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The Great Grampus Bath-house Tragedy: 1875

The Sad Result of Using Patent Bathing Houses.

New Orleans Picayune.

A harrowing story comes to us from one of our sea side watering places. Old Mr. Grampus was in Paris last spring, and he brought home with him one of Baptiste’s patent bath houses. It was made of vulcanized silk with steel ribs, and it shut and opened by a spring. Open it had the appearance of a beautiful blue and buff striped pavilion, octagonal in shape, and covering a superficial area of some ninety or a hundred square feet. Shut up, it looked like a huge Brobdignagian umbrella, though, being very light, Mr. Grampus could carry it to the beach as easy as he did his camp stool. The Grampuses were very proud of this bath-house. They used to take it down to the most crowded point on the sands and flaunt it in the faces of their rivals. It afforded to Mrs. Grampus and the Miss Grampuses a satisfaction more ecstatic than they had ever known before to emerge from this gorgeous edifice just as those odious Millers came sneaking out of their dingy old wooden huts under the cliff. The crowd gazed at them with envy and admiration, while they either pitied or ignored the Millers. Baptiste’s patent bath-house was an object of respectful amazement to the whole caravansary, and the Grampuses came in for no little social eminence and superiority in consequence.

This sort of thing went on smoothly for a fortnight or so, until the Millers and the Joneses and the Snagsbys were absolutely on the point of leaving Jolimer for sheer mortification. And perhaps they would have gone the very next day, but for the singular adventure which little Blinker had with his donkey. It was about 11 o’clock; the beach had been crowed for an hour or more, and as usual the centre of attraction and of interest was the Grampus bath-house. They had lately embellished this beautiful structure with a pair of golden horns [antlers] and a silk centennial flag, and in the eyes of the unhappy Millers it looked more insolent and gaudy and overwhelming than ever. The Grampus ladies had been inside for a quarter of an hour or so, and the spectators conjectured, rightly as it afterward transpired, that they were almost ready for the surf, when all of a sudden little Blinkers was seen descending one of the winding paths astride a particularly contumacious and evil-minded donkey. His agonized cries and expostulations attracted attention, and in less than a minute every eye, except those of the doomed and unsuspecting Grampuses, was riveted on Blinkers. Here he came, his donkey churning away at the bit, and buck-jumping like a mustang, and be miserable, frantic and helpless with terror. Blinkers stuck, though, and the donkey lunged away down the path like something mad, without shaking off the stricken wretch who rode him.

There were a few Ravelian acrobatics, a wild lurch, and then Blinkers and the donkey went kerslap again the Grampuses’ patent bath-house! One complicated shriek shot through the air, a flutter and a rattling as of machinery, and the next instant Blinkers was dashed upon the sand in a crumpled heap, and a haggard and affrighted donkey with his ears pinned back and his tail between his legs, was seen hustling down the beach like some panic-stricken meteor. And then the great Grampus pavilion with a creak and a snap, suddenly shut itself up into umbrella shape, and waddled hysterically toward the surf on a pair of elephantine legs—identified by a spectator as the legs of the Mrs. Grampus—suggesting the idea, with its towering outline and its antlers and its flag, for some gigantic species of horned giraffe which had just taken the blue ribbon at the fair.

And that was the end of the great Grampus bath-house tragedy. Old mother Grampus pranced about the beach awhile with the patent bath house sitting on her head like a long but emaciated extinguisher, and the two Miss Grampuses who had escaped the collapse rushed frantically into the surf, with a good deal less bathing dress than they would have had if Blinkers and his donkey had given them a little more time. Next day the family departed before the rest of the world had wakened, and the Millers and the Joneses, and the Snagsbys are having their own way. Now, if this narrative should reach the eye of any family using Baptiste’s patent portable bath-house, we trust they will take warning, and never afterward trust to its protection until it has been enclosed in a serviceable picket fence.

Fort Wayne [IN] Weekly Sentinel 18 August 1875: p. 1

Mrs Daffodil’s Aide-memoire: Truly, a useful warning about bathing-pavilion hubris, which we all should take to heart. How are the Vulcanized fallen!  Mrs Daffodil has sought casually, but in vain for the inventor. Considering his role in submerging persons in water, he must have been called “Jean Baptiste.”

Mrs Daffodil has previously written about a bathing machine as the scene of scandal, as well as the ideal bath-house, which will, indeed make one the envy of one’s friends, if not one’s maid.

Mrs Daffodil invites you to join her on the curiously named “Face-book,” where you will find a feast of fashion hints, fads and fancies, and historical anecdotes

You may read about a sentimental succubus, a vengeful seamstress’s ghost, Victorian mourning gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.

 

The Man in the Dog-Cart: 1890s

My next tale has always seemed to me one of the most interesting psychic experiences that I have ever heard related.

Some few years ago, a young officer, whom we will call Lestrange, went to stay at a country house in the Midlands. It may be said that he was a good type of the average British subaltern, whose tastes, far from  inclining towards abstract study or metaphysical speculation, lay chiefly in the direction of polo, hunting, and sport generally. In fact, the last person in the world one would have said likely to “see a ghost.”

One afternoon during his visit, Lestrange borrowed a dog-cart from his friend, and set out to drive to the neighbouring town. About half-way there he saw walking along the road in front of him a very poor and ragged-looking man, who, as he passed him, looked so ill and miserable that Lestrange, being a kind-hearted person, took pity on him and, pulling up, called out, “Look here, if you are going to C—-, get up behind me and I will give you a lift.” The man said nothing but proceeded to climb up on the cart, and as he did so, Lestrange noticed that he wore a rather peculiar handkerchief round his neck, of bright red, spotted with green. He took his seat and Lestrange drove on and reaching C—- stopped at the door of the principal hotel. When the ostler came forward to take the horse, Lestrange, without looking round, said to him: “Just give that man on the back seat a good hot meal and I’ll pay. He looks as if he wanted it, poor chap.” The ostler looked puzzled and said: “Yes, sir; but what man do you mean?”

Lestrange turned his head and saw that the back seat was empty, which rather astonished him and he exclaimed: “Well! I hope he didn’t fall off. But I never heard him get down. At all events, if he turns up here, feed him. He is a ragged, miserable-looking fellow, and you will know him by the handkerchief he had round his neck, bright red and green.” As these last words were uttered a waiter who had been standing in the doorway and heard the conversation came forward and said to Lestrange, “Would you mind stepping inside for a moment, sir?”

Lestrange followed him, noticing that he looked very grave, and the waiter stopped at a closed door, behind the bar, saying: “I heard you describe that tramp you met, sir, and I want you to see what is in here.” He then led the way into a small bedroom, and there, lying on the bed, was the corpse of a man, ragged and poor, wearing round his neck a red handkerchief spotted with green.

Lestrange made a startled exclamation. “Why, that is the very man I took up on the road just now. How did he get here?”

He was then told that the body he saw had been found by the roadside at four o’clock the preceding afternoon, and that it had been taken to the hotel to await the inquest. Comparisons showed that Lestrange had picked up his tramp at the spot where the body had been discovered on the previous day; and the hour, four o’clock, was also found to tally exactly.

Now was this, as the ancients would have told us, the umbra of the poor tramp, loth to quit entirely a world of which it knew at least the worst ills, to “fly to others that it knew not of”? Or was it rather what Mr. C. W. Leadbeater has described in his book, “The Other Side of Death,” as a thought-form, caused by the thoughts of the dead man returning with honor to the scene of his lonely and miserable end, and thereby producing psychic vibrations strong enough to construct an actual representation of his physical body, visible to any “sensitive” who happened that way? We must leave our readers to decide for themselves what theory will best fit as an explanation of this strange and true story.

Stranger Than Fiction, Mary L. Lewes, 1911: p. 96-98

Mrs Daffodil’s Aide-memoire: Mr. C.W. Leadbeater was a Spiritualist and influential member of the Theosophical Society. He wrote extensively on esoteric subjects such as the astral plane, clairvoyance, and reincarnation. Mrs Daffodil sees no reason to drag “psychic vibrations” or “thought-forms” into a perfectly good English ghost story.

 

Mrs Daffodil invites you to join her on the curiously named “Face-book,” where you will find a feast of fashion hints, fads and fancies, and historical anecdotes

You may read about a sentimental succubus, a vengeful seamstress’s ghost, Victorian mourning gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.

 

 

 

Noted Ladies of the Stage on Corsets: 1890

Adelina Patti endorses the Chicago Corset Company, c. 1880s https://www.rubylane.com/item/398016-4878/Chicago-Corset-Adelina-Patti-Advertising-Trade

A SYMPOSIUM ON CORSETS

The Theories and Practices of Some Noted Singers and Actresses.

[Chicago Tribune.]

A cablegram printed in the Tribune a few days ago said that Mrs. James Brown Potter had abandoned the corset.

A murmur was heard in certain quarters. What had Mme. Patti to say on the subject? A Tribune reporter found the diva in a room filled with the odor of roses. The reporter went at the subject without having been compelled to do so strategically.  Madame motioned Nicolini [her second husband] to a far corner in the room. Then she said in her own peculiar way:

“I think corsets are the correct thing. Some absolutely perfect figures may dispense with them, of course, but the average woman, and especially the stout ones, can not afford to eschew stays. I myself invariably wear them.” “And do you find them injurious?” “Not in the slightest. But, then, my stays are always extraordinarily loose. Interfere with singing? Why, people don’t sing with their stomachs, do they? It must be an oddly formed person who would. As long as one doesn’t wear stays about one’s throat there can be no interference. Now, I can not sing with as much as a ribbon confining my throat.”

