Category Archives: Wonders and Curiosities

The Electric Wedding: 1892

electric diadem

Electric diadem by M. Gustave Trouve, 1880s.

An Electrical Wedding.

One of the peculiarities of our American cousins seems to be a consuming desire for novelty in their weddings. Hence we read of their being married in balloons, and over the telegraph wires, and in other outlandish fashions. A dazzling function took place in Baltimore the other day in the shape of an electrical wedding,” which quite throws into the shade previous nuptial celebrations. The Baltimore Sun says that tiny incandescent lamps were concealed in the foliage of the screen, and glowed and disappeared irregularly like fireflies in among the trees. Electrical butterflies and birds perched among the leaves and flowers. Overhead was a crown of Chinese lanterns, each containing a sixteen-candle power lamp. The bridal arch of evergreen under which the newly married pair stood to receive their friends was provided with a row of electric lamps in red, white and blue. On top of the arch was perched an American eagle, and on the shield of pink velvet, which formed the keystone of the arch, was outlined in incandescent lights the figure of a heart, the initials of bride and bridegroom, and the date 1892. Two bronze statues stood guard at the entrance of the room, and their helmets went illuminated by incandescent lamps. This, however, was far from exhausting the catalogue of marvels. There was an ingenious arrangement suddenly set in motion, and a shower of rice and imitation snowflakes was discharged over the wedding party by means of two electric fan motors placed in the gallery overhead. As the guests entered the supper room there was a sudden outburst of electrical bells and musical entertainments. As the guests were seated there was a blaze of light, and at the completion of the first course the words Good Luck appeared over the heads of the newly-married couple, and an electric hair-pin, a gift to the bride, became incandescent and surrounded her head with a halo of light

Wine bottles were suddenly transformed into glowing candelabra, and the feast was one long continued series of electrical surprises. All this may suit the American taste. Quiet English people, however, find the wedding ceremony in itself sufficiently trying to the nerves without being stunned and bewildered afterwards by a constant succession of electrical surprises.”

Press, 29 December 1892: p. 4

Mrs Daffodil’s Aide-memoire:  The reception sounds exhausting: like getting married in a fun-house, with “surprises” popping out every time one turns around.  The bride is fortunate that no one threw a pitcher of water on her, thinking that her hair was on fire when the hair-pin lit up.

But the newspapers could not get enough of this novel wedding. Here are more illuminating details:

An Electrical Wedding.

The bride was Miss Jeanette Ries (now Mrs. Lewis S. Greensfelden), and the nuptial novelty was due to the enthusiasm of her brother, the electrician and inventor.

Electrician Ries was master of ceremonies. The marriage was at the house of the bride’s mother, Mrs. E. F. Ries, and, of course, there was no unseemly spectacular interruption of the solemn knot tying.

But no sooner had the company been comfortably seated at the banquet table than the room burst into a flood of light from numerous vari-colored incandescent electric lamps hidden among the decorations and suspended at various points above the heavily laden tables. The entrance of the bride and groom was welcomed by the automatic ringing of electric bells and the playing of electrical musical instruments.

trouve illuminated flowers

Electric flowers as designed by M. Gustave Trouve.

After the first course had been served the room was plunged into semi-darkness, when suddenly from among the floral decorations upon the table there glowed tiny electric lamps, lending an exquisite charm and attraction to the scene. Not only the flowers, but the interior of the translucent vases in which some of them were gathered scintillated with flashes of light. After a while a miniature electric lamp, which in some unexplained manner had attached itself to the bride’s hair, was seen to glow with dazzling brightness.

Mr. E. E. Ries gave a toast to the couple, wishing long life and an enjoyment of good things like those spread before them. He concluded with an injunction to be temperate in all things, at the same time touching an electric button, when two serpents slowly uncoiled themselves and issued from the wine bottle that stood before the bridal couple.

Cigars and coffee were served, and the cigars were lighted by an electric heater, while the coffee was boiled in full view of the company by an electric lighter. The speeches that were made were liberally applauded by an electric kettle drum placed under the table. It treated all with impartiality. As the company dispersed the electric current set off a novel pyrotechnic display, amid the crimson glare of which the festivities ended. Baltimore Sun.

Carlisle [PA] Evening Herald 27 May 1891: p. 3

The electric hair-pin reminds us of the creations of M. Gustave Trouve, who created electric jewels with pocket batteries, as well as ballet costumes, lit by tiny bulbs.

gustave trouve electric tiara

Although we find few other examples of electric weddings (a testimony, perhaps, to the sturdy common sense of most bridal couples) several years later, during the actual ceremony, electricity was once again employed in a singularly symbolic way to demonstrate the extinguishing of the bride’s identity. Peculiar it may have been; romantic is quite another question.

A peculiar and romantic episode occurred recently at a wedding ceremony in Cleveland. Above the bride’s head was an elaborate device, with her name in small electric lights. Above the groom appeared a similar decoration, save that it was his name that sparkled there. All through the ceremony the lights burned brilliantly, but at the words: “I pronounce you man and wife,” the bride’s name was “turned off.”

Omaha [NE] World Herald 10 November 1900: p. 11

 

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.

A Skull for a Bonnet: 1896

 

a brooklyn woman whose bonnet is a skull

It is once again “World Goth Day,” a time to celebrate the dark, the decadent, and the black-garbed—although, frankly, Mrs Daffodil tries to quietly exemplify those qualities year-round.  And what better way to celebrate than with a superlative example of morbid millinery?

A SKULL FOR A BONNET.

A BROOKLYN WOMAN HAS THE MOST SENSATIONAL HEAD COVERING IN THE WORLD.

A Brooklyn woman is the proud possessor of the most gruesome headgear ever seen atop of a feminine head. She is proud of her curious bonnet chiefly because it is unique, and the consciousness that it cannot easily be duplicated by her envious sisters adds not a little to her feminine joy.

About a month ago the lady’s husband, a well-known physician of the City of Churches, took home a human skull, which the woman laughingly placed on her head, saying: “How is this, John for a stunning effect?”
“By Jove!” replied the husband, “the effect certainly is stunning. But the authorities would arrest you if you appeared on the street in that sort of head-dress.”

There the matter dropped. But the wife, full of a new idea, had the skull carefully cleaned and polished and, with a deftness known only to the hands of woman, fashioned an affair of skull, feathers and ribbons which, when completed, was as original an arrangement as one could imagine.

“It will make a great sensation,” said the lady of the skull bonnet to a horrified woman friend. And she was right, for wherever the grinning death’s-head, in its downy bower of feathers and ribbons, is seen it causes people to gape in utter amazement. The woman’s audacity is admired by the men, but roundly condemned by the women.

Still, the lady of the skull bonnet is quite indifferent to the criticism of either sex. To be sure, it is only on very especial occasions that the hideously pretty headgear is worn abroad, and then it is generally at night.

You may imagine the surprise of the woman’s husband when he first saw the very practical use to which his wife had put the skull he so innocently brought home. He remonstrated with his wife but to no end, for she contended with true womanly logic, that if it considered proper to wear the dead bodies of birds as a means of decoration, why should not a mere skull be just as properly employed for an artistic effect?

Even so convincing an argument failed to alter the view of the do tor, and he has gone so far as to offer his wife a splendid new bicycle if she will cast aside her queer headgear and don something more conventional. But the bonnet is still in readiness for my lady’s first walk abroad, and will be until she accepts her husband’s munificent compromise.

The St. Louis [MO] Post-Dispatