that of Menelik II, the Abyssinian king, who possessed upwards of two thousand locks, varying from light to dark, and from fine to coarse, each lock being labelled with the date and particulars of its acquisition. It would be well perhaps not to enter too closely into the source of some of these specimens, which had peculiar interest to the dusky king. It is said that some of them were chiefly admired for their settings, which included mounting with rare emeralds. The collection of emeralds, of which he had some of marvellous beauty and lustre, was another of that monarch's hobbies.
Jewel Cabinets.
In association with the toilet table are the numerous boxes which have been made as receptacles for jewels. From the days when the dower chest contained a small compartment for valuable trinkets the furniture of the lady's boudoir has been incomplete without a jewel box or some article of furniture where the knick-knacks of the home could be kept, and more especially the wearable jewellery. The Chinese and Japanese have ever been clever in the fashioning of small cabinets, and many delightful little boxes, cabinets, and jewellery receptacles have been brought over to this country.
Some of the old lacquer ware is exceptionally interesting, the decorations upon such pieces being doubly so when the legends they depict are fully realized and understood. The accompanying illustrations represent four Japanese jewel cases which are exceptionally fine curios. Fig. 70 is decorated on the outside of the doors with a view of Itsukushima; and there are two peacocks on the top, and the two elders of Takasago are depicted on the back. The bamboo and the plum are designs symbolical of longevity. This truly exceptional piece was sold in the auction rooms of Glendining & Co., who also disposed of the remarkable jewel box shaped as a pagoda, illustrated in Fig. 71, a very beautiful piece elaborately decorated with birds and landscapes, and the box illustrated in Fig. 68 and small cabinet, Fig. 69.
X
THE OLD WORKBOX
CHAPTER X
THE OLD WORKBOX
Spinning wheels—Materials and work—Little accessories—Cutlery—Quaint woodwork—The needlewoman—Old samplers.
Under the generic term of "workbox" the curios of the household associated with the industrial handiwork of former days may well be reviewed. There is no record of when receptacles for ladies' work were first introduced, although, no doubt, in very early days small oak boxes, carved, and bearing the owner's initials, and other indications of ownership, would be the chosen receptacles for the numerous oddments which are required in the practice and pursuit of every home handicraft, and especially those connected with plying the needle. There was a time, however, when the fabrics used in the making up of clothing were home-made, when the seamstress and the needleworker stitched and embroidered upon cloths spun if not actually woven by the housewife and her handmaidens. In the barrows containing remains of people of the Stone Age, and the peoples of the early Bronze Age, among the few ornaments and personal adornments buried with them were spinning whorls—the curiosities which remain to us of the earliest known form of textile craftsmanship.
Spinning Wheels.
In old pictures and woodblock engravings some curious illustrations are met with showing Englishwomen using the distaff. St. Distaff's Day was formerly the 7th of January, for it was then that the women resumed work after the Christmas festivities were over. The distaff and the spindle belonged to an age little understood now, and the occupations of the women of that date are almost forgotten. The spinning wheel was the outcome of the simpler distaff and spindle, and although the spinning wheels we find among the most interesting of household relics look primitive indeed compared with the complex machinery seen in the spinning mills to-day, those dating from the seventeenth and eighteenth centuries must have been considered ingenious contrivances when compared with the older models, just as the latest types of sewing machines show a wonderful advance from the early machines invented in the beginning of the nineteenth century.
Very clever indeed were many women in manipulating the spinning wheel, and there seems to have been some competitive contests for notoriety among country women, who found a pleasing though perhaps at times tedious occupation in spinning the wool for the local weaver who wove the home-made cloth. It is recorded that in 1745 a woman at East Dereham spun a single pound of wool into a thread of 84,000 yards. She was far outdistanced, however, a few years later, when a young lady at Norwich out of a pound of combed wool produced a thread computed to measure 168,000 yards.
To secure a fine spinning wheel is the ambition of collectors, and many ladies point with pride to the old relic placed in a position of honour on an oak chest of drawers, or, perhaps, standing on a coffer in the hall. An exceptionally fine wheel is shown in Fig. 72; it is one of many secured by Mr. Phillips, of the Manor House, Hitchin. Another illustration is taken from a sketch of a spinning wheel in the Hull Museum (see Fig. 73). It appears that early in the nineteenth century Hull encouraged the training of domestic spinners, and at that time supported a spinning school. Apropos of that institution reference may appropriately be made to Hadley's "History of Hull," in which the historian, in reference to Sunday Schools, which had then quite recently been founded, says: "From the Sunday School reports for this year [1788] it seems they did not take. To whatever cause this may be attributed, it by no means warrants the aspersions thrown upon the town on that account, which has with equal ardour and wisdom espoused that useful establishment of Spinning Schools, in preference to a preposterous institution replete with folly, intolerance, fanaticism, and mischief." In explanation it has been remarked that, "Evidently wheels were plentiful in Hull and Sunday Schools a novelty." To-day we can reverse the statement, for schools are plentiful but spinning wheels are rare!
Collectors eagerly secure anything in the way of a genuine antique wheel, although the fastidious have the choice of two distinct types—those worked by hand and those operated by a treadle. Sometimes a spinning wheel made for the foot could be worked independently by the hand, just in the same way as modern sewing machines are made for hand or treadle, and sometimes a combination of both methods. The very general use of the spinning wheel is accounted for by the fact that this useful machine was met with in every cottage in the days when homespun yarns and wools were prepared by hand, and they were also found in the mansion and the palace, where they served to amuse the ladies of the household.
There are many varieties of spinning wheels, among them the old oak spinning wheels used in England in the sixteenth and seventeenth centuries, and the more decorative used until quite late in the eighteenth century, from their ornament and lightness, apparently used more for preparing the material for fancy work rather than for really utilitarian purposes. Some highly decorative spinning wheels inlaid with mother-o'-pearl and ivory have been brought over to this country from Holland and other continental countries, perhaps the most decorative being those made by French workmen in the Chinese style, the wood being lacquered blue and ornamented with gilt.
Mr. John Suddaby, who presented the spinning wheel we have illustrated to the Hull Wilberforce Museum, named after William Wilberforce, paid a high tribute to the famous philanthropist, who he declared to be associated with the spinning schools of the town. The old wheels of early date were gradually improved until they were rendered obsolete by the greater inventions of machines which could be worked by steam engines, thus originating the factory system of textile production.
Among the sundry curios associated with the spinning wheel are handsomely carved wood distaffs of boxwood, curiously turned spindles; and now and then a pewter vessel of circular form, puzzling in its identity, turns out to be the rim cup from the distaff of an old spinning wheel.
Materials and Work.
Old workboxes appear to be very numerous. The older ones were mostly of wood, but the external decoration seems to have been a matter of taste, some preferring inlays. In early days moulded plaster ornament, richly gilded and coloured, was much favoured, and in still earlier times deep relief carvings in the oak of which the boxes were made. In the Stuart and later periods ladies worked the exterior ornament in silks and satins and embroidery. Among the workboxes in the Victoria and Albert Museum there is a painted box in distemper and gilding, the subject chosen for the ornamentation of the lid being the story of David and Bathsheba, round the sides being floral devices. This decorative workbox has drawers and compartments, a sliding front facilitating their use.
In the same collection there are workboxes overlaid with straw work in geometrical patterns relieved by colour. Straw-work decoration was much favoured at the commencement of the nineteenth century, its origin being traceable to the French military prisoners in this country during the Napoleonic wars between the years 1797 and 1814, when many officers and men were detained at Porchester Castle, near Portsmouth, and at Norman Cross, near Peterborough. The grasses, of which the boxes were covered, were collected and dried by the prisoners, who obtained the different shades and tints which render this class of work so effective by steeping them in infusions of tea, according to a note by Dr. Strong, who visited the barracks at Norman Cross.
The workboxes, so rich in gilding and relief, came from Italy, when, as early as the year 1400, caskets were covered with a species of lime which was moulded, the gesso, as it was called, on a gilt ground of white compo, giving it a very rich effect. Leather was used with good effect, too, for the ornamentation of workboxes, red morocco being much favoured in England early in the nineteenth century. Fig. 76 illustrates three very beautiful little fitted boxes with inlaid ornament and straw work.
Little Accessories.
The contents of an old workbox are many and varied. Among the odds and ends it is no uncommon thing to find relics of lace-making, by which so many cottagers have been able to maintain themselves for generations.
There is something very remarkable about the manufacture of pillow lace, in that it is carried on in the villages of Buckinghamshire just as it was two or more centuries ago, and the pillow and the bobbins are almost identical in form and design—indeed, the patterns of the lace have changed little, for the workers cling tenaciously to the old designs, Flemish in their characteristics, just as they do to the old bobbins.
Some of these little spools or bobbins have been handed down from mother to daughter as heirlooms, and many of them carry a romantic story, if it were but known. Just as the Welsh lovespoons and the Sunderland glass rolling-pins were given as love tokens, many of these bobbins are the result of patient labour, their decoration having often been the work of days; ivory, bone, wood, and metal being cut and shaped, gilded and stained, in order to provide the favoured one with a bobbin unlike any other and quite distinctive in design. In the making of pillow lace, pins, cleverly placed so as to form the pattern, were inserted into the cushion, and the threads on a dozen or more bobbins deftly twisted in and out and tied round the pins. The glass beads, many of the older ones of odd shapes and colours, hand-made, made the first distinction, and their weight helped to keep the light turned wood bobbins in place. It was the bobbins which were ornamental, and some of the older ones—those made in the eighteenth century—are very decorative, and now much sought after by collectors. Those illustrated in Fig. 74 have been selected from a large collection for their representative types: (A) is the oldest; the ornament is of pewter let into the wood, it has a very small spool; (B) is ivory, the incised parts stained green; (C) is bone, the incised pattern filled in with gold beaten into a thin plate; (D) is also of bone with a band of brass and coloured inlays; (E) walnut wood, turned in the deep grooves are six loose silver rings, some of the heads are of brass gilt; (F) the most modern type, such as may be seen in use in Buckinghamshire to-day, the present revival of the hand-made lace industry being due to the efforts of the North Bucks Lace Association. Of such handwork Cowper wrote:—
"Yon cottager who weaves at her own door, Pillow and bobbins all her little store: Content, though mean, and cheerful, if not gay, Shuffering her threads about the livelong day."
The lace-maker, and the housewife who occupied her leisure moments in lace-making, left behind many collectable curios. The worker of samplers and those advanced in the higher arts of needlecraft had also their little work necessaries. Very clever indeed were the workers of silk-embroidered pictures, and the instruments they used were fine and delicate, different indeed from the coarser needles of the knitter and the meshes of the netter. In later years the workbox became more substantial, and less attention was given to the exterior, for the interior fittings of the workbox became beautiful, and a wealth of art was shown in the carving of the ivory accessories, and the pearl tops of the thread and silk reels and winders and the curious little wax holders. There were cleverly contrived measuring tapes, and beautiful little baskets of ivory and wood, some filled with emery, others serving the purpose of receptacles for pins and needles. From these evolved the needlebooks and the more modern companions.
In Fig. 77 are shown several beautiful oddments taken out of an old workbox; they are all made of ivory, carved and fretted in such delicate tracery that it is a wonder that they have survived for a century or more without injury. Ivory work holders, in which ladies rolled their needlework when they went out to tea, were often beautifully carved; they, too, are charming additions to ivory workbox fittings.
Cutlery.
The cutler has contributed to the curios of the workbox. The knives and scissors, bodkins, and stilettos from an old workbox look strangely out of date when compared with those bought in the shops to-day. The chief thing that is so noticeable to the critical observer is the cutting of the steel and the hand ornamentation of those days. Some of the embroidery scissors were engraved all over with fancy patterns, and there are some remarkably quaint button-hole scissors, on which the owner's name or initials were often engraved.
Some time ago an old lady made a small collection of thimbles. It was not a very expensive hobby, but the variety she secured was truly remarkable. There were thimbles of bone, ivory, steel, brass, enamel, silver, and even gold. Some were chased and engraved, some stamped and punched. There were thimbles of huge size and others with open ends, the same that sailors use.
It is said that the thimble dates back to 1684, when one Nicholas Benschoten, of Amsterdam, sent one as a present to a lady friend with the dedicatory inscription: "To My frouw van Rensclear this little object which I have invented and executed as a protective covering for her industrious fingers." It is said the name in this country was originally "thumb-bell," so called because of the shape being of bell-like form. Of the thimbles of the wealthy it is recorded there are thimbles of onyx, mother-o'-pearl, and of gold, encrusted with rubies and diamonds—the seamstress has, however, to be content with useful if less costly "baubles."
Quaint Woodwork.
By way of contrast the outfit of the worker often includes wooden needles and occasionally utensils made of wood, but covered with evidences of love and tender regard for those who were destined to use them. The knitter seems to have been peculiarly fortunate, for knitting sticks and sheaths afforded the amateur carver ample opportunities of showing his skill; and, like the carved lovespoons, of which there is such a famous collection in the Cardiff Museum, the knitting sheaths and sticks seem to indicate that in a similar way the amorous swain gave vent to his feelings in the curious designs, mottoes, and names which he carved upon knitting sticks and kindred objects used by the lady of his choice. In the Victoria and Albert Museum there are some beautiful boxwood needle sticks; one example is cleverly carved with emblems of Faith, Hope, and Charity. Another beautiful needle stick in the same collection is mounted with silver. On some of the woodwork used for similar purposes there are cleverly designed pictures, and these were not always associated with private use, for the clothworkers in many districts used quite fanciful tools, especially in the villages, where time was of small moment, and the long winter evenings could be occupied with cutting and carving the handles and framework of the tools which in everyday practice served such a useful and often wage-earning purpose. In the Victoria and Albert Museum there is a remarkable cloth-measure made of walnut, bearing date 1745, three-sided, one being covered over with letters of the alphabet cut in deep relief, thus serving a useful purpose in the home or as an educational standard. On the second side there are cleverly designed pastoral and hunting scenes, and on the third the arms of the Swiss cantons. Other portions of the measure illustrate the implements and tools used by clothworkers at that period.
Switzerland has long been famous for its wood carving, and many of the curios found in this country have come from the Swiss mountain villages. No doubt some of our readers have come across the old pin poppets which boys and girls carried with them to the village school half a century or more ago. The girls filled them with pins and needles, bodkin and stiletto, and the boys with pencils and pens. In Fig. 75 two curious old pin boxes are illustrated. The pins shown on the same page are, however, of much older date; they are, in fact, merely thorns; these interesting and authentic relics of the "common objects of the home," or perhaps more correctly described, of dress, are to be seen in the National Collection of Wales at Cardiff, the measuring stick shown in the photograph giving their size. The pin poppet, as its name denotes, was, however, intended originally for the requirements of the early needleworker who at the dames' school won renown in those great achievements—the samplers of old. These, however, do not exhaust the wood-carving curios of the workbox, but they may serve to remind collectors of what they may hope to discover in their hunt for household curios.
The Needlewoman.
The curiosities much prized to-day, the work of the needlewoman, or those who plied the needle chiefly for purposes of amusement or to give pleasure to those on whom they bestowed the products of their skill, are met with in many distinct forms. This is not a work on needlework, or we might tell of the various stitches which are indicative of certain periods. It is, however, admissible to mention some of the household curios, the product of such patient labour applied to the skilful manipulation of silks and threads and cottons and wools, of all colours and substances, embroidered or worked on canvas or other fabric.
The mistresses of the old English homes were very industrious. They worked crewel bed hangings and cross-stitch and tent-stitch upholstery in the seventeenth century, and in still earlier times richly ornamented linens and other fabrics with flowers and scriptural subjects. Writing in reference to Queen Mary, the wife of William III, Sir Charles Sedley said:—
"When she rode in coach abroad She was always knotting thread."
And her example was followed by many in humbler circumstances. In later years women have wrought needlework and beadwork pictures, and have even threaded their needles with human hair when no silk could be found fine enough.
Of the permanent ornaments of the home—now valued curios—there are cases formerly used on a lady's toilet table, embroidered with floss silk and frequently dated. Some were made to hold devotional books, others were portable boxes, the covers of which were worked on white satin with coloured silks and beads, oftentimes scriptural scenes being depicted in silk; one very favourite scene in the seventeenth century was the visit of the Queen of Sheba to Solomon.
Many beautifully embroidered trinket boxes record the patience with which they were worked, and were undoubtedly a labour of love. Among the smaller objects, gifts from friend to friend, were pincushions, some of which bear dates in the seventeenth century. These were worked in coloured silks on canvas, the ornament often taking the form of a fruit or flower basket, birds and insects. The favourite material and colour for the back of such pincushions was yellow satin. A rather pleasing variety consisted of bag and pincushion worked to match, the two being united by a cord of plaited silk. Of purses there were many varieties, chiefly made of coarse canvas worked in cross and tent stitches with coloured silks and silver threads, couched or laid over silver thread, and then stitched to the canvas concealing it. There are also miniature pincushions worked in silk like the old samplers and brocade pocket books, some of which were woven in France in the seventeenth century. There are also holdalls and needle cases in embroidery and cross stitch. The favourite colours worked by English ladies in the eighteenth century were pink, orange, and light green. On these were often worked mottoes and rhyme. One will serve as a sample:—
"When Judah's daughters captive led Behold their mighty kings subdued."
Loyal mottoes were frequently worked, especially during the days when the Pretenders were carrying on their hopeless campaign. There is a subtle reminder of the desire to make known loyal feelings, intermixed with prudence in concealing them, in the quaint embroidered garter in the British Museum which is inscribed "GOD BLESS P.C."
To smokers were given embroidered tobacco pouches in green, pink, and silver; one charming old beadwork tobacco pouch in Taunton Castle is embroidered "LOVE ME FOR I AM THINE, 1631." There were necklaces and bracelets of needlework, and some of coloured glass beads, as well as the long watchguards worn round the neck, chiefly of the nineteenth century.
Old Samplers.
Old samplers may well be regarded as educational, belonging to the schoolroom as well as to the workbox. They were intended to teach needlework, and served as reminders of alphabets, sums, and mapping. Many worked in silk on yellow linen in the eighteenth century were quite elaborate pieces of needlework. Those of the seventeenth century, chiefly of linen, were much cruder and simpler in design. During the latter half of the eighteenth century samplers were mostly worked on canvas or sampler cloth, a material which was used almost as long as samplers were in fashion. Different stitches were employed; there was the early drawn and cut work, and then the silk embroidery showing the girl's acquirement of the darning stitch.
Some early tapestry maps are numbered among the educational curios in which samplers are so prominent. The Yorkshire Philosophical Society own two unique specimens of sixteenth-century tapestry, formerly in the possession of Horace Walpole. They measure about 16 ft. by 12 ft., the sections including Herefordshire, Shropshire, Gloucestershire, Oxfordshire, and a part of Berkshire. These remarkable maps are vividly coloured and show excellent pictorial scenes indicating villages, parks, and country seats. Such maps are rare, but now and then really interesting examples of needlework mapping are met with.
Collectors keep an eye on preservation, but they are keen on dated specimens, and those with ornate and quaintly picturesque borders. The condition adds to the beauty, but not always to the value, for many of the older and less well-preserved samplers are now becoming scarce. They have been retained by those who have no interest in antiques because they bore the name of some fair ancestress who lived and worked on her sampler more than a century ago, leaving it behind as a memorial of her skill in the use of a needle for future generations to admire. How many ladies of the twentieth century are preparing permanent records of their skill in needlework for those who are to come to hand on to generations unborn? is a question some may like to ponder.
XI
THE LIBRARY
CHAPTER XI
THE LIBRARY
From cover to cover—Old scrap books—Almanacs—The writing table.
The library is usually where the master of the house conducts his business correspondence and, if a student, spends much of his time among his favourite books, or, perchance, engages in literary work. In days gone by, when there were fewer opportunities of visiting public libraries, and when circulating libraries were few and far between, the man of letters accumulated around him standard works and ancient tomes, possibly seldom read. When such a library, perhaps scarcely examined for a century or more, comes to be dispersed, it often happens that curiosities are brought to light.
The furniture of the library is full of interest, for a quaint writing table, bureau, or desk full of oddments is an exceedingly prolific field of research. In the following paragraphs a few of these curiosities are referred to; there are others, however, that the collector will discover, possibly one of the scarcer curios of the library, some of which realize unexpectedly high prices when they are brought under the hammer.
From Cover to Cover.
The books which constitute the library are often curious, and there is much that receives its monetary value on account of its antiquity and rarity. An old library will frequently include black-letter printing and old volumes illustrated with wood blocks, and, perchance, illuminated initial letters. Some of the volumes may be printed on vellum, and there may be some in manuscript. The bindings of presentation books may be of rich calf and tooled in gold; some may even have edge paintings and choice hand-painted illuminations. The subject-matter of the volumes often gives rise to specialistic collections. Some will find amusement in tracing the progress of a great industry through published information, like those curious old time tables in the early days of railways, and the pamphlets which are classed by the collector as "Railroadia," and from them learn the story of the "iron horse." There are others who collect books and prints relating to ballooning, the microscope, and many of the earlier sciences. There are topographical curiosities and historical marvels. Some books will be valued because of their illustrations, for the work of a master hand may be recognized by the expert searcher after valuables. The rare mezzotints, stipples, and delicate line engravings, to say nothing of the more valuable colour prints, often realize far more than the books themselves. Ancient art is more valued than the literary efforts of past masters of wielding the pen!
It is thus that the books are often thrown away after the pictures or even superadded illustrations or mere name-plates have been removed. The collector of bookplates searches for his treasures. Some talk of the vandalism of the collector of ex-libris, but they must remember that it is quite easy to remove a bookplate without injuring the volume, and there are many worthless books. The name labels or bookplates found in English libraries range from the early dated plates of the close of the seventeenth century to the present day. The different styles of ornament in vogue in the respective periods of their engraving were with few exceptions adhered to by the printers of such plates. Thus the collector classifies his albums and rejoices in the variations and details of the engraver's fancy, while he separates them into such well-defined groups as early armorial, Jacobean, Chippendale, ribbon and wreath, urn, pictorial, armorial, and simple shield. To other than the enthusiastic collector, bookplates may possess merit in that they have belonged to famous men, and are souvenirs taken from the volumes which were once handled by distinguished statesmen, divines, and men of letters.
Old Scrap Books.