Mme. Emma La Jennesse-Albani-Gye’s apartments at the Grand Pacific were as bright as a glowing fire when the reporter called. When “corsets” were mentioned a slight frown deepened in the clear gray eyes, but it passed as quickly as it came, and in her musical voice Mme. Albani gave her views.

“I believe in stays because I have always worn them. I shouldn’t like at all to go without and I’m sure the public wouldn’t like it. Imagine me, for I am a little stout, you know.”

“Plump, Madame, only plump.” “Ah! That is kind of you. Nevertheless you know I shouldn’t look well without a corset. I do not think I could keep up even. I believe the support to be essential absolutely.”

“And not detrimental?”

“Not unless so tight as to interfere with breathing, for breathing is singing. You have seen ‘The Huguenots,’ haven’t you? Yes, well, you remember we all have to wear long pointed bodices there—it was the style of the times—now how could we possibly do so without stays? I don’t know, do you?”

There was an all-pervading odor of roses and white hyacinths through Mme. Nordica’s apartments at the Richelieu. The songstress lay wearied and nervous beneath the eiderdown while her devoted sister tenderly bathed her throbbing brow. The dainty little lady mother sat amid the ruins of Madame’s floral offerings and chatted.

No, Lillian never wears corsets. That is, she never does now—not even for the street or salon. There was a time years ago when she wore them, but they were soon discarded. It was simply a matter of comfort with her. After a while she concluded to try them again. She had several pairs manufactured—little loves of stays, all in delicate satins

“How long did she wear them then?”

“Scarcely at all. One day she said to me: ‘Mamma dear, I am not as comfortable as I used to be; I shall return to the old ways.’ Since then she has never put a corset on.”

“Does she substitute a stiff waist?” “No; she simply wears a thin silk waist, without a suspicion of whalebone in the back and the merest hint of it at the front and sides. We make them all ourselves, so you may be sure they are simplicity personified.

“Cecil, dear, please put your head out of the window; we are having a costume talk and you really must not listen.”

Considering that a fierce rainstorm was raging without, Miss Rosina Vokes was making a cool request of her notably loving hubby.

Mr. Clay merely grinned quietly and sank back further into the recesses of the carriage, shutting his eyes as an indication that his ears were closed.

“My dear child, I couldn’t dream of not wearing corsets. I should not be able to dance or sing or anything. I should be tired to death in no time. Injurious! Fudge! Don’t you pin your faith to loose-seeming dresses. I know a lot of these Greek-draped actresses who lace tight-tight underneath the flowing draperies. Forgive me if I’m positive—that is my way—but I believe in corsets, pure and simple. I believe corsets are just as essential for a woman as suspenders are for a man, and one must wear them if one doesn’t want one’s things all slipping around and off. And then the support. Every decently formed woman needs support, of course. O! women who are excessively thin could go without stays, I fancy; but then they look all up and down, you know. When to put on corsets? As soon as the figure gives the merest hint of development. It is on the same principle as pinning a band tightly round a baby’s dear little body so that its precious back will not get broken. Every woman needs the support of corsets.”

Just then Mr. Clay opened the eye and directed an aside to his wife.

“Tight? Gracious, no. I should not want you to suppose I advocated such a thing for a moment. I honestly don’t believe in that. Don’t tell, though, but I used to be horribly vain. I once wore seventeens—just fancy! Seventeen corset—laced tight. I was off the stage then, and one day was at the Newmarket races. I was fancying myself, I assure you, when I heard an old English lord remark, apropos of me: ‘Good Gawd! She’ll come in half.’ It wasn’t pleasant, so now I wear my stays loose—quite.”

When Mary Anderson was here a Tribune reporter called on her in reference to this all-round question of corsets. Miss Anderson, in her artistic house gown, looked as innocent of stays as Perdita.

“Corsets?” with a cold, pale smile. “No, I don’t wear them. I see Mrs. Croly (Jennie June) has been telling tales out of school, so I may as well confess. I don’t wear stays.” “How did you come to discard them?” “It was after I went to England. My health was poor, and the doctor ordered out door exercise. I took off corsets then, and never put them on again. But then I have no superfluous flesh and am rather too slender. They did not interfere with my posing, but I feel better without them. It’s all ‘as you like it.’ I like it better without.”

“You wear a corset with conventional dress?”

“Never under any circumstances! And the ladies of my company do not wear them on the stage. Stage dressing is nearly always unconventional, except in society plays, the draperies being from the shoulder and armpit, and stays are manifestly out of place from artistic reasons alone.”

