Category Archives: Victorian

The Pitfalls of New Year’s Day Calls: 1876-1897

New-Year’s Day, Harper’s Bazar, 2 January 1869

Mr. Finkhouser’s Experience as a New Year’s Caller, as Chronicled by Himself.

Young Mr. Finkhouser could have cried with vexation when he got out of bed on New Year’s morning and saw the weather. His heart came right up into his throat, and he only swallowed it by a prodigious effort. He had planned somewhat less than a thousand calls that day, and his line march, as projected, was little less than  Sherman’s march to the sea. He moped, and sulked, and swore under his breath, nearly all the morning, and it was not until nearly noon that he reflected that the carriage he had engaged for the occasion was drawing pay right along, improving every drizzling hour. Then he braced up and determined to call any how. And he arrayed himself in fine broadcloth and linen and went down stairs, and there, sure enough, was the waiting carriage, floating around in the street with a drowned man on the box. Mr. Finkhouser climbed and was slowly dragged away.

We did not have the pleasure of accompanying Mr. Finkhouser on this eventful journey, and his own account of its events were somewhat too confused to be implicitly relied on. But his diary was taken from his breast pocket and its brief entries afforded an interesting study of the gradual transition from the cold formalities and conventionalities of the first calls to the cordiality and hearty friendliness and intimacy of the later and closing calls. Mr. Finkhouser was not an old veteran caller, this being his first New Year’s out, and his diary is all the more interesting on that account. It appears that Mr. Finkhouser, anxious to improve, made an entry of his salutations as soon as he returned to the carriage from each visit, and it is quite apparent that he did his best to improve on every effort. And here is the way he improved:

11:15 A.M. – “Ah-haw-aw, yes, yes. Happy New Year, Miss Dresseldorf. Happy New Year. Happy New Year; many happy returns of the day. Haw, yes, to be sure. Good morning.

11:25 A.M. — “Miss McKerrel, permit me to wish you a happy new year. Tears and clouds in the outside world, smiles and light wherever you are. Thank you. I shall be only too much honored.

It was evident that Mr. Finkhouser thought he had just about got it, as all his subsequent efforts were modeled upon this one. Note by the translator.

11:50 A.M. “Ah, my dear Miss Ballana hack, I have the inexpressible felicity to wish you a happy New Year. The light and smiles of your presence dislocates the sombre clouds and dismal tears of the weather god.”

12:40 – “My dear Mish Binnington, I have thinexpressible felicity t’wish you a happy New Year. The smiles and light, f’your presences dispates the sombre clouds and dismal tears of th’ weather god.”

2:30 p.m.—“Ah! Mdear Mish Washingham, f’y ‘low me t’call you so. I have inexpressible flicity t’wish you Happy New Year. Thlight an schmilesh f’your bri’ presence dishpate the sombre clouds an’ dismal tear of th’ weather god.”

3:45 p.m.—“Howdy, howdy, Mish Milleroy! Wish may have th’ flictable expressitive t’wish ye hampy n’y’er, fack! Th’ bri’ shimlesh an’ light f’your preselece dishlocates clomber souds an’ tearful dismals of threather gog!”

4:30 p.m.—“Howja fine y’self? ic! ‘m all rt. Have ‘nfeliseible ‘spression t’wishye haply newy’r. Hoopee doodle! I guess not! Shimleh f’your presesh dishlocatesh weather gog! Goodby, gubby. Bo good t’yersef.”

And at this point the entries, which continue some distance further, become unintelligible.

Janesville [WI] Daily Gazette 10 January 1876: p. 1

Mrs Daffodil’s Aide-memoire: In Gilded Age America, the making and receiving of New Year’s Day calls was something of a competitive sport. Society ladies boasted of the number of their callers, while young dandies boasted of their numerous visitations and of the liquid refreshments they had consumed. Mr Finkhouser was unusual only in his candid description of the inevitable dishpation resulting from a day’s rounds.

Drink was only one of the attractions of New Year’s Day receptions; eligible young ladies were the objective of multiple beaux, who flitted in and out, bestowing compliments and bonbons in this early version of “speed-dating.”

[T]he Sunday papers of the time began to print lists of those who would receive, and the houses of those mentioned in the lists were sure to be besieged by numbers of men whom the ladies had never met or heard of and desired never to meet again. Men would go calling in couples and parties, and even in droves of thirty or more, remaining as short a time at each stopping place as possible, and announcing everywhere how many calls they had already made and how many they expected to make before they finished. At every place they drank, and at each place, of course, a different brand of wine. The result was a most appalling assortment of “jags” long before sundown, and a crowding of the police stations at night. Naturally enough the second day of January was always a field day in the police courts, and the judges, some of whom probably had post-calling headaches themselves, were wont to mark S.S. for “sentence suspended,” after the name of every one who could show that he had made a beast of himself in the observance of the “good old Knickerbocker custom.”

The Fort Payne [AL] Journal 6 January 1897: p. 4

Mrs Daffodil wishes all of her readers every good thing in the New Year!

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 anecdote

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.

A Children’s Christmas Cottage: 1850s

CHRISTMAS IN THE CRIMEA.

“The Crimea is the home of a country estate within pleasant driving distance of the city of Baltimore, belonging to Mr. Thomas Winans of Russian railway fame.

Close by the suburban mansion is a cottage, or rather, an elegant and commodious playhouse, which Santa Claus erected in a single night for the Winans children about twenty years since. Grace Greenwood, a frequent guest of the family, says of it:

“The small mansion was constructed in sections, and the furniture manufactured to order in town; everything marvelously complete. The children knew nothing of it. There was nothing on the lawn before their windows when they went to bed on Christmas Eve, but while they slept there were mysterious arrivals of wagons and workmen from Baltimore, and great doings by moonlight and lamplight. All night they worked, the carpenters and upholsterers, and at dawn gathered up their traps like the fairies and as silently stole away. In the morning the mother going to take the children, happened to look out on the lawn, and with an excellent imitation of innocence, exclaimed at the surprising sight, and then of course, the children ran pell-mell to see what the marvelous thing could be, and beheld the charming little villa, gay and bright, its windows flashing in the sun, and a fancy flag floating from its tower. The edifice was not of such fairy proportions that they could not keep house in it handsomely, and entertain their little friends and mamma and even papa, if he could stoop a little and make himself as small as he comfortably could. Washington Letter to N. Y. Times, May 4th, 1874.

Mrs Daffodil’s Aide-memoire: A charming fancy!  Not unlike the parents who assemble toys and bicycles on Christmas Eve, only rather on a more extravagant scale.

The Winans residence on the Crimea Estate, known as Orianda House, still stands.  The children’s villa was a miniature replica. One can judge by the photo-gravures of the elaborate mansion how charming it must have been. Mrs Daffodil is told by the caretaker that the structure survived until the 1950s, but it has now vanished. However the mansion is open for visitors and events. Here is more information on the house and the Winans family.

This post originally appeared in 2014.

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 Thirty-Pound Christmas Turkey: 1893

HAUNTED BY A TURKEY

How the Christmas Present of Thirty Pound Bird Destroyed a Man’s Peace of Mind.