The making of scrap books or the filling of portfolios was not always an amusement for children, neither did older folk make those quaint scrap books with such assortments of literary and pictorial odds and ends solely for the amusement of their visitors. Many enthusiastic collectors stored their treasures in such books, the binding of which was often very costly and quite gorgeously ornamented. Some pointed with pride to collections of prints, others to albums of frontispieces, printers' marks, and tailpieces, some of which were beautiful little pictures.
In modern times collectors rescue from the flames old tickets, pictorial benefit tickets, theatre passes, and quaint pictures which tell us of great events which happened in days gone by at Ranelagh, Vauxhall, and other places.
Ranelagh, where the entertainments of which relics in the shape of beautifully engraved tickets are to be found, was at Chelsea, and the gardens visited by Walpole, Johnson, and Goldsmith were famous for their promenades and for the music and singing which might be enjoyed, among the evening pleasures being displays of fireworks and masked dances. In the summer tea and coffee were sipped under the trees, and there were water carnivals on the river. There were also masquerade balls and dances, for which tickets engraved by Bartolozzi and other famous artists were issued. It is these tickets which are preserved and collected now.
The autograph hunter extends his hobby by adding old parchments and deeds with seals, for among the odd bundles of parchments in old libraries are many documents attested with thumb-marks and seals—"His mark," of days when many of the landed proprietors could not write their own names.
The joys of St. Valentine's Day, remembered by older people still, are unknown to the present generation, but collectors perpetuate February 14th as it was kept in the past by filling albums with such old valentines as they may be able to secure.
Watch Papers.
Another comparatively small collection can be made up of pictorial watch papers, those rare little pictorial views which once reposed in the interior of the cases of old watches. Watches are by no means common curios of the household, but now and then an old silver verge or a decorated watch case thought little of is found to contain one of those pretty pictures which were chiefly engraved and printed in the eighteenth century. Many of the designs were printed on satin; some were devices in needlework; again others were cut out in the most lace-like designs. Theatrical celebrities were often pictured; thus the theatrical amateur would buy his watch paper representing the celebrated Miss Gunning, or possibly Mr. Garrick. The pictures were really gems, too, for great artists such as Angelica Kaufmann, Cipriani, and Bartolozzi did not disdain to engrave watch papers.
Old Almanacs.
Some of the best finds when libraries have been overhauled have been the curious old almanacs published when superstition was rife. The oldest, perhaps, were the clog almanacs, although some were common in Staffordshire until about 1820. The accompanying illustration (see Fig. 78) was engraved in an old book referring to that county published more than a century ago. In Camden's Britannia some information is given in reference to these early clog almanacs, in which it is said holidays were distinguished by hieroglyphics; in some the Massacre of the Innocents was denoted by a drawn sword; SS. Simon and Jude's Day by a ship, because they were fishers; and St. George's Day by a horse. In the Norway clog almanacs St. Martin's Day is marked with a goose, the custom of eating a goose now being transferred to Michaelmas. In the illustration given in Fig. 78 the first section embraces January, February, and March; the second, April, May, and June; the third, July, August, and September; and the fourth, October, November, and December. Conspicuously inscribed on the clog will be noticed the ring for New Year's Day; the star denoting the Epiphany; the axe for St. Paul; February 14th is indicated by a lover's knot; a spear denotes St. George's Day in April; and May Day by a tree branch. The keys of St. Peter are noticed as indicating the 29th of June; the scales of St. Michael are seen at the end of September. St. Catherine's wheel figures in the middle of November, immediately under it being the somewhat large cross of St. Andrew. Other symbols will doubtless be recognized on this interesting relic.
The study of the almanac is not now one of the chief diversions of the fair sex. At one time, however, when ladies had fewer amusements than they have now, they spent much time poring over almanacs, and placed implicit trust in what they found recorded there, especially in the forecasts and prognostications for the future of those born on certain days and under so-called lucky or unlucky stars. One of the most popular calendars of olden time was "The Ladies' Diary or the Woman's Almanac," containing many delightful and entertaining particulars for the fair sex. Let us take, for example, a copy of that popular almanac for the year of grace 1749. On the cover there is a picture of the Queen. Alluding to the peace then prevailing are the lines:—
"Perch'd o'er this Realm, the ancient seat of Kings, Now dove-like peace the sprig of laurel brings; And British fair ones happy days shall see, While George shall reign, and Britons still are free."
Another George is on the throne, and his consort Queen Mary is an ideal woman, and what to many is of the highest importance, Peace reigns in this country and Britons are still free!
Among the contents of that curious almanac are Latin and French enigmas, mathematical questions and paradoxes. The concluding paragraph for the dedication of that day is entitled "Truth's Moral Euclid"; the proposition given being:—
"Virtue promotes happiness, private and public. Vice is destructive of happiness, private and public. Honour is the reward of virtue."
One of the finest collections of old almanacs is in the Bodleian Library at Oxford—chiefly seventeenth-century productions. A still older almanac was the "Poor Robin" of 1664; another seventeenth-century almanac being the "Vox Stellarum" of Francis Moore, a quack doctor. In 1733 Benjamin Franklin published in Philadelphia his "Poor Richard's Almanac," noted for its verses, jests, and sayings. The monopoly once possessed by the Stationers' Company has long been broken down, and of later almanacs and calendars there is no end. Among the miniature books, the collection of which is much favoured now, are some very tiny almanacs, like the beautiful specimens of such a calendar given in Fig. 80, produced actual size, shown open and closed. This miniature almanac is printed on satin and is full of pleasing little pictures. It is the work of a French artist early in the nineteenth century, the pictures and their descriptions and the monthly calendars occupying alternate pages. The binding is of mother-o'-pearl, bound in ormolu and richly gilt and engraved. Some similar calendars in tiny leather bindings, beautifully tooled and ornamented in gold, are also collectable.
The Writing Table.
The writing table usually occupies an honoured place in the library. It may be a massive table of oak or a simple writing desk venerated on account of the great literary works which have been written upon it. It is no uncommon thing to read of large sums paid for a writing desk on which the manuscript of a famous book has been penned, and some of the writing tables upon which deeds of historical fame have been signed have gained a reputation and a money value out of all proportion to their curio or antiquarian merits. Not long ago the late King Edward presented to the Commonwealth of Australia the table on which the great Charter was signed, together with the inkstand and pen used on that occasion. Those will be relics for future generations to value.
The table appointments are among the collectable curios of the library, and prominent among these is the inkstand. Inkstands find their prototypes in the inkhorns of the scribe; and throughout the generations which have provided curios for twentieth-century collectors there have been fresh supplies in silver, pewter, Sheffield plate, copper, bronze, iron, wood, china, and brass. Very beautiful indeed are some of the old inkstands in their separate vase-like attachments. The ink-well was formerly accompanied by a sand box or a pounce caster, in modern days superseded by a second ink-well. The sand casters for sprinkling pounce or sand upon newly written pages were a necessity before the days of blotting paper. Perhaps some day blotters, blotting pads, and the like, may become collectable curios!
Collectors of old china are familiar with the rare boxes, egg-cup-like in form, made by Richard Chaffers, of Liverpool, the blue and white decoration, the name of the potter in the narrowed portion of the box being characteristic of what was for a long time known as "Dick's Pepperbox." It was, however, intended for a pounce box, the pounce or pumice being a fine powder of the cuttle-fish bone, afterwards giving the name to the pounce paper or transparent tracing material. Of the inkstands to be seen in our museums there are many dating from almost prehistoric times; their variety may be instanced by mention of one in the Berlin Museum, an Egyptian curio said to be 3,400 years old, below the ink compartments being a case for holding reed pens.