“Corsets? Of course I wear them. Who does not? Think of me as ‘Nadjy’ with nothing to tie those black spangles to. I’d drop to pieces,” said Miss Janson. [Miss Marie Jansen] “Then the Tribune might ask its readers to listen to the ‘Tale of Woe’ in earnest. Are they an inconvenience? Look!” She got behind a door in the parlor of the Grand Pacific hotel, and after a furtive glance down the corridor, daintily kicked the palm of her outstretched hand, executing a pirouette after it.

“I’m all right and my stays are as taut as a sail in high wind. Sometimes I have wondered what would happen if the strings should break. ‘Listen to the Tale of Woe,’” she hummed, casting her eyes meditatively on the chandelier.

“Pauline Hallo wears them, too, and all the chorus girls. Some of them would be sad figures if they didn’t. ‘Listen to the Tale of Woe.’ Of course, anyone who sings must wear them loose. I have one now, but look.” She took a deep breath which distended the region just above her fluttering heart that is nightly clasped in a jet black vise, and trilled airily “Listen to the Tale of Woe,” and had plenty of breath to spare after the effort.

Kansas City [MO] Times 19 January 1890: p. 14

Mrs Daffodil’s Aide-memoire: Operatic ladies, were, of course, known for their famously opulent figures; some even said that slimming cost them their voice. It is rather fascinating that four out of the six ladies who weighed in, insisted on the benefits of corsets. Reform Dress did not make much headway among denizens of the stage.

Adelina Patti was, of course, the prima donna assoluta of nineteenth-century opera. She was one of the financially shrewdest theatrical ladies of her day and, as we see from the advertising card at the head of this post, she endorsed the California Corset Company.

Madame Nordica was the so-called “Yankee Diva,” Maine-born Lillian Nordica, another opera star, famous for her collection of husbands and jewels.

“Listen to the Tale of Woe” was the signature tune of the once wildly-popular opera Nadjy.

Mrs Daffodil has previously reported on gentlemen, including actors, who wear corsets as well as the controversy over tight-lacing, The Flapper and Her Corset, and “The Autobiography of a Corset,” as well as several other posts on this absorbing subject, which may be found by looking under the “corset” filing tab.

Mrs Daffodil invites you to join her on the curiously named “Face-book,” where you will find a feast of fashion hints, fads and fancies, and historical anecdotes

You may read about a sentimental succubus, a vengeful seamstress’s ghost, Victorian mourning gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.

 

The White Cat: 1844

Photo @warren photographic. You’ll find more of their wonderful pet photographs here: http://www.warrenphotographic.co.uk/26883-white-rabbit-and-white-cat

THE WHITE CAT OF C.

The following story, which appears in Mrs. Crowe’s last book, has just been vouched to us by the lady who furnished the account to Mrs. Crowe, and our readers may rely on its perfect accuracy. It is as well authenticated as the rabbit of the Wesley family, or of any of the more modern and well proved appearances of animals:—

About fifteen years ago, I was staying with some friends in Yorkshire, and our host, Sir G. W., being very much crippled with gout, was in the habit of driving about the neighborhood, on which occasions, I often accompanied him. One fine summer’s evening, we had just entered a lane, when, seeing the hedges full of wild flowers, I asked my friend to let me alight and gather some; I walked on before the carriage till I came to a gate, a common country gate, with a post on each side, and on one of these posts, sat a large white cat, which though seen by the groom as well as myself, was not visible to my friend. I thought he must be joking or else losing his sight, and I approached the cat, intending to carry it to the carriage: as I drew near, she jumped off the post, but to my surprise, as she jumped, she disappeared! No cat in the field,—none in the lane—none in the ditch! I was quite bewildered; and when I got into the carriage, again my friend said, he thought I and James were dreaming. I had a commission to execute as we passed through the town of C., and I alighted for that purpose at the haberdasher’s; and while they were serving me, I mentioned that I had seen a beautiful cat, sitting on a gate in the lane, and asked if they would tell me who it belonged to, adding, it was the largest cat I ever saw. The owners of the shop and two women who were making purchases, suspended their proceedings, looked at each other, and then at me, evidently very much surprised.

“The lady’s seen the White Cat of C.,” cried two or three. “It hasn’t been seen this twenty years.”

The pony getting restless, I hurried out, and got into the carriage, telling my friend that the cat was well known to the people at C., and that it was twenty years old.

In those days, I believe I never thought of ghosts, and least of all should I have thought of the ghost of a cat; but two evenings afterwards, as we were driving down the lane, I again saw the cat, in the same position, and again my companion could not see it; I alighted immediately and went up to it. As I approached, it turned its head and looked full towards me with its mild eyes, and a kindly expression, like that of a loving dog; and then, without moving from the post, it began to fade gradually away, as if it were vapour, till it had quite disappeared.

All this the groom saw; and now there could be no mistake as to what it was. A third time, I saw it in broad daylight, and my curiosity greatly awakened, I resolved to make further enquiries amongst the inhabitants of C., but before I had an opportunity of doing so, I was summoned away by the death of my eldest child, and I have never been in that part since.