There was an expression of despondency and care on the face of my friend Craggs when, a few days after Christmas, he took me aside and inquired in a quavering voice if I would take the gift of a turkey. He had a discouraged and almost hopeless air, as though he feared I was going to refuse to accept it.

“Thanks, old man,” said I, “I’ll take it and welcome.”

If he had been a street vendor and I had said, “I’ll buy your flowers,” he couldn’t have looked happier.

I could see that something was burdening his mind, but of course had no idea that it was the turkey itself.

He suddenly broke down all at once, grasped me by the hand and said huskily that it was a kindness he would never forget; that he would do as much for me some time, and went on in that style till I began to half fancy that in a fit of temporary insanity he might have stolen a turkey and was trying to get rid of the property in this way.

Then it occurred to me that I might have misunderstood him and he had really asked me to give him a turkey—which, of course, I couldn’t do, for obvious reasons—and the cold chills began to creep up my back.

For a moment it was perhaps the oddest predicament I was ever in. Then my friend Craggs regained his composure and explained himself this wise:

“You see, old fellow,” said he, “I have a turkey that’s an elephant on my hands—an incubus—a monster, and it all came about in this way.

“My wife and I keep house alone by ourselves, and on Christmas Day we had a turkey dinner. The turkey was a modest bird, who had never aspired to be a giant, but had contented himself with remaining juicy and tender.

“As a result of these modest aspirations and achievements of the fowl there remained of him after our Christmas dinner just enough to satisfy our appetites for turkey for some time to come in the way of perhaps another dinner and a few scraps for lunch.

“At this juncture, however, a package arrived at our house addressed to me, which upon being opened, proved to contain a turkey of herculean proportions, sent to me by a sister who lives out of the city on a farm.

“It was a regular Jack Falstaff of a turkey—the biggest I ever laid eyes on—with drumsticks bulging like hams, and a mighty corpulency withal, which told of good living and boundless ambitions in the matter of fat.

“Mrs. Craggs, being a thrifty housewife, was of course, delighted, but I am bound to confess that, though having a sneaking fondness for my stomach, I could not figure it out otherwise than this: That, there being but two of us to eat a turkey which would tip the scales at nearly thirty pounds, here was a prospect of having to endure that diet for weeks.

“I saw that it needs must follow, as the night the day, that that confounded turkey, in some form or other, either roasted or boiled or fried or chopped or fricasseed or mashed or hashed, would form the basis of my daily meals for days and perhaps weeks.

“I even feared, in which case, that the flavour of turkey might get so indelibly absorbed into my palate that it would never die away, forever casting a blighting flavor upon all my favorite dishes.

It took me hours to convince Mrs. Craggs that it was our best interests to give that turkey to some one of our friends. Then I felt relieved, but I soon found that my troubles had only commenced. It was too soon after Christmas, and the turkey was too big. Not one of my friends wanted to take a contract to cook and eat that bird. They were tired of turkey already, they said.

“As it was a present I couldn’t think of selling it. The awful fact stared me in the face that I had got to eat that turkey or bust—perhaps both, in natural sequence.

“I’ve been chasing around all day carrying, mentally, that turkey, but I’ve got you in my clutches at last, and you shall not escape me. But come, first, and we’ll open a small bottle.”

New York [NY] Herald 31 December 1893: p. 14

Mrs Daffodil’s Aide-memoire: Mrs Daffodil is reminded of the axiom: “Eternity is a ham and two people.”

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.

Casts of Hands a Christmas Fad: 1896

Sculpture. Cast of the right hand of Felix Mendelssohn (1809-1847). Hand resting on an oval base. In glass topped case with tortoiseshell frame. Plaster, cast, height, plaster, 6.5, cm, width, plaster, 14 cm, length, plaster, 24 cm, before 1903. 18th-early 19th century. English.

Christmas Fad Among Eastern Women.

A novelty which will take the place of the framed photograph or other personal gift as a Christmas remembrance for intimate friends and admirers, is a plaster cast which is an exact reproduction of the hand of the giver. Such a gift from his sweetheart would certainly be highly prized by the fond lover, for though the clasp of this image of the real is, as it were, but second-hand, it is at least a reminder of blissful first hand pressures of the past.

This new fad, however, has more than a merely romantic interest. The admirers of clever politicians, eloquent preachers and successful writers are vying with one another for the possession of facsimiles of the hands of their favorites. Casts of the hand of President-elect McKinley are very much in demand, and Mr. Bryan still stretches out his hand in effigy over the heads of his admirers.

Alabaster hand with rose. Former eBay listing.

The casts are by no means the same thing as those lily white affairs of marble which were popular among prominent actresses a few years ago, and which the sculptor was instructed to make as smooth and beautiful as possible. Even when the original hand was beautiful, the sculptor’s art failed to give an exact portrayal of all its points. Beauty and symmetry were there, and they were fair to look upon, but the little lines that mean so much, were absent. It was as if a cast had been made of a gloved hand.

To make a reproduction which will be an exact likeness, including imperfections as well as points of beauty, it is necessary that the hand be used as a mold upon which the plaster is actually cast. Then the slightest mark—even a scratch—will be faithfully repeated in the paste that tells no tales but true ones.
This idea was conceived by an interesting young woman of New York, who looks upon the newly inaugurated custom, not as a fad, but as an educational practice calculated to hold up to public view the frailties, as well as the virtues of our public men and women.

She has already secured facsimiles of the hands of Chauncey M. Depew, ex-Speaker Crisp, Banker Henry Clews and Rev. T. DeWitt Talmadge, besides those of prominent politicians, and is now at work upon the hands of distinguished literary personages.

The hands are, she says, in a very large degree, the index of the will and other mental faculties. They reveal the temperament and the traits of character as readily as the face, to one who can master them, although the latter is popularly supposed to be the leading expression of character. She contends that the hand being connected with the moto-center of the will, is an executor of the will and must bear the expression of the nerve thoughts; whereas the eye, lip and other features formerly relied upon for the reading of character are made by her subordinate to the hand.

When asked to put in her own words the story of this new fad, she said: “The modeling of the hand is not altogether a new idea. It has long been a beautiful custom in England and France to take the cast of the first born. The cast was reserved until the marriage of the child, when it was presented as a wedding gift and saved as a sort of heirloom to be handed down from generation to generation. That was a mere matter of sentiment, but later the scientific value of such casts has become known, and it is upon those lines that I am working.”

“It is similar then to palmistry?”

“By no means. The hand is the key to the soul. A beautiful hand by no means indicates the possession of a beautiful or ideal character. This cast which you see on the table is delicate with smooth, tightly drawn skin, tapering fingers, narrow finger nails, symmetrically formed and thin in the palm. A beautiful hand, you say, but let me tell you the characteristics portrayed. She is fickle, loveless, willful, usually has her own way, and will tease until she tires a person out to get what she wants, and she is very likely to discard it. No regard for the welfare, or the desires and pleasures of others bothers her. The tightly drawn skin shows a lack of sensitiveness and the straight thumb, with no upward curve, shows a lack of generosity. She is not domestic, and altogether there is little of worth in that hand. The slender, tapering fingers which are very thin at the end and have narrow nails, indicate that she will never stick long to any one person or object. She is lazy or indolent, at least; is selfish, and will easily develop consumption.