In early days before even well-to-do people could read and write the scribe found a ready occupation. The materials he used were carried about in a writing case of metal, and among such curios are writing cases which were used in the thirteenth and fourteenth centuries. They were often the work of the craftsmen of Mesopotamia, who were clever artists in metal, and the work they performed came to Europe through Syria. The example shown in Fig. 81 is the work of Mahmud, the son of Sonkor, of Baghdad, and is dated 1281. This beautiful specimen may be seen in the British Museum.
The implements the scribe used changed as time went on, for parchment was used quite early in the East. Writing was introduced into Spain by the Moors in the tenth century, although writing paper was not made in England until the fifteenth century.
The evolution of the pen has been slow, for the use of quills continues still in some Government offices, and quills are still supplied to readers in the British Museum Reading Room. The old-fashioned quill pens were in days gone by shaped with a small knife made specially for that purpose. Indeed, it is to the quill pen that we are indebted for our "pen" knives, which have long been put to other uses. It was not every one who was expert in cutting a pen neatly and making it write well. Consequently an instrument was made for that purpose, known as the quill-pen cutter. These cutters are now and then met with in old desks, where they have lain unused for many years.
Quill-pen making was an important industry until the invention of the steel pen, and the quality of the quill was a matter of importance to the scribe. In a trader's circular dated 1820 there is notice of the Royal Appointment of a Liverpool maker, who was authorized to exercise and enjoy all the rights, profits, privileges, and advantages of his appointment of Pen Cutter and Quill Dresser to His Majesty King George IV. In the same circular it is stated that the quill pens supplied were of varying qualities, secured from the swan, raven, goose, turkey, crow, and duck.
Sealing correspondence was a necessity before gummed envelopes were invented. Then sealing-wax was in daily use on the writing table, and the signet ring or seal was requisitioned. The outfit of a library table would scarcely be complete without wax, wafer irons, and seals. One of the curios found now and then in old desks is a little cutting instrument useful in removing seals or opening letters which had been sealed. In the days before penny postage letters were sent carriage forward, and the postage which had to be paid on the receipt of letters from a distance was a heavy tax on those who had many friends and much correspondence.
The penalty of being the recipient of much correspondence may, perhaps, have been lightened by the wording of the seal; for many old letter seals conveyed sentimental messages which to the receiver from that particular sender might have meant much. The following is a selection of the characteristic sentiments of the day: "Break the seal, read the letter, and keep the secret"; "You have a loyal friend"; and "Life is naught without a friend." We cannot tell what was the result of sending a letter bearing such a seal legend as:—
"Mine is a heart that loveth thee; So, ladylove, do thou love me."
Collectors' hobbies now and then are increased by the introduction of something entirely new, something never known before, and the world rejoices over a genuine novelty. The cynic declares that there is nothing new under the sun, but the introduction of the penny postage in 1840, at the instigation of Rowland Hill, laid the foundation to stamp collecting, which has become the most popular of all collectors' hobbies. The philatelist is found in every civilized country, and the collection of postage stamps, used and unused, grows apace. A bundle of old letters in entire envelopes, posted forty or fifty years ago from one of the British Colonies, discovered when ransacking an old library, will probably prove the most valuable relic of the past found in it.
XII
THE SMOKER'S CABINET
CHAPTER XII
THE SMOKER'S CABINET
Old pipes—Pipe racks—Tobacco boxes—Smokers' tongs and stoppers—Snuff boxes and rasps.
The slave of the pipe and the moderate smoker of years gone by have left behind them relics in nearly every home. Such curios are found when pulling down old houses, and clearing out rubbish heaps; and even when making excavations in the vicinity of once occupied ground remains left behind by smokers of olden times are discovered.
Many are marked as curios on account of their curious forms; others have been regarded as such because their uses have become obsolete, and some because of their great beauty and the costliness of the materials of which they are made.
The collectable curios of the smoker's cabinet consist of clay pipes, varying from the earliest form known to the later types not far removed from the modern clays still smoked by workmen; of pipes of curious forms and quaintly carved bowls; and the Eastern pipes, which look more like show pieces in their size and forms than any pipe made for actual use. The curios include tobacco jars, spill cups, and ash trays; and there are also brass and copper spittoons and pipe racks. An old smoker's desk often contains odd curios, such as the one-time common pipe-stoppers, so many of which were made by Birmingham "toy-makers" in the eighteenth century.
Old Pipes.
When tobacco was first introduced into this country, and smoking was taught to those whose descendants in countless numbers were destined to worship at the shrine of my Lady Nicotine on British soil, the pipe was brought over too; for tobacco and the tobacco pipe are inseparable, although the pipe shares its popularity with cigars and cigarettes.
There are few records of early experiments in the modelling and baking of local clays by pipe makers; it was, however, soon discovered that Broseley clay was most suitable for the tobacco pipe, and there are pipes known to have been made at Broseley in the seventeenth century. The flat heels of the early pipes were useful in that pipes could then be laid down on the table. Then in the reign of James II an advance was made by the spur-like projection of the bowl, which was found to be convenient for the purpose of branding with the initials of the maker or his trade mark, and there are many examples of old marks, some of which are very curious, a not uncommon form being a punning rebus on the maker's name; thus we have a gauntlet, used by a man named Gauntlet.
The earlier forms of clay pipes gradually gave way to the long-stemmed "churchwardens," which in course of time were again superseded by pipes with short stems. The meerschaum in its day had many followers, and some of the curiosities of the smoker's cabinet (the term "cabinet" is used here in a figurative rather than a realistic sense) are those elaborately carved specimens of meerschaum, that remarkably light material that lends itself so well to the carver's art.
Pipe Racks.
There appear to have been two distinct forms of racks—those used for cleaning or rebaking clay pipes, and the racks on which they were stored. The pipe rack was originally a wrought-iron frame upon which dirty clay pipes were stoved in a brick oven and restored to their original freshness. The stoving of pipes was a common practice not only in taverns and public clubs but in private houses in the days when long clay pipes were served to the guests, and a bowl of punch was placed before them—it was thus that convivial spirits enjoyed themselves in time gone by.
Now and then these old pipe racks are met with in some outhouse or attic, but they are getting very scarce, for most of them appear to have found their way into the scrap heap of the old-metal dealer. Some of the racks intended for the storage of pipes and not for baking them were exceedingly decorative, the ornamental sides terminating with acorn knobs made of cast lead.
Tobacco Boxes.
It seems natural to suppose that the need of a suitable receptacle for tobacco would early be felt. Many of the old tobacco boxes—those for storage purposes—were made of lead or pewter. Lead was found to be cool and was also used as an appropriate lining for boxes made of other materials. Jars soon came into vogue, and there are quite ancient specimens, especially the old japanned boxes, ornamented with figures in gilt.
There is, of course, a vast difference between the storage jar and the smaller box carried about by the smoker much in the same way as the pouch is now used. Many still prefer metal to other materials, and it is no uncommon thing to see brass and steel boxes in use in industrial districts. Few, however, excepting modern replicas of the antique, are decorated in the way the old Dutch tobacco boxes of brass were in the seventeenth and eighteenth centuries. It is not very clear why so many of them were engraved with scriptural subjects, for there does not appear to be much connection between biblical history and the pipe! Engravings of scenes depicting Noah and the Flood are common, the incongruity of the clothing shown being often commented upon; one writer upon the subject referred to the engravings on one of these tobacco boxes as being ornamented with Jewish characters wearing knee breeches of English type, talking to Dutch frauen. Historical portraits are not uncommonly met with on these quaint boxes, and quite a number of battle scenes have been engraved. Such metal work has been gathered together in several museums, and in the British Museum there is a fine collection of various shapes, some oval, others long and narrow, and some almost square. The brass tobacco box illustrated in Fig. 83 has a medallion portrait of Frederick the Great in the centre, such embossed subjects being very popular in the seventeenth and eighteenth centuries, both in England and in Holland, although Dutch artists gave preference to scriptural subjects, many fine examples of which are to be seen in our museums. Fortunately there are many really curious specimens obtainable at a moderate cost.
Smokers' Tongs and Stoppers.
Curious little ember tongs were formerly used by smokers for taking up hot embers or ashes with which to light their pipes. Of these there are several varieties, most of them of polished steel, cut and chased. In the eighteenth century similar tongs were used for holding cigars; some were fitted with small knives, and a few of the earlier examples included tinder boxes. Not infrequently one end of the handle terminated in a tobacco stopper.
Stoppers, were, however, destined soon to become an independent and important smokers' accessory. They were made of different materials, including brass, steel, bone, and ivory, to some being added a pick for clearing out the bowl of a pipe. Many curious handles were modelled, among the varieties being some representing soldiers in armour of the time of James I. There is one favourite type representing Charles I, crowned, and wearing the collar of the Garter, and another a bust of Oliver Cromwell. In one example a farm labourer works a flail, in another a milkmaid goes a-milking with her pail. There are many varieties of a hand holding a pipe, of jockeys and prize-fighters, and of St. George and the Dragon.
The three stoppers illustrated in Fig. 82 are quite exceptional specimens, illustrating, however, the kind of stopper which collectors should keep a keen look out for. These examples are in the British Museum along with a few others of seventeenth and eighteenth-century manufacture, having striking characteristics. One is described as having a human figure at the butt, and at the other end a crowned head. The third example is an historic souvenir, having been made, as the inscription on the stopper indicates, from the royal oak which sheltered Charles II, by Mr. George Plaxton, at one time "parson of the parish."
In the Taunton Castle Museum there is an exceptionally beautiful stopper made of ivory inscribed:—
"NOW . MAN . WITH . MAN . IS . SO . VNJVST . THAT . ONE . CAN . SCARCE . TELL . WHO . TO . TRVST."
There are similar stoppers in private collections. The inscription on one at South Petherton reads:—
"THE . FAYREST . MAYD . THAT . DID . BAYR . LIFE . FOR . LOVE . TO . MAN . BECAME . A . WIFE."
Snuff Boxes and Rasps.
Snuff-taking has been a habit associated with smoking tobacco from quite early days. The preparation of snuff was formerly achieved at home, and consequently there sprang up the need of rasps, which were frequently carried about in the pocket, many of the cases being very ornamental. They varied in size, but the rasp cases usually held a plug or twist of tobacco from which the snuff was made.
There are several fine old snuff rasps in the Victoria and Albert Museum, one large rasp measuring 15 in. in length; its case, which is of walnut and extremely decorative, is attributed to a Dutch carver who executed it in the second half of the seventeenth century. There is also a small iron rasp in a case of teak wood, which is inlaid with rosewood, ivory, and tortoiseshell, the rasp measuring about 8 in. in length. An eighteenth-century French rasp of boxwood is carved in low relief; on one side a pair of doves is represented, under the picture being the legend, "Unis jusqu'a la mort." On the other side there is a man blowing a horn with the legend, "La fidelite est perdue," around which is a rope-like frame supporting two cornucopiae. Another curious variety of snuff rasp is made to run on wheels. When snuff-making became an established trade, and the need for snuff rasps to be carried was not so great, the decoration of snuff boxes became more ornate.
It was in the days of Queen Anne that the height of the glory of the snuffer was reached; it was, however, during the reigns of the Georges that so many beautiful boxes were made. There were boxes carved out of a piece of wood, others of bone, papier-mache, and metal; indeed, all the metals seem to have been used, for among the curiosities of old snuff boxes are those made of iron, copper, brass, silver, and gold. Some of the more costly were enriched with diamonds and precious stones, and with tiny miniature paintings and beautiful Wedgwood cameos.
In the days when snuff-taking was a commoner practice than it is now, the ornamental snuff box was the chosen gift to men of fame. Kings, princes, and the nobility received gold and jewelled snuff boxes on occasions when in more modern days they would have been given a scroll of vellum in a golden casket.
Many provincial museums contain excellent collections of smokers' requisites. In the handbook of Welsh antiquities published in connection with the National Museum of Wales, in Cardiff, there are allusions to several interesting specimens, the writer of the guide quoting some lines penned by a sixteenth-century poet, who extolled tobacco thus:—
"Tobacco engages Both sexes, all ages— The poor as well as the wealthy; From the Court to the cottage, From childhood to dotage, Both those that are sick and the healthy."
XIII
LOVE TOKENS AND LUCKY EMBLEMS
CHAPTER XIII
LOVE TOKENS AND LUCKY EMBLEMS
Amulets—Horse trappings—Emblems of luck—Lovespoons—Glass curios.
The collector rarely troubles about attempting to solve matters of dispute, and cares little to enter into argumentative discussions in reference to the supposed purposes of the curios he collects, or the different uses with which they have been associated. He does not inquire too deeply into the faiths and beliefs which may have been held and revered by his ancestors when he puts in his cabinet some curiosity which may have been regarded almost with reverential feelings and handled with superstitious regard by its original possessor. The more thoughtful man does, however, pay some tribute to their early associations. Our museums are filled with such relics, with delightfully carved reliquaries, triptychs, and marvellously carved beads which in their religious use as rosaries have been looked upon as something more than mere specimens of the carver's art. There are mysteries in beliefs which have been held dear in the past which are not understood by succeeding generations.
It is difficult to understand in the present day the deep-seated faith in amulets and charms, which were thought to have brought about what would now be regarded as curious coincidences, or to place reliance upon the babbling utterances of some old crone who posed as a witch or a fortune-teller. Yet among such old-world stories there are germs of truth although misapplied. The emblems, amulets, and charms so implicitly believed in a few centuries ago are objects numbered among collectable curios, valued even in this prosaic age not only for their intrinsic worth and antiquarian interest, but for the so-called magic influences they were supposed to possess.
There is something more understandable about love tokens, for we can tell their purpose, and indeed to-day, stripped of the charm which was often supposed to go with them, love tokens are given, received, and valued just as much as they were in the past.
Amulets.
The amulet, which in its realistic form is regarded as an antiquity to be preserved with care, was usually regarded either as a charm against disease, accident, or misfortune, or as something the possession of which would bring good luck. The efficacy of amulets was believed in by the most cultured and scientific peoples in the past, for it was an article of belief in Egypt and Chaldea. The Jews had regard for their phylacteries, and the Greeks and Romans had their amulets. The image of Thor was an amulet peculiar to the old Norsemen; and in Britain we have had many examples.
Although not necessarily objects to be worn, no doubt charms usually took the form of something which could be suspended, for the origin of the word coming to us through the Latin has been traced to an Arabic word, signifying a pendant. In the early Christian Church the fish was worn as a symbol or charm, and in many parts of rural England to-day amulets are kept, and even charms, as preventives against disease. Men and women buy so-called amulets from the jewellers' shops at the present time, and wear them on their watch chains or bangles, and round their necks; but the faith reposed in such charms by the educated classes in this country may be dismissed as a myth, for few really understand their true significance, or place any real reliance upon such fanciful relics of a former age—an age of superstition, when people blindly clutched at any mysterious protective power or emblem.
Horse Trappings.