The British Spiritual Telegraph, 1859

Mrs Daffodil’s Aide-memoire: “The rabbit of the Wesley family” refers to what psychical researchers might term a “poltergeist” outbreak at Epworth Rectory, home of the Rev. Samuel Wesley, father of John Wesley, the founder of Methodism. Among other apparitions, Mrs. Wesley saw an animal in the house resembling a badger, while a serving man saw “something like a white rabbit, which came from  behind the oven, with its ears flat upon the neck, and its little scut  standing straight up.” Family letters relating the entire mystifying affair may be found at this site.

Mrs Crowe is Catherine Crowe [1803-76], author of novels and children’s stories, but best remembered for her collection of stories of ghosts and ghost-seers, The Night Side of Nature. The subject seems to have unhinged the lady’s mind, for she was found in the streets of Edinburgh “clothed only in her chastity, a pocket-handkerchief, and a visiting card,” under the delusion that she was invisible. An admirable account of this unfortunate event is found here.

In this muted account, the ghostly white cat seems (although this is not stated explicitly) to be a token of the death of the narrator’s child.  White objects–doves, rabbits, owls, White Lady spectres, arsenical powders–are well-known to peasant and folklorist alike as death omens.

 

Mrs Daffodil invites you to join her on the curiously named “Face-book,” where you will find a feast of fashion hints, fads and fancies, and historical anecdotes

You may read about a sentimental succubus, a vengeful seamstress’s ghost, Victorian mourning gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.

My Lady’s Hammock: 1895

The Hammock, James Tissot. Source: Wikigallery

MY LADY’S HAMMOCK

It Is a Gorgeous Affair This Season And There are Fetching Gowns Which Go With It and Hosiery Like a Beautiful Italian Sunset

The girl who is spending the season at a fashionable hotel is forced to miss one of the most fascinating pleasures of summertime, namely, the hammock. At the really swell hotels now-a-days one rarely sees a hammock, for the reason, perhaps, that the hammock is a sure destroyer of lace, chiffon or the fashionable costumes that custom demands must be worn all day at the popular watering places.

It is only that fortunate young woman who is summering at some country farm house or big, roomy mountain hotel where there are plenty of trees about the shady piazza nooks that can enjoy the true comfort of the hammock. The watering place girl can only dream of the luxury and the piazza rocking chair is the nearest approach to the graceful swinging couch, canopied by green waving branches which her sister in the mountains spends the long morning hours in.

The tactful maiden studies her “type” before she makes up her mind to adopt the hammock as a permanent summer back ground. There are certain styles of girl that look as though made for a hammock. In it they are marvels of grace and prettiness, but the stout, comfortable, well fed young woman who may make a fetching picture on a bicycle is as much out of place in a hammock as it is possible to imagine. The slim waisted, “fluffy” girl is the kind that looks well in a hammock. She becomes a soft, limp mass of lace and ribbon, the moment she adjusts herself to its meshes, and if an inch or two of her stocking shows beneath the white lace of her skirt it doesn’t look at all shocking, but on the contrary, chic and appropriate. The Burne-Jones type of girl is therefore the special kind who makes her hammock the piece de resistance in the artillery with which she will wage successful warfare on the heart of the  Summer Man.

First, she selects her hammock. If she is a blond she gets one of cool looking white cording, or in blue and white stripes, with bamboo rods stretched across the head and foot. Then she selects the place where it is to hang, always a corner somewhere out of the general.

If she is of a romantic disposition she finds out some rippling resting place, where the tree branches bend across, and she will have her pretty resting place suspended right across the water, climbing into it each time at the rick of a wetting. Here she makes a veritable illustration of the verse: “Summer day; babbling brook/Girl in hammock reading book!”

The girl with dark eyes and brown hair selects a hammock of brilliant red Mexican grass, or some other Oriental looking weave. She piles it with silken cushions of the same rich hues; deep crimson and olive greens and here and there a Persian covering that stands out among the others, making an effect that delights the soul of any artist which may be in the vicinity until he begs for the privilege of sketching the hammock’s occupant.

The fair haired blue eyed girl has blue and white cushions and little pillows for her ears, covered with white dotted Swiss and trimmed with Val. Lace. I picked up one of these ridiculous little things the other day and learned for the first time that they existed. Just imagine a cushion about five inches square stuffed with cotton and a suspicion of violet sachet, made specially for to tuck under your ear among the larger pillows.

The heart shaped cushion is one of the novelties for my lady’s hammock this year. It is shaped exactly like the real article which is supposed to exist even in the bosom of summer’s merriest maiden and it is embroidered over with its owner’s favorite flower, and sometimes a motto or sentiment.