1. Henry Clews 2. Chauncey Depew 3. Horace Greely 4. Rev. T. De Witt Talmage

“The hand of Chauncey M. Depew, as you see by this cast,” she continued, holding up for the writer’s inspection a large, strong-looking hand, “with its stout wrist, outwardly curved thumb, thick and hollow palm, long, strong fingers, broad nails and with loose skin on the back is very strong. He is not curious, but very energetic. Domestic and fond of his family, he is very affectionate, as shown by the thick, hollow palm. The thumb and the loose skin show a remarkable generosity. Though not averse to fame he is very sensitive, and a mean criticism will hurt him deeply. He is extremely quick of perception and decides instantaneously. While he is irritated by trifles, he bears great matters with perfect calmness. The long, strong fingers show remarkable energy and activity of thought. His hand indicates a total lack of selfishness and I think he would do his utmost to assist a worthy person or cause. The pose in which the hand is taken is perfectly natural and as much is own as the color of his eyes. He will not die suddenly, but just wear out. The outward course of the thumb also indicates a quality which I might term unreserved.

“The cast of Henry Clews’ hand is not open like Dr. Depew’s, but closed with the forefinger extended. Dr. Depew gives what he has freely, but Mr. Clews, as the hand pose indicates will keep what he has to himself. Mr. Clews’ hand shows great business ability, secretiveness in a sense and a strong will. The hand of the late ex-Speaker Crisp cast a short time before his death while in Washington, was blue in tint, showing that he would succumb to a sudden stroke, probably of heart failure brought about by undue excitement. The fingers are rather short and fat, indicating the shortness of his body. The palms are thick, the wrist strong, and it is altogether a good hand.

“This short, fat hand, which is the fac-simile of that of a popular actress is usually accompanied by a double chin. The possessor of such a hand is jolly and good tempered, and holds decided opinions, which she is not averse to stating, regardless of her hearers.”

Many bachelor quarters in New York now contain such casts of hands, and also of feet showing the ankle, doing duty as paper weights. The left hand is usually chosen, as it is generally more perfectly formed.

San Francisco [CA] Chronicle 6 December 1896: p. 2

Mrs Daffodil’s Aide-memoire: Mrs Daffodil has previously mentioned the “summer fad,” of young ladies casting their faces in plaster to give as souvenirs to their beaux, some of whom, Mrs Daffodil grieves to say, had whole galleries of plaster beauties on the walls of their bachelor quarters. She does not imagine that plaster hands given as Christmas presents will be any more reverently received and imagines the careless gentleman stubbing out his cigarettes in the upturned, flower-like plaster hand of the Loved One.

It is curious how plaster casting, normally thought of in the context of the drawing class, was transformed into a method of character reading, although the interesting young woman’s subjects were so well-known that she certainly had enough information on their personalities to draw conclusions without recourse to plaster hands.

A few years earlier, it was the foot that was used for character analysis.

The newest fad taken up by the ladies in New York is character reading from the feet. There are regular foot reading women, who make a livelihood out of their strange calling. The proper way is to have a plaster cast taken of the foot, and sent to the chiropodist who writes out the character. Nelson [NZ] Evening Mail, 29 March 1890: p. 2

Then we have the young gentlemen of Paris (the plasterers of Paris?) who found a practical use for their plastered figures:

The superchic young men in Paris (according to an imaginative correspondent), not content with mere boot lasts, have plaster casts made of their legs from the waist down, with the object of keeping both their trousers, their knee-breeches, and even their under-wear in proper shape. One youth, with more money than brains, has an entire room of his residence devoted to the reception of some sixty pairs of plaster-of-Paris counterparts of his legs, and nothing is more peculiar than the spectacle presented by this army of fully clothed limbs standing about without any trunk and head. The Argonaut [San Francisco CA] 10 July 1893

Mrs Daffodil rather shudders to think what a character reader would make of those Parisian plasters.

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 anecdote

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.

Who was the Thirteenth Guest?: 1883

gentleman in red devil

“WHO WAS THE THIRTEENTH GUEST?”

By Jerome A. Hart.

“It is extremely annoying,” said Vernon, looking at his watch. “It is always disagreeable to a host to have a dinner delayed by one of the guests’ tardiness, but in this instance it is particularly so.”

“Why?” I asked.

“Because,” he replied, ” the number of guests is exactly fourteen, and if Sedley does not come we shall be obliged to sit at table with that most ill-omened of numbers — thirteen.”

“But you surely do not believe in that old woman’s superstition, do you?” cried Sinclair.

His remark jarred upon me. I am myself not of a superstitious way of thinking, but it does not follow from this that I have the right to jeer at the superstitions of others. I would not knowingly wound the feelings of an African by making light of his fetich. But Sinclair is not of that turn of mind. A wit, a scoffer, a brilliant talker — I have noticed that these qualities may be frequently found associated with an utter disregard for the feelings of others.

Vernon frowned. “Whether I believe in it or not,” said he, “is not of so much importance as whether any of my guests do. I would not be willing that any man should sit at my table as one of thirteen if he thought it an ill omen. It would spoil his dinner, if it would do nothing worse. But I have no hesitation in saying that I am affected by what you are pleased to call an old woman’s superstition —I am, in fact, so powerfully affected by it that I would not sit at table with thirteen for any consideration.”

“Would nothing induce you to do so?” asked Sinclair, with what I considered ill-timed banter.

“Nothing,” said Vernon, firmly ; and growing somewhat heated at the tone and smile of Sinclair, he added: “I feel so strongly on this matter that I would rather the devil himself should fill a seat at the table than to sit down to it with thirteen.”

“Aha!” cried Sinclair, “the devil is invited, but will his plutonic majesty come?”

While the tones of his voice were still vibrating, the bell rung. A moment after the servant announced: “Mr. Sedley.”

“Ah,” said Vernon, much relieved, “here he is at last. How are you, Sedley? You are doubly welcome, for just before you came we were speculating as to whether your absence would not make it necessary for us to sit down with thirteen at table.”

“I was detained,” said Sedley, briefly, “I ask your pardon.”

There was something odd about his tone. I noticed it, and I saw that Vernon did so too. But he replied:

“Don’t mention it, old fellow. It’s an accident which may happen to all of us.”

But as I grasped Sedley’s hand I met Vernon’s eye. I don’t know whether it was that or Sedley’s hand which startled me. But if Vernon’s look was peculiar, Sedley’s hand-grasp was even more so. It was clammy, snake-like — ugh! I can remember it still.

We repaired to the table, and it was my lot to sit opposite to Sedley. Beside me sat Sinclair. But although he seemed in unusual spirits, and was more brilliant even than was his wont, the conversation flagged. There seemed to be some spell upon us, for all the guests were good fellows, and, as a rule, at dinner-parties where there are no ladies the merriment is apt to be unchecked.

Yet so it was. As for myself, whenever I attempted any sally, I would catch the eye of Sedley, and it invariably exercised an unpleasant effect upon me. I could not divine the cause. Ordinarily, Sedley was as jolly a fellow as you would find in a day’s ride, but to-night — well, I couldn’t understand it. I gave it up, and devoted myself to my dinner.

As if to complete the ill-fortune of the evening, the conversation persistently rolled on thirteen. The various superstitions connected with that number were discussed, and they were many. It seemed, from the amount of curious lore brought forth by this discussion, that the evil properties of the number are by no means confined to the table.

“It is said of the Turks,” remarked Sinclair, as he sipped a glass of sherry, “it is said of the Turks that they consider the number thirteen so unlucky that they have almost expunged it from their vocabulary. They substitute for it the word siyadeh, which is a sort of an invocation, like that used by the Italians against the evil eye.”

“So it seems, then,” remarked Vernon, “that the prejudice against thirteen is not confined to the number of guests?”

“By no means. Yet that superstition is a wide-spread one. As every one knows, its origin is generally attributed to the Last Supper, at which there were thirteen — Christ and the twelve apostles — and from which Judas, with the Saviour’s accusing words still ringing in his ears, went forth to deliver up his master to the death. But the superstition is in reality much older. In the ancient Norse mythology, when the gods sat down to feast with Loki in the Walhalla, Baldur was the thirteenth at the board, and Baldur had to die. The same fallacy holds, I believe, in the vulgar superstition of to-day; those who believe that it is unlucky to sit with thirteen at table, also believe that the last man to seat himself will die before the year is out.”

Sedley lifted his head and fixed his eye on Sinclair.

Really, I had never noticed what extremely unpleasant eyes Sedley had. They were cavernous, piercing, green eyes, and there was a sinister gleam about them that night which actually made me uncomfortable. But apparently not so Sinclair.

“The vulgar superstition, you say?” began Sedley. It was the first time he had spoken, and involuntarily a hush came over the table. “The vulgar superstition, you say? Do you not believe in it, then?”

“Believe in it? No!” sneered Sinclair. “It is an old wives’ tale. It is fit only for the consideration of fools, children, and old women.”

“Ah,” replied Sedley, dryly. He lifted a glass of wine as he spoke — I remember that it was a green glass, and held Chateau Yquem — and as he did so, the light fell through the green glass and the amber wine, and stained his face a hideous yellowish green. He smiled sardonically as he spoke, and what with his gruesome eyes and the strange tinge of his face, he looked positively demoniac. I can see him now— I can conjure him up out of the mists of my memory as if it were but yesterday.

“I consider the whole belief puerile beyond description,” went on Sinclair, who was becoming somewhat heated with wine. “True, there may be something in the belief that one out of every thirteen assembled at table will die before the year is out, for it is extremely probable that out of every group of thirteen one will die before a period of such length passes. But that is merely the result of fixed laws. It has nothing to do with thirteen. It has nothing to do with the table. I might say with as much reason that I would not sit down at table with twelve people, for the reason that the laws of statistics tell me that one of us will surely die before eleven months expire.”

“You think, then, that it is pure chance?” asked Sedley, fixing his sunken eyes on Sinclair’s face.

“Entirely so. It is true that the number thirteen has come to have various evil associations connected with it, as I have already said. But then this is merely owing to vulgar traditions. The Romans, for example, looked on thirteen as an unlucky number. This may have had its effect on the common people of our day, even after the lapse of ages. The Italians of to-day, who may be looked upon as descendants in right line of the Romans, have the same belief. They push it to such an extent that they will never use this number in making up their bollete for the lotteries which impoverish them. The thirteenth card, too, used by them in playing the game called tarocchi, bears a figure which their fervid imaginations have succeeded in likening to that of Death.”

“To Death? Indeed?” interrupted Sedley. There was nothing in his words to irritate Sinclair, yet he seemed to grow angry.

“Yes, I said Death, sir,” he retorted, warmly. “I mean the figure conventionally accepted as that of Death.”

“Ah, yes — you interest me — pray go on,” replied Sedley, this time with a semi-sneer.

Sinclair felt himself being forced into the position of one who was exhibiting his knowledge through pedantry, but he was so nettled that he continued:

“As I was saying, the belief is a wide-spread one. The Russians possess it as well as the Italians. I remember reading somewhere that at a dinner once at Count Orloff’s, an English nobleman who was present noticed that Orloff would not sit at the table, but paced the room constantly. He asked the host the reason, and Orloff said: ‘Do you not see that there are twelve at table? Were I to sit down Nerishkin would instantly leave the room. And to tell the truth,’ he added, with a frank laugh, ‘I am not anxious to defy the fates myself.'”

“Orloff was a man of the world,” remarked I, sententiously.

“I grant you,” said Sinclair, turning suddenly upon me, “but a superstitious one. There are many such. Tom Moore relates how, when he was once dining with Catalini, some guest failed to make his appearance, and a poverty-stricken French countess, companion to some great lady, was immediately sent up-stairs. When the tardy guest appeared, however, she was at once sent for again to make up fourteen.

Now, all this seems to me the height of folly, and unworthy the belief of sensible men. It is fitted only for the common people — particularly that part of the superstition which declares that the thirteenth man shall die.”

“By the way,” said Vernon, looking around the table with an attempt at pleasantry, “who was the thirteenth man to sit to-night?”

“Ay,” added Sedley, in a tone which deprived the remark of all pleasantry, “who was the thirteenth man?”

We all looked around the table, and, as if by one accord, fixed our eyes on Sinclair.

“You were the thirteenth man, I believe, Sinclair,” said I.

“Yes, yes, it was Sinclair,” came from every hand.

Really, we were looking at him with a solemnity which was as absurd as it was amusing. Sinclair felt it, and endeavored to remove the uneasy feeling which lay upon us by some witticism, but the jest fell flat. Its effect was not added to, either, by Sedley, who looked at him fixedly for some moments, and then said, pointedly:

“So you were the thirteenth man to sit?”

“Yes; and what of it?” retorted Sinclair, rudely. He was losing command of himself. “What does it matter to you?”

“To me—not at all. To you—perhaps much,” was the strange reply of Sedley.

After this remark there was nothing to be said. The gayety — if there were any — was hopelessly gone, and after a gloomy cup of coffee and a funereal cigar, the party rose.

But instead of repairing to the smoking-room with the rest of us, Sedley declared that he must go.

“Why are you in such a hurry? ” asked Vernon, hospitably.

“I have something to attend to which can not wait,” he replied. ” I beg you to excuse me. You know I would not leave the gathering were it not compulsory. But I must leave you. I am waited for.” And as he pressed Vernon’s hand, I saw, by the peculiar expression of the host’s face, that he had noticed the same odd feeling in Sedley’s hand that had struck me.

Sedley turned to Sinclair.

“Good-night, sir,” he said. ” I hope you may come to have more toleration for the superstitions of others. Good-night. We shall meet again.” And as he took Sinclair’s hand in his, I saw that the same strange feeling which had struck Vernon and myself was pervading him.

“Confound the fellow!” cried Sinclair, when the door was closed behind the gloomy guest. “He’s a nice one to have at a convivial gathering. He reminds me of those cheerful Trappists, one of whose customs is to have a friar at every

meal, whose duty it is to say at intervals: ‘Brothers, we must all die.’ Good-bye and good riddance. May the devil go with him!”

The words clung to me —”May the devil go with him!”

The devil? A strange farewell, truly, to a departing guest.

***

Six months had passed since the evening of the disagreeable dinner I have described. Family affairs had called me from the city the very day after it took place, and they had been of such a nature as to keep me away a much longer time than I had anticipated. I had heard nothing, or next to nothing, from home since my departure. One of the very first things that teaches a man how little his friends

care for him, is their utter indifference to him the moment his back is turned. And he will find, as a rule, that those who are the most kindly and considerate in the matter of corresponding are generally the busiest men. Your true idler never finds time to write.

Well, as I said, I had been away for a long time, and knew nothing of what had been taking place since my departure. One of the first men I happened to meet on my return was Vernon, and I besought him to tell me the news.

“News?” said he, “news? I know of nothing. It seems to me that you are the one to tell the news — you who come from the outside world. We here have been leading our every-day humdrum existence, with nothing to chronicle and nothing to tell.”

“Nothing to tell!” I exclaimed. “That is always the cry of him who stays at home. He does not realize that everything is of interest to the wanderer — everything — scandal, births, marriages, and deaths.”

“Deaths — ay,” said he, thoughtfully. “You speak of deaths. Of course, you know that Sinclair is dead?”

“Sinclair dead?” cried I. “You amaze me. Why, he was a young and vigorous man, and the last time I saw him he was in the most robust of health. Of what did he die?”

“The doctors -called it pneumonia,” replied Vernon, with a short cough.

“Pneumonia — well, well. They say it is the bane of American civilization ; that our heated rooms, carelessness in exposure, and ways of living encourage it. Yet true it is that our grandfathers scarcely knew of it. So Sinclair is dead. Poor fellow! Why, it seems but yesterday I saw him in the heyday of manhood. Let me see — when was it that I saw Sinclair last? Why, it was at that dinner you gave, the day before I went away.”

“Yes,” assented Vernon, “it was an unfortunate dinner. I shall never forget it. Of course you know that Sedley is dead?”

“Sedley, too?” I cried, more shocked than I cared to show. “No, I knew nothing of it. What was the matter with him? When did he die?”

“Why he died the day after you left the city — the day after the dinner, you know. Or the night before,” added Vernon gloomily. “I’m sure I don’t know. There was some talk concerning it. It was very extraordinary.”

“But tell me about it,” I said, “I am entirely in the dark. I know of nothing that has taken place since my departure.”

“Well,” said Vernon, uneasily, “I’m sure I don’t like to talk of it, for it’s a very strange affair. If a man discusses it seriously he feels cursed silly, and if he doesn’t discuss it seriously he feels cursed queer. You remember the dinner, of course?”

“I remember it very well.”

“Well, you remember the strange manner of Sedley, his late arrival, his altered demeanor, and his clammy hands. Damme, if I can’t feel the corpse-like clutch of his hand on mine yet.” And Vernon inspected his hand uneasily, as if he expected to see marks upon it.

“Yes — go on.”

” You know, too, that he and Jack Sinclair had some wordy sparring, in which Jack didn’t come off first best as he generally did. I don’t know as Sedley said it in so many words, but he certainly left the impression on most of our minds that Jack was going to die before the year was out.

“I remember.”

“The party broke up in short order after his departure, and all went home feeling rather blue. You can perhaps imagine our feelings when we heard next day that Sedley was dead.”

“Sedley dead ? But how — why”

“Well, I suppose it was apoplexy — that’s what the doctors called it. He was a bachelor, you know, and lived alone, with the exception of his servant. The man never stayed up for him when his master went out, but got things in readiness for his going to bed, and then went to bed himself. The morning after the dinner Sedley was found lying on the floor, dressed as if for dinner, and stone dead. He had been dead for hours — the corpse was cold.”

I looked at Vernon curiously. “You say dressed as if for dinner. You mean dressed as he had been at dinner.”

Vernon rubbed his nose hesitantly. “Well, I don’t know,” he said, reflectively, “I suppose so. At all events he was in his dinner-dress. And he was dead.”

I looked at him keenly. “You haven’t told me all, Vernon,” I said.

“That’s all there is to tell,” said he. “Unless it be for an absurd notion that poor Jack Sinclair got in his head.”

“And what was that?”

“Well, of course Jack was sick, and sick men are not responsible for the hallucinations which afflict them. But the notion Jack got was this. You see he remembered some foolish speech that I had made before the dinner in regard to being willing to have the devil himself make up the fourteen rather than sit at table with thirteen.”

“Yes, I remember it.”

“Most of those who were there remember it,” said Vernon, meditatively. ” I wish their memories were not so good. Well, Jack took it into his head — but it’s too absurd an idea to even think of seriously.”

“Let me hear it, none the less.”

“Before Jack died he said to me: ‘Vernon, old boy, I’m afraid your wish came true.’”

“’What wish?’ said I.

“’You wished that the devil might come to your table rather than thirteen should sit there. Vernon, the devil came?’

“’Nonsense, Jack,’ said I, ‘you’re out of your head; it was Sedley who came.’

“’No,’ said he, ‘it may have been Sedley’s body, but it wasn’t Sedley’s soul. Vernon, I tell you that Sedley died that night before and not after dinner, and the fourteenth guest who sat there was the devil. I was the thirteenth, Vernon. And that’s what’s killing me.’ ‘Pooh!’ said I, thinking to humor him, ‘you’re not going to die. Besides that nonsense about the thirteenth man don’t apply to you anyway, for there were fourteen of us.’ ‘Fourteen guests — yes,’ said he, with a sickly smile, “but only thirteen men. Vernon, it was the devil I was disputing with, and he’s got me.’ I saw it was useless to attempt to cure him of his delusion, and so I left him. And that was the last time I saw Jack Sinclair alive.”

“But do you believe, Vernon,” I asked him, “do you believe it was the devil?”

“Was it the devil?” he replied, testily. ” How the devil should I know?”

Aye, truly — how the devil should he?

The Argonaut 6 January 1883

Mrs Daffodil’s Aide-memoire:  There was some thought that the Thirteen-at-Table Curse could be prevented by dividing guests among two tables, but the superstition persisted–and persists–even unto modern times.

In Paris, at least, one could hire an extra guest.

In the Rue de la Chaussee d’Antin, in Paris, there is a man who furnishes professional diners-out at a fixed tariff rate. It is to him that superstitious hosts apply at the last moment when they require a fourteenth guest. Lippincott’s Monthly Magazine 1893 : pp. 355-62

In London, of course, there was an entire class of young gentlemen of the type found at The Drones Club, ready to appear at the shortest notice in faultless evening costume to avert the numerical peril. Amateurs, of course, but talented amateurs.

 

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 anecdote

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.

A Pageant of Precious Stones: 1894

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A Pageant of Precious Stones.

Nothing could have been more brilliant than the recent pageant of precious stones which illuminated the streets of Brussels. The route followed by the novel procession was lined with dense crowds. As night set in the skies were seen to be clouded, and for a moment the weather threatened to put an unceremonious end to the program. A few drops of rain fell, but only to tantalize the spectators, for after a minute or two the downfall ceased. The procession had been formed in the Rue Ducale, and there, until nearly 8 o’clock, it remained a mysterious trail of shadows, the accoutrements of which dimly and mysteriously reflected the flickering lights of the streets. Precisely at 8 o’clock the figurantes lit their torches, the electrical apparatus was set to work and the whole street broke out into a blaze of multi-colored light. Amid enthusiastic cheers the procession was set in motion.

The first car represented Light, being an appropriate reminder that without the aid of the sun the most brilliant of precious stones would be robbed of its beauty. In a gorgeous chariot, covered with silver and blazing with light, the god Phoebus appeared in his most classical form. Following him was an escort of drummers, musicians and torch bearers, all dressed in white and silver, their tunics and casques ornamented with faceted silver plates.

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Then came a troop of cavaliers representing the turquoise, the topaz, the amethyst, the sapphire, the diamond, the emerald and the ruby, serving as a sort of summary of the cars and chariots forming the main body of the procession. Of these cars the most admired were the diamond and the ruby. The brilliant white of the one and the glowing red of the other, together with the artistic grouping of the figures on both, formed pictures of real artistic merit. In each case the colors of the precious stones and their geographical associations were admirably represented.

The topaz, with its figurante in a palanquin, and its attendants flourishing gigantic yellow fans, formed an admirable picture of Asiatic luxury. The turquoise car, with its twenty beauties apparelled in blue, and its floating mass of cerulean bijouterie, was also much admired. A miscellaneous cavalcade, representing jewelry, concluded the procession. For nearly three hours this gorgeous display perambulated the boulevards and principal streets.

The Jewelers’ Circular and Horological Review 5 December 1894: p. 45

Mrs Daffodil’s Aide-memoire: One would give much to have a cinematic or even photographic record of such a brilliant occasion. Normally one thinks of Brussels lace rather than her gemstones, but this cavalcade of gemstones, complete with “figurantes”–those picturesque ladies selected for their faces and figures–sounds perfectly enchanting.

Mrs Daffodil has written before about floral parades in the States, but any “float” adored with a “floating mass of cerulean bijouterie,” must surely surpass even the most lavish productions of nature. One wonders if there were any actual gemstones worn or draped about the cars; if so, the liability cover would have been prohibitive.

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 anecdote 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 Dress Doctor: An Ingenious Lady’s Profession: 1894

The Little Seamstress, John Faed, (c) Dumfries and Galloway Council (Kirkcudbright); Supplied by The Public Catalogue Foundation

This is certainly the day of utilizing one’s talent, whatever it may be. A woman who lives in another city found herself, after 20 years of happy sheltered married life, a widow with two daughters, 16 and 18, to make a home for, and an income so small as to be scarcely worth mentioning. The elder daughter was delicate, and the younger had two years of her college course to complete. To meet the crisis and tide over an interval which would give one child health and the other education confronted the mother. For a time she saw no way to pursue. Then a clear-headed friend came to her one day for a talk over affairs.

“No, Isabel,” she began, “I know your liabilities, what are your assets? I mean beside your little income. What can you do absolutely well?”

“I’ve a general knowledge of many things,” was Isabel’s discouraged reply, “but the only thing I can do absolutely well,” and her laugh was mirthless, “is to make over old clothes. You know I’ve always had a great aptitude at that for the girls and myself.”

“To be sure you have, and I believe you can do that now,” came the prompt answer to astonish Isabel.

Further talks followed, and in the end the friend persuaded her companion that something could be done with this talent. The beginning that spring was small and merely among her circle of wealthy friends. She did not actually make over the old clothes, but spent a morning or a day with the family seamstress, carefully inspecting accumulated materials and suggesting designs and combinations which permitted the continued use of dresses and fabrics. She charged by the day, and her rate was not low, but she saved it often a dozen times over to her patrons. The autumn saw her clientele increased, and now, after three years, she is busy nine months of the year at good prices.

Before other women embark in the same occupation it must be understood that this woman has little short of genius for her unique calling. It is positive pleasure to see her at her practice, for she jocosely styles herself doctor of robes, and certainly her skill and deftness are closely allied to the surgeon who fits and restores humanity’s broken bones and misplaced anatomy.

She is shown a fine Paris dress bodice of black satin, whose sleeves have vanished, and of whose skirt is left a single straight breadth. She looks them over critically.

“Have you any velvet or figured heavy silk or silk and wool cloth or any handsome black novelty material?” she asked.

A piece of frise velvet is found which will do for full sleeve tops with some other cuffs and leave two or three straight pieces. Then the odds and ends trimming box is looked over, and a few detached ornaments and some black lace are found. The waist is fitted, the long postilion back carefully opened and pressed and left to hang. The pieces of the frise velvet are set on for skirt fronts and hip pieces joined by jars of the black satin skirt breadth. The jet ornaments are put on the waist and at critical points on the hip skirts. Puffs of lace laid over white silk and a collar to match are made and the end is a costume jacket of imported elegance that looks as if it might have cost $150 and did cost not a penny beyond the seamstress’ time and the designer’s suggestion, as the black silk lining in this case was produced from a discarded coat.

If something extra is needed, she can tell to the shade, quality and fraction of measurement what it must be. And her customers are no longer confined to the wealthy. Persons in moderate circumstances realize that their need of her is quite as great. Did space permit, the recital of her many triumphs in evolving a Worth gown from the family ragbag would be most interesting. Her work is carried on quietly, her patrons advertising her, from one to another and her excellent social position, which has undoubtedly much aided her, has never been in the least impaired. New York Times.

Jackson [MI] Citizen Patriot 21 August 1894: p. 5

Mrs Daffodil’s Aide-memoire: Mrs Daffodil can only applaud the lady’s ingenuity in dress-doctoring and her willingness to accept the advice of her sensible friend. But we really are intensely interested to hear the details of that “Worth gown from the ragbag…”

Remodeling gowns was done by all classes of society.

“Those who are still deep in the fascinating whirl of society engagements do not need to trouble themselves much on this subject [the remodeling of one’s wardrobe.] They usually employ a dressmaker, as they do their household help, by the year, and she assumes the duty of remodeling and making over what she deems worth the labor; but there are many who at best can but afford to employ a clever seamstress to do this kind of work. There are others, again, who must do the greater part of it themselves, or see many dresses laid aside before they have done full service. There is hardly a gown, whether designed for parlor, bedroom, or ball room, but will bear making over once. The clever dressmaker can take out a breadth here, put a panel there, place a Spanish flounce where skirt front has been soiled, or set in a pleating somewhere else. Slashings can be cut, or covered, vests inserted or removed, etc. etc., till any half worn or half soiled gown may be restored to almost its pristine freshness. Even ball costumes can, by skilled hands, be so reconstructed and remodeled as to last and look well after three alterations, and prove satisfactory to any ordinary society goer, unless she be one of those who consider a wholly new costume sent over by Mons. Worth indispensable to her comfort at every evening out.”