Among the commoner emblems of good luck handed down from the far-off past, are the brass amulets worn on horse trappings even to-day. A set of brasses consists of a face brass, taking chief place of prominence on the horse's forehead; two ear brasses, which are seen behind the ears; ten martingale brasses, worn on the breast; and three brasses suspended from straps on each of the shoulders. These amulets were primarily worn to keep off the "evil eye," and thus protect the horse and its rider or its owner from calamity and harm. The brasses were varied in design, some of the more important being developments of the crescent moon. Some were made to imitate the sun with its pointed rays, others the Catherine wheel; the Kentish horse, too, a relic of Saxon days, has been frequently used, and there is the lotus flower of Egyptian origin. There are Moorish and Buddhist symbols, and many curious developments which have gone far astray from their original types. The agriculturist is still superstitious, and does not like to lessen the number of these somewhat weighty brasses suspended from his horse trappings. For purposes of utility they are useless; they remain, however, a connecting link with the superstitions of the past, and a collection of such curious objects is of extreme interest. In Fig. 84 is shown an exceptionally fine collection got together by Mr. Wayte, of Edenbridge, who collects many such things.
Emblems of Luck.
There seems to be a distinctive difference between the amulets which were protectors against harm and those which are emblems of good fortune. Perhaps hovering between the two may be classed such curios as those which tradition has held to be a preservative of luck, like "the Luck of Eden Hall," that wonderful goblet preserved with such great care in its charming case of cour boulli. In this category are the numerous gifts from friend to friend having no special emblematic value, but which were frequently handed over with such sayings as: "I give you this for luck," and "May good luck go with you." The wish and implied virtue in the charm has about as much value in it as the wish playfully and unbelievingly uttered by the twentieth-century maiden at the wishing well to-day.
There is still, however, an undeniable lingering belief in the mysterious value in the possession of an emblem of luck, one of the best known and commonly used to-day being the horseshoe, preferably, according to old tradition, a cast shoe found and nailed up over the doorway or in some prominent place. It is generally believed that the horseshoe carries with it good luck on account of its form, which resembles the crescent moon, a notorious symbol in the days of the Crusaders, already referred to as being an important feature in the amulets or charms on horse trappings—such is the curious mixture of scepticism and superstitious faith met with to-day!
Lovespoons.
The collection of Welsh lovespoons in the National Museum of Wales, several of which are illustrated in Fig. 85, is quite unique. Dr. Hoyle, the Director of the Museum, in his admirable description of the case in which these pretty little objects are shown, explains that they are arranged to show the evolution of the lovespoon from the normal spoon. Such lovespoons might, a few years ago, have been seen in many Welsh homes, where they hung as things of ornament and sentiment, for it is said they were given in "spooning" days to the girl of his choice by the lover. The handle is of course the appropriate field of decoration, the double bowl being symbolic of "We two are one." The dated spoons were mostly made in the middle of the eighteenth century.
Glass Curios.
Some of the most pleasing love tokens are those made at Nailsea in Somerset, and in Sunderland. The commoner kinds, chiefly made at the latter place, were known as sailors' love tokens. They took the form of rolling-pins, which were evidently intended for ornament and not for use. A bow of ribbon was tied round the end of the pin by which the roller could be hung up. These glass rolling-pins were covered over with sentimental mottoes, generally accompanied by a ship, a typical feature of the decorations commonly used. Some of these little mementoes given away by sailors were of white semi-opaque glass, others were brilliantly coloured.
Nailsea glass works were noted for the Italian influence shown in the colour effects produced in them. Among other objects made at those famous glass works were flasks and bottles for wines and spirits in greens, browns, and blues, to which were added in smaller quantities red and yellow. Other trinkets of an ornamental character were glass tobacco pipes, bells, and coach horns. There were also Nailsea walking sticks made of twisted glass, and many curious cups. Most of these were given for luck, especially as love tokens when sailors were about to set out on a voyage, the superstition attached to the gift being that if the glass pin were broken it was a sign that the vessel in which the giver had sailed had been wrecked. Hence it was that a ribbon was securely attached, and the gift hung up out of harm's reach.
In association with glass rolling-pins and other love tokens there are many sundry curios which from the mottoes upon them were evidently given with a similar purpose. Even objects of metal and brass were frequently inscribed with loving reminders of the donor. The pleasing little trinket and patch boxes of enamels and glass, referred to in another chapter, were given from sentimental motives as evidenced by their inscriptions. Covers of pocket books and tobacco pouches were covered over with similar legends, like a delightful beadwork tobacco pouch in the Taunton Castle Museum, on which is the motto or sentiment, "LOVE ME FOR I AM THINE, 1631," wrought by a seventeenth-century needleworker.
Similar mottoes are found on the little pincushions formerly carried in the capacious pockets of women of olden time, sometimes wrought in needlework and at others in beads.
XIV
THE MARKING OF TIME
CHAPTER XIV
THE MARKING OF TIME
Clocks—Watches—Watch keys—Watch stands.
The early marking of time was simple enough, for we are told that the Arabs, by driving a spear or a staff into the sand of the desert, told the time of day. The shadow of the sun roughly gave those who were familiar with astronomy the lay of the land and the time, approximately. When the dial and the gnomon were understood, dialling became a popular science, and ere long the sundial on the church tower, in a public place, or in a private garden, told the time. Then came the marking of time by pocket dials—an advance which foreshadowed the watch which was to come.
The pocket dial was soon followed by mechanical clocks, the clock watch, and the more delicate work of the watchmaker. The watch has become more accurate in its marking of time by the introduction of machinery in its manufacture; and it is cheapened by competition, so that now every one for a mere trifle can carry in his pocket a watch by means of which he can tell accurately the hour of day, as Shakespeare has it in "As You Like It":—
"And then he drew a dial from his poke; And looking on it with lack-lustre eye, Says, very wisely, 'It is ten o'clock; Thus we may see,' quoth he, 'how the world wags.'"
Some further references to the sundial will be found in Chapter XVII, the sundial being one of the accompaniments of the old-world garden.
Clocks.
In "Chats on Old Copper and Brass" some mention is made of old clocks, and of the watch which grew in beauty and fineness of workmanship as it evolved from the watch-clock and the still earlier lantern and other old clocks, which were gradually introduced to supersede or supplement the earlier sundials. Very remarkable indeed are some of these household curios. The very movement of the clock, with its pendulum swinging to and fro and the loud tick which can be heard all over the room, gives a sort of venerated respect for the "grandfather," with its massive and often richly carved or inlaid oaken or mahogany case, making it an important piece of furniture in the room.
The Cromwellian lantern clock was beautiful in its way, and it may be regarded as the earliest type of commonly used domestic clocks, most of which were made at a later period than is denoted by the name of Cromwellian. They are, however, of a good respectable age, and are now really valuable household antiquities. The lantern clock may be regarded as the ancestor of the "grandfather," the works of which were protected by a wooden case. The evolution from the earlier type is quite easy to follow, for the wooden hood to protect the clock on the bracket shelf was added; then came the framed head, which was glazed, and eventually the lower case covering the weights.
Much has been written about "grandfathers" and the smaller variety commonly designated "grandmothers." The dials of the earlier specimens are of brass and have only the hour hand, an onward step being marked when the minute finger was added. The mechanical arrangement by which the days of the week and the month were indicated was a happy addition, although some would, doubtless, regard them as somewhat unnecessary. The collector of antiques is likely to be imposed upon unless he is acquainted with the technical construction of both works and frame or case, for it is not an uncommon thing to fit in a modern antique case a set of old works.
The timepiece is an innovation of comparatively recent days. From the first it became the central ornament on the mantelpiece, and many artists were employed in providing suitable designs and combining various materials to produce clocks in keeping with prevailing styles of furniture and decoration. The French clockmakers became experts as designers of the smaller and more varied cases of mantelpiece clocks, many fine examples of the Empire period ranking as art treasures as well as curios.