One of the prettiest that I have seen is covered with marguerites embroidered in their natural colors and through the blossoms runs the line in gold thread: “He loves me; he loves me not?”

Another with a border of the ox-eyed daisies says:

“I don’t care what the daisies say;

I know I’ll be married some fine day!”

This summer girl not only has the regulation tag upon her hammock with her name thereon, but she attaches it with a huge bow of ribbon matching her cushions in color. The ends of this hang so low that they sweep the grass beneath the float in every passing breeze.

Of course there are frocks specially for hammock wear, and stockings and shoes of attractive design to be worn when reposing in this luxurious swing.

At no time in the career of a summer girl are her feet more in evidence than when she is poised in her hammock or getting in or out of it.

This last operation is one which it takes considerable dexterity and grace to accomplish successfully, but after a while most of these clever young women manage to do it without turning an eyelash and with a not-too-reckless display of ankle. It looks wonderfully difficult to a mere man, but it all depends on a little quickness and a certain curves of the limbs in getting out, which keeps the skirts in place.

A man is apt to get all tangled up in a hammock, and he emerges from one as a rule looking as though he had been in a collision. But the hammock maiden has it all down to a science.

She fixes up her last summer’s dresses to wear in the hammock. Of course there must not be too many buttons upon any frock for this purpose, as they catch in the meshes and come off, as a usual thing. But plenty of lace and soft ribbons can be worn and a gown which could never be worn anywhere else, owing to its last season’s cut, makes a most effective costume for hammock wear.

A pretty little girl who affects the hammock pose to a considerable extent, confided to me the other day that she discarded stays in her hours of open air repose. She wore some mysterious sort of waist made with whale bone, but without steels.

“When I’ve been out tramping, or fishing, or driving, and get home tired out,” she told me, “I just run up to my room and have a sponge bath. Then I slip into one of these waists, which is ever so much cooler you know, put on my loosest and fluffiest hammock frock and get down here under the trees, and in a minute I’m enjoying as pleasant a nap as it is possible to imagine.”

This girl has a collection of pretty hosiery and shoes for her afternoon siesta. She has one pair of the daintiest French morocco “mules” or slippers without any upper part in the back, which she wears with red silk stockings. Then she has Japanese slippers in all colors and hose to match, some of them quite visit in design. One of the oddest conceits are her “rainbow” stockings.

Her pleasure in wearing them must be that of the small boy with his first cigar; “purely intellectual,” for they are strictly invisible, but I suppose there must be sort of conscious delight in the possession of such frivols as these. They are worn with a small, innocent-looking brown suede slipper which buttons over the instep with three large brown buttons. The stocking which shows over the ankle is brown, the same as the shoe, but as it reaches the calf of the leg it lightens by degrees to a golden yellow, turning with a sort of beautiful Italian sunset effect into palest violet, and then deepening into purple at the top. The garters worn with this are of black elastic, through which runs a violet ribbon. The side knot is of the same ribbon and the buckles are of engraved and oxidized silver, an owl on one symbolizing night, and a lark on the other for morning. These are the most fetching of all her hammock properties, and it seems a pity that they are so unobtrusively worn undiscovered, unless a hammock costume of bloomers be adopted.

The Herald [Los Angeles CA] 25 August 1895: p. 16

Mrs Daffodil’s Aide-memoire: Pleasant as are the solitary delights of the hammock, dual occupancy is where the sparks really fly:

THE FATEFUL HAMMOCK

A Potent Factor in Midsummer Joys and Midwinter Repentance.

The hammock has much to answer for.

It has developed from nothing into a potent factor in midsummer social joys and sorrows.

A decade ago the hammock was sporadic. It is now universal. Certain tourists from this heretofore unhammocked land of the free, journeying into Mexico and in Cuba noted the meshed crescent with interest first and with admiration afterwards, insomuch that they brought one of the swaying couches with them.

The result has been remarkable. Americans have taken the hammock to their very hearts, and American ingenuity has devised machinery capable of turning out hammocks almost as fast as the finished article will turn out its occupant. A summer bereft of a hammock would be to the American lad and lass a dreary and unromantic period.

Given a good article of moonlight and a hammock big enough for two, and there is no combination which will more rapidly and thoroughly advance the cause of Cupid and bring about the lighting of Hymen’s torch.

Between the moon and the hammock there is a certain analogy. A young moon is very like a hammock, and when Luna appears in the west, her crescent apparently swung between two invisible trees and fastened with a pair of bright stars, the analogy is complete. One can readily fancy an angel swaying in the celestial hammock, which is said also to contain a man. And the idea is so apt to fix itself in the mind of the ardent mortal who gazes westward that his first impulse is to get a hammock, and an earthly angel of his own, and then to sway joyously to the rhythm of two hearts that beat as one.

As an aid to flirtation it is twin sister to a fan.