Cleveland [OH] Leader 27 January 1889: p. 10

One reason that remodeling was so popular was that ready-made clothing was not always of good quality or plentiful, while there was a surplus of seamstresses and dressmakers. In 1892, these were just a few of the many ladies advertising their talents as dressmakers in The New York Herald. Note the range of fees:

*A dressmaker and ladies’ tailor, “an artist in cutting, fitting, designing; just returned from Paris; late with Worth, Rhodnot, Mrs. Connolly; carriage and tea gown creations; garments made from $12 up…$3.50 per day or at home.”

*Experienced dressmaker in wealthy society family to remodel evening street dresses; superior judgment, good style $2.50 per day.

*Seamstress, First Class, Hand or Machine…will furnish W.W. sewing machine free of charge $1 day.

*Seamstress, Understanding Dressmaking, to go out by the day $1.25 $6 per week.

See the “dressmaking” and “domestic arrangements” tabs for further adventures in make-do and mend, albeit not always of couture quality.

[This post was originally published in 2014.]

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.

Black Swine at Gyb Farm: 1830s

The following example of an apparition, seen at the same time by several persons, comes to me from the eldest surviving member of one branch of an old yeoman family of Buckinghamshire, who himself witnessed what he here relates:

‘Some forty years ago my father resided at a small farm-house, the back part of which faced a large unenclosed common (since inclosed), and stood close to four cross-roads, two of which lead to what thereabouts is called “Uphills,” the Chiltern Ridge from Tring to Wycombe and Stokenchurch. The spot is very lonely even now, but was much more so then; for, at that time, there was not a single human habitation within a quarter of a mile of my father’s abode. Our house had always been called “The Gyb Farm,”—why, we did not exactly know—but because, as we afterwards found out, there had been often erected, near the site of it, a gibbet for the punishment of malefactors, and many a person who had taken his own life (let alone the murderers, highwaymen, and sheep-stealers), had been buried at the side of the road there; but the name of the farm, as a law-parchment states, seems to have been altered about the year 1788, when a much less disagreeable name was then adopted for it.

‘In the year, and about the time, that King William the IV. died (i.e. in 1837), my father and mother, two of my sisters, a younger brother and myself were all at home. One night, when we had all been in bed for some time, quite in the smaller hours, we were each suddenly startled and awakened by the most frightful shrill and horrid shrieks and noises just outside on the roadway that ever man heard. Partly human and partly as if made by infuriated hogs, violently quarrelling, the roar and the screeching simply appalled us. I never heard the like of it in my life. It went through and through me.

‘For a little while we all endured it: but in about five minutes we gathered half-dressed at the top of the staircase—father, mother, my brother and I—and went to a long front window overlooking the road, in order to learn the cause. The night was rather dark, and as our tinder-box would not light, we were looking out, without any candle or lamp, towards the spot from which this horrible and hellish row came, when all of a sudden a white face—a face most awful in its pallid aspect and miserable imploring look—was pressed from outside against the glass of the window and stared at us wildly. We all saw it, and I could mark that even my father was deeply affrighted. The indescribable and unearthly noises still continued, and even increased in their discordance and frightful yelling for at least four or five minutes. Then by that time a candle had been procured.

‘My father at once opened the lattice: and there by the light of the sky, such as it was, we saw a collection of most hideous black animals, some of them like large swine, others horrid and indescribable in their appearance, grubbing up the ground and half buried in it, scattering the earth upwards where the graves were, fighting, screaming and roaring in a way that no mere words can properly tell or set forth. Some of them, judging by their motion, seemed to have no bones in them.

‘We were all very much terrified. My mother implored the. Almighty to protect us, and I confess that, overwhelmed with fear, I prayed most heartily to God for His assistance. In a minute or two after this, with shrieks increased in intensity, the frightful creatures (whatever they were) rushed screaming down one of the roads.

‘In the morning there was not a sign nor sound to be seen. The ground had not been in the least degree touched, scratched up nor disturbed. But the “Ghosts of the Gibbet,” as we afterwards discovered, had been seen by others than us.’

[Author’s note: I append the following attestation: ‘The account which was given to Dr. Lee of the “Gyb Ghosts,” when it was written out fairly, was read over to me. I made several additions to it (to make it all the clearer to people who know nothing about it), and these additions were inserted in Dr. Lee’s copy. The story is true, and may be put into a book.

‘David Eustace.

[Wednesday, January 3, 1877.

‘The ghost account is true, as now read to me. I had it from my uncle.

‘Joseph Eustace.

‘February 10, 1877’]

More Glimpses of the World Unseen, Frederick George Lee, 1878, pp. 108-112

Mrs Daffodil’s Aide-memoire: Mrs Daffodil is indebted to that grim and grewsome (sic) person over at Haunted Ohio for this tale of hoggish hauntings, so suitable for Hallowe’en horrors. She appends the author’s commentary:

“While swine figure heavily in Celtic mythology, they are relatively rare and bear a bad name in ghost-lore, perhaps due to the Biblical Gadarene incident. One could see M.R. James penning something horrifying about gibbets and porcine shrieks (with a hint of an imploring face at the window) after reading this story.

For more shrieking hog ghosts, see The Phantom Hog Train.

Chris Woodyard is the author of The Victorian Book of the Dead, The Ghost Wore Black, The Headless Horror, The Face in the Window, and the 7-volume Haunted Ohio series. She is also the chronicler of the adventures of that amiable murderess Mrs Daffodil in A Spot of Bother: Four Macabre Tales. The books are available in paperback and for Kindle. Indexes and fact sheets for all of these books may be found by searching hauntedohiobooks.com. Join her on FB at Haunted Ohio by Chris Woodyard or The Victorian Book of the Dead. And visit her newest blog, The Victorian Book of the Dead.

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 anecdote

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 Halloween Tableaux of Fortune: 1894

Bonhams Auctions

HALLOWEEN GAMES.

Tableaux of Fortune, Cupids Dream and the Years Forecast By Electricity

A very new Halloween play and one which will be carried out most beautifully even to its most minute detail in a very fashionable set of New York young people is a “game” called the tableau of fortune. And let it be stated right here that all entertainments on Halloween night are called “games,” although l they may not partake of the nature of play nor yet be intended for the juvenile members of the family.

 After the audience is seated, little tickets are distributed until each has a slip of pasteboard. Upon the slip there is the date, the initials of the hostess, a blank space, some little ornamentation like a bit of hand decoration, and a number.

In front of the audience hangs a curtain, while palms at either side, and just visible rearing their heads behind it, prepare the guests for something very fine to come.

There is a tinkle of a bell and number one appears with a big figure, mysteriously lowered over the upper edge of the curtain.

“Who holds number one?” asks the mistress of ceremonies.

“My card is number one,” replies some one–say Miss Brown.

“Well, Miss Brown, I have the honor to announce that the coming tableaux will reveal your fortune for the coming year. Note carefully the picture. It will be repeated in your own life within a twelvemonth. Let the curtain rise!”