Fig. 86 represents an exceptionally fine example of a Gothic French clock, beautifully modelled, and in excellent condition. Some of the gilt clocks and side vases to match were bought as mantelpiece ornaments, rather than for their merit as timekeepers, although the best makers always put in reliable works—there were no such works as those made by machinery and sold so cheaply to-day!
The timepieces of early Victorian days are scarcely antiques, and few of them are treasured as such, although undoubtedly curious.
Watches.
The first step towards watches as we understand them was the manufacture of pocket clocks (many of which show Dutch influence in design), some of the cases of which were very beautiful. The watches which followed in due course were at first without glasses, and for the better protection of the works and of the delicate engravings and ornamentation of the backs and dials loose cases of metal or shagreen were made. Some of them were highly ornamental, little studs of gold or silver being arranged in geometrical and floral patterns on the exteriors. Two very pretty examples of such cases are shown in Fig. 88.
Many of the watch backs were chased and perforated and beautifully enamelled; the dials were covered with painted miniatures, and gold watches were enriched with jewels. From Switzerland and Nuremberg come many choice examples; but there were clever watchmakers in England too, among them John Stevens, of Colchester, a sixteenth-century watchmaker noted for his pierced and engraved brass-gilt cases.
Classical figures and designs showing Dutch influence became popular late in the seventeenth century; then fashions changed, and the Court of the Emperors of France exercised an influence over art in this and other countries, and watch cases and other lesser objects were made more or less in harmony. At one time curiously shaped cases were the fashion; at another octagonal watches, such as were made in the seventeenth century by Edmund Bull, of Fleet Street, who is said to have made an elliptic silver watch engraved all over with minute scriptural subjects.
The collection of watches is a hobby indulged in by but few; there are, however, many single examples included in household curios, and not infrequently several handsomely engraved old watch cases are seen exhibited in the modern glass-topped curio tables so fashionable in twentieth-century drawing-rooms—now and then the interest in them being increased by the musical bells of the repeaters, many of which were made a century or more ago.
Watch Keys.
Keyless watches have been invented within the memory of most of us; it is obvious, therefore, that old watches were supplied with old keys, many of which were curious in form. The collector in search of a small group of collectable curios finds the watch key an excellent variety on which to specialize. When larger clocks were supplemented by the pocket watch, the loose key with which to wind it up naturally took the form of the larger clock keys. Such keys soon became more ornamental, for they were either carried in the pocket or attached to a chatelaine or bunch of keys; many of the bows were modelled on the pattern of other keys on the bunch.
In the accompanying illustration, Fig. 87, some little idea may be formed of the early developments. The three keys in the upper row are of the clock-winder type, showing the gradual improvement in their formation. Then came a development of the metal keys, mostly of brass, the engraving and modelling of the key itself being improved, the ornamentation being supplemented by enamelling. The watch key ultimately became very ornate, for the more precious metals were gradually introduced, and rich enamels, rare gems and stones, and Wedgwood cameos were added.
Pinchbeck metal was very much used for watch keys, the fob seals remaining in fashion until knee breeches went out. Some of the French keys are extremely decorative, and many cut and polished steel keys are worth collecting. It is said that Switzerland is one of the happy hunting-grounds of the watch-key collector, but there are many curio shops, both on the Continent and in this country, where fancy keys can be bought still at reasonable prices. In some localities special designs and metal have been made. Thus it is said that in Holland the silver keys of large size were long favoured, and many of these are still on sale. Another special feature about these curios is that makers at one time specialized on trade emblems, and it is quite possible to get together an interesting collection representing the attributes of musicians, butchers, bakers, and horticulturists, one signifying the latter industry being shown in Fig. 87, that on the left-hand corner of the lower row being fashioned in the form of a spade and a rake.
Watch Stands.
There are some very quaint old wood watch stands used chiefly as the temporary home of the watch at night, although some seem to have been permanently used by those who possessed a second watch. Some of the wood carvings were covered with old gilt; others were relieved in colours. Some were classic in design; others were like the little French clocks of the Empire period. Some were shaped like musical instruments, and others of more elaborate forms of decoration represent Mercury and Hercules supporting the watch stand. Some of the most beautiful are made of French lacquer and ornamented in the Vernis Martin style. To these may be added watch stands of marble, and curious inlays, of papier-mache and japanned wares, and some of brass and bronze.
XV
MUSICAL INSTRUMENTS
CHAPTER XV
MUSICAL INSTRUMENTS
Early examples—Whistles and pipes—Violins and harps.
There are few homes without some old musical instruments, indicating that at one time or other one or more members of the family have been musical. There is a sadness about the discovery of a long-neglected instrument, telling of the breaking up of the old home or of an absent one whose instrument has been cherished in memory of happy moments when harmonious sounds and beautiful music were drawn from the now long-neglected piano, harp, or violin. To its owner a simple flute or bugle is probably of as much value as an old piano, although the more important instrument may be more valuable as a curio and antique. There are some old instruments which increase in value, such, for instance, as violins made years ago by masters of constructional art, for they have become mellow with age, and, like the bells of some old parish church, now give out rich and yet soft notes when handled by a master hand. The story of the development of the piano from the very early prototypes is an enchanting theme to the lover of music, for there is a far remove from the modern pianoforte, and still newer player piano to the virginal, harpsichord, and spinet which may occasionally be found among the curios of the household.
Early Examples.
In the eleventh century, when musical notation came into being, a monochord was used to teach singing. The clavichord followed in due course, and by a rapid process of development regals, organs, and virginals evolved. The virginal, although distinct, was associated with the spinet, which with the later harpsichord may be found in houses which have been but little disturbed since the middle of the eighteenth century. It was in that century that the piano came, but not until it was well advanced, for in an old playbill of Covent Garden Theatre, published in 1767, it was announced that "Miss Brickler will sing a favourite song from Judith, accompanied by Mr. Dibdin on a new instrument called the piano forte." Of such instruments and of earlier types there are many fine examples in the Victoria and Albert Museum at South Kensington, in the Royal Scottish Museum, and in the Crosby-Brown Collection in the Metropolitan Museum of Art in New York City. In Fig. 89 is seen a beautiful spinet in excellent condition.
Whistles and Pipes.
It is said by the exponents of artistic furnishing and decoration that no home can be complete without music, for it gives an atmosphere of art which nothing else can impart; and certainly a collection of household curios cannot be complete without some musical instrument, although but a humble example. It may be a moot point among collectors whether the insignificant whistle or primitive call can be regarded as sufficiently musical to rank in this category. It is certain, however, that it is one of the commonest of sound producers; if there is a boy in the home there is almost sure to be a whistle in the house. Few trouble about the scientific explanation of the sound produced by this common instrument, but experts tell us that the sound comes because condensations occur by the collision of air against the cutting edge placed in its path. Of antique whistles there are many types, those shown in Fig. 90 being the most frequently met with. The one marked "D" is said to be an attempt to increase the volume of sound by the extension of a cutting edge. A double sound is produced by that marked "F," whereas "A" is of the more familiar type, the example illustrated being an ivory whistle used upwards of a hundred years ago.
From the whistle came the tin pipe capable of producing tunes in the hands of a skilful player. The whistle and pipe were in olden times associated with coaching days and inns. At one time it was customary for a whistle to be attached to the handles of spoons used on inn tables. Thirsty travellers blew the whistle when refreshment was required, and from that custom we get the common expression, "You may whistle for it." The horn, too, was a favourite instrument, and very necessary in days gone by, when it served many useful purposes. |
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