If a young couple ever trust themselves to the support of the same hammock at the same time, Cupid has his own way thereafter. The pair must of necessity be brought into such sweet proximity that every particle of formality and reserve is melted away. One may withdraw from his fair one on a bench, may hold aloof while seated on the same grassy bank, and may hitch his chair away, or closer, as his feelings dictate. But in the same hammock one can do none of these things. He can only submit to fate and propinquity and  be led delightfully to the momentous question.

The hammock…is fashioned much like a spider’s web. But who would not willingly be a fly when the web holds a charming maiden? And what man is there with soul so dead who is not glad that the hammock has come to stay.

The Macon [MS] Beacon 16 August 1890: p. 4

 

Mrs Daffodil invites you to join her on the curiously named “Face-book,” where you will find a feast of fashion hints, fads and fancies, and historical anecdotes

You may read about a sentimental succubus, a vengeful seamstress’s ghost, Victorian mourning gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.

 

Girl Wanted: 1874

Lady: “But I very much dislike dogs in the kitchen!”
Cook: “Then it would be no use my engaging of myself, Ma’am—for my object is to get a comfortable home for Tiny and myself!”
Punch 10 April 1875: p. 159

GIRL WANTED

Yes, I want another—”A tidy girl to do house-work in a small family—good wages and a good home.” That’s the way my advertisement always reads, and as soon as the paper is out the girls commence coming. Tidy girls from ten to sixty-five years old come pulling the bell, and when told that they won’t suit they put on such a look of contempt for the door, the door-plate, the front gate and the entire institution, that the world seems three degrees hotter than before.

I always engage the girl. This is because of an idea of mine that I can read human nature, and because I do not fear to tell them in plain English what is expected of them. After the door-bell has been pulled about five times, the right-looking sort of a girl makes her appearance. She says she saw the advertisement, and is invited in. She says she can do any kind of cooking; loves to wash; is fond of children; can never sleep after five o’clock in the morning; never goes out evenings; does not know a young man in Detroit, and she’d be willing to work for low wages for the sake of getting a good home.

She is told to drop her bundle, lay off her things and go to work, and a great burden rolls off my mind as I congratulate myself that the prize-medal girl has arrived at last. She’s all right up to about seven in the evening, when she is suddenly missed, and returns about ten o’clock to say that she “just dropped out” to get a postage-stamp. The next day she begins to scatter the tea-spoons in the back-yard, stops her ironing to read a dime novel, and at supper-time wants to know if I can’t send the children off to live with their grandfather, get a cook stove with silver-plated knobs and have an addition built to the kitchen. That evening a big red-headed butcher walks in, crosses his legs over the kitchen table, and proceeds to court Sarah. She doesn’t last but a day or two longer, and then we secure another.

This one is right from New Hampshire, and doesn’t know a soul in Michigan, and yet she hasn’t finished the dinner dishes before a cross-eyed young man rings the bell and says he’d like to see Hannah for a moment. After seeing him, Hannah concludes not to stay, as we are so far from St. John’s church, and as we don’t appear to be religious people.

The next one especially recommends herself as being “just like their own mother” to the children, and isn’t in the house half a day before she draws Small Pica over her knee and gives him a regular old Canadian waltz.

The next one has five recommendations as a neat and tidy girl, and yet it isn’t three days before she bakes the shoe brush with the beef, washes her hands in a soup tureen, or drops hairpins into the pudding.

I growl about these things after a while, but I am met with the statement that they had worked five years for Governor this, or Lord that, and that in all that time no one had so much as looked cross-eyed at them. I am called mean, ill-tempered, particular, fault-finding, and all that, and the girl goes away wondering why the Lord has spared me as long as He has.

We’ve been wanting “a good, tidy girl” for these last twelve years, and I suppose that we may go another dozen and still be wanting.

“Quad’s Odds” M. Quad, 1874: p. 173

Mrs Daffodil’s Aide-memoire: Domestics come and domestics go, but The Servant Question is eternal….

Mrs Daffodil has been fortunate in her selection and retention of staff, but the many jokes on saucy servants and demanding domestics hide the pain of those in suburban villas and New York brownstones longing for a Girl.

Mrs. Hiram Daly — “And so you’ve got your old cook back! I thought you told me she was married about three months ago, and had gone to housekeeping.”

Mrs. Riverside Rives — “She has given up housekeeping and has come back to me.”

Mrs. Hiram Daly — “What was the matter?”

Mrs. Riverside Rives — “She couldn’t get a girl.” — Puck, 1893

Mistress (severely) — “If such a thing occurs again, Norah, I shall have to get another servant.”

Norah — “I wish yer would; there’s easily enough work fer two of us.” — Tit-Bits. 1901

Binks: Oh, yes, she carries herself like an empress, and bosses me around all she likes now; but wait until we are married, and then see how she’ll fawn and cringe.

Winks: To you?