As the curtain is pulled away there stands revealed a bride, in full bridal costume. There is the trailing high-necked gown of white, the veil, the orange blossoms, the prayer book—nothing is lacking. Of course the bride is very beautiful and the tableau is a pretty one, without considering the joy which must have been experienced by Miss Brown at the thought of herself so beautifully arrayed “within a year.”

When number two is called and the owner of the number has responded to it, the curtain again is drawn aside. This time the owner of the tableau is less fortunate, for the picture is that of a Cinderella seated by the fireplace in rags. Her shoes show the need of a fairy godmother and adown her tear-stained face the tears are still falling. A little histrionic talent and some knowledge of stage effects might not be disadvantageous here.

The next tableau, number three, may show the fairy godmother with her arms filled with finery for Cinderella, while that young lady with her back to the audience, leans toward her godmother. This would typify that young lady No. 3 will have trouble the beginning of ’95, but that love will clear a way before the year is ended.

The curtain rolls back and number four sees herself seated before a mirror giving the last touches to her face with powder puff and rouge pad. There are tiny half-moon patches upon her face, and her hair is piled high, powdered and stuck full of ornaments. She has ear-rings and is laden with jewels. If the mirror faces the audience there will be the very pretty effect of the face reflected in the glass. This tableau is extremely taking and typifies growing vanity.

CUPID’S DREAM.

Cupid’s Dream Is the sentimental title of a Halloween game which is to be produced in a large gathering of young people with tremendous effect. The cupid In a marble figure about two feet in height with an arrow in its hand. The bow is drawn and Cupid shoots his dart apparently straight at the heart of the victim.

If desired a small child could act as Cupid, or a terra cotta figure be substituted for the marble. Or, indeed, any Cupid at all might be used.

The game begins with a dialogue.

“Miss A’s love affair will now be decided. Is Miss A present?”

“I am here,” replies Miss A.

“Are you ready to know your fate in love?”

“I am ready.”

“Cupid, reveal your knowledge!”

Instantly to a musical tinkle of a silver bell, or a chime if it can be arranged, the curtain goes back–and there stands the marble Cupid. Upon him plays a clear blue light, and the audience is hushed with admiration, while all the time the bells tinkle most sweetly.

“Miss A, you will be very fortunate in love, and before the year Is ended you will have become engaged to the man of your choice, who will be a paragon of manly perfections.”

The bells tinkle until the curtain has closed. Then comes the dialogue over again. This time it is addressed to Miss B.

When the curtain goes back it is to the sound of a thin, shrill bell that rings in a monotonous way. There is no music in the light, and Cupid is bathed in a green light. The bell continues until the curtain is drawn over the unhappy sight.

“Miss B., you will love a man who adores you as well, but who is extremely jealous. His jealousy will mar your happiness.”

While Miss B’s friends are advising her what to do with a jealous man, Miss C is called, and Cupid appears again. This time there is a tolling of the bell—a very deep tolling—and poor Cupid is flooded with a deep yellow light.

“Unrequited love!” announces the master of ceremonies.

A lovely white light plays upon Cupid at Miss D’s name. And the interpretation is, “Will remain heart and quite fancy free.”

All the shades of color are shown, according to their meanings, and the delighted audience openly regret when no more Cupid Dreams are to be seen. To arrange the colored lights the room must be darkened. A gas jet back of the audience must be supplied with a pipe with a large gas burner upon it. In front of the burner there are regular calcium light slides of all colors easily taken out and replaced.

All Halloween games must have the element of luck introduced. Nor can they possibly be without love. But by the skilful blending of these two qualities a Halloween entertainment may be interesting to all–even to those with this world’s love affairs already decided. In the affair of this kind surprises are always in order and the more of these the merrier.

A. P.

The Salt Lake [UT] Herald 28 October 1894; p. 13

Mrs Daffodil’s Aide-memoire: It is quite curious how a religious festival celebrating the spirits of the dead returning to roam the earth for a night became so entangled with amorous divination rituals. We have seen this before in the fancies of “Nut Crack Night.”

One wonders if the mistress or master of ceremonies sent out spies beforehand to ascertain romantic entanglements or aversions before so blithely predicting unrequited love for a party guest. It seems as though the result would inevitably be the unhappy young woman rushing from the room in floods of tears and when next heard of, taking solemn vows in some austere convent. Surprises are not always in order….

Mrs Daffodil feels that such artistic tableaux should be on the order of “Twenty Questions,” where the guests have to guess the identity of the gentleman seen leaving the apartments of the young bride recently wed to the aged financier. Alternately, the “game” might expose a well-known gentleman as a card-cheat and a cad, at which he would quietly take his hat, and then flee the country before the ports could be watched. Hours of wholesome amusement and one needn’t enlist a child or a terra cotta cupid.

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 anecdote

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.

Love on a Hearse: 1891

only white hearse in the city 1906 Cairo Bulletin

LOVE ON A HEARSE

A Breezy Idyll of the West Side of the Big Windy.

From the Chicago Herald.

Everybody on the West Side knows Barney Sullivan. He drives a hearse for a Madison street undertaker. He wears a fuzzy old plug hat and a monkey-fur cape. Barney also takes great pride in his whiskers. They are of a pleasing though rather tyrannical red, and exude only from his chin.

Not long ago Barney met the Widow McGraw, whose husband was killed last summer in the Burlington yards. It was at a wake that Barney became acquainted with the Widow McGraw. Barney was invited to call, which he did, and on leaving it was arranged that they should go buggy-riding Sunday afternoon if the day was fine.

Barney forgot all about engaging a rig until 10 o’clock yesterday morning. He went to several stables on the west side, but could not hire a horse for love or money. There wasn’t a horse or buggy to be had in all Chicago. As a last resort he hitched up a team of cream-colored horses to a white hearse and started for Prairie avenue. In front of where the widow is employed he turned in so close that the wheels of the hearse scraped against the curbstone.

People in the neighborhood went out on the front steps to inquire who was dead. Presently Barney and the widow came out of the house and mounted the driver’s box. They drove in impressive dignity down Drexel boulevard, and then turned the heads of the cream-colored horses toward Jackson Park. Thousands of persons saw the strange vehicle circling around the park, but they didn’t know what to make of it. Barney and the widow paid no attention to the caustic comments made upon them from time to time. They enjoyed the drive as well as they would have done in a landau.

For on the way home it was all planned that the Widow McGraw will soon change her name to Sullivan.

Philadelphia [PA] Inquirer 22 March 1891: p. 9

Mrs Daffodil’s Aide-memoire: Mrs Daffodil wishes the couple joy, but to be punctilious about a point of etiquette, a white hearse, while no doubt a lovely spectacle, is meant only for the youthful and the previously unmarried, which the Widow McGraw emphatically was not.

There was also a popular superstition that to see a hearse or mourning-coach on one’s wedding day was an ill-omen for the marriage.  Mr Sullivan is fortunate that the lady of his choice not only did not recoil in horror at his choice of vehicle, but took pleasure in the ride and the company, despite the circumstances, hinting at a character of rare flexibility and amiability, and suggesting that their home life will be a happy one.

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 anecdote

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.