Binks: No, to the servant girl.

The Philipsburg [MT] Mail 15 August 1895: p. 7

Mrs. A: “I see you have got a new servant girl.”

Ms. B. “Yes, I make it a point to get a new one every month.”

Mrs. A: “But that must be very inconvenient.”

Mrs. B: “Yes, but there’s nothing going on in this town that I don’t know all about it.”

Illinois State Register [Springfield, IL] 28 August 1887: p. 2

First suburban — ” Hello, Smith! You are got up regardless. Going to a wedding?”

Second suburban— “No. I’m going in town to try to engage a cook, and I wish to create a good impression.” — Bazar, 1892

Mistress (trying to be agreeable) “What are your favorite dishes, Bridget?”

The new cook: “To ate or to break, mum?” 

Daily Illinois State Register [Springfield IL] 2 April 1907: p. 10

 

Mrs Daffodil has previously written on How to Spoil Servants

Mrs Daffodil invites you to join her on the curiously named “Face-book,” where you will find a feast of fashion hints, fads and fancies, and historical anecdotes

You may read about a sentimental succubus, a vengeful seamstress’s ghost, Victorian mourning gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.

 

Funeral Drill: 1912

Hearse and Mourning Coaches, William Francis Freelove http://www.wikigallery.org/wiki/painting_220846/William-Francis-Freelove/page-1

FUNERAL DRILL.

Two stories are told quite seriously by a contributor to London ‘Truth, which it is difficult to accept at face value. The first relates a system of funeral drill to which a wife in the shires declares she has been subjected. She writes:

“Sir,—Some months ago I married ___, who is a well-known but eccentric man. After the honeymoon we retired to his estate, when began the annoyance of which I complain.

Every Wednesday a hearse and several mourning coaches are driven up to the front door, and mutes carry down from my husband’s bedroom a coffin which is supposed to contain his remains!

Draped in widow’s weeds, and accompanied by several of the servants, I have to follow this, my husband marshalling the procession, and directing the proceedings generally!

‘Be careful; do not ram the rails,’

‘Bend your head more reverently, dear,’

‘Slower, please,’

‘Keep your distances; it looks so slip-shod.’

The coffin is raised into the hearse, and I and several of the householders occupy the coaches, whilst the gardeners and others follow on foot, my husband drilling us until the funeral service is completed, even to the lowering of the coffin into the grave!

I can scarcely hope that this letter will not be intercepted, but should it reach you, will you publish it, that your readers may know to what length a man will go in indulging his peculiarities?”

Mataura [NZ] Ensign, 26 February 1912: p. 7

Mrs Daffodil’s Aide-memoire: That gentleman’s eccentricities were not as singular as one might think. The Divine Sarah was celebrated for allegedly sleeping in her coffin, or, at the very least, posing for photographs in it:

Sarah Bernhardt posing in her coffin.

A certain lady who is not over-religious, in the usual acceptation of the term—Madame Sarah Bernhardt—has her whole life toned and seasoned and solemnised by the presence of the grim, even if dainty, case in which her mortal remains are to be interred. She has got a new coffin to replace the old one, which some time ago, along with her other personal effects, was seized by her relentless creditors. The present coffin is daintily lined with blue silk, and at the head has a soft little pillow trimmed with Valenciennes lace. It is Sarah’s grim humour to sleep in her coffin sometimes; and, to be quite consistent, she dresses herself in something not unlike a shroud. But usance dulls the edge of appetite, and this funeral fad of the Divine Sarah has a tendency to make the coffin a joke and the grave a jest.

Roses and Rue: Being Random Notes and Sketches, William Stewart Ross, London: W. Stewart & Company, 1890: p. 168

Returning to Mr Funeral Drill’s eccentricities, “peculiarities” is perhaps the kindest euphemism for such tastes. The lady’s statement about the note being intercepted suggests alarming and sinister possibilities. If this were a Gothic Novel written by a lady with three names, our heroine would be a great heiress, wooed in a whirlwind courtship and married before she could discover her husband’s morbid fancies. Then, one day, the funeral drill would go on without her and the coffin would be buried, the lady’s absence explained by an indisposition which would shortly lead to a permanent residence in the South of France for her health, despite no one seeing her en route. Her tragically early death in France would be announced and shortly thereafter Mr Funeral Drill would remarry….

Mrs Daffodil suggests that after the first few repetitions of this macabre ritual, the lady should have taken steps to ensure that the next funeral was no drill, but the genuine article.

For more on Victorian funerals and mourning, please consult The Victorian Book of the Dead by Chris Woodyard, also available in a Kindle edition.

Mrs Daffodil invites you to join her on the curiously named “Face-book,” where you will find a feast of fashion hints, fads and fancies, and historical anecdotes

You may read about a sentimental succubus, a vengeful seamstress’s ghost, Victorian mourning gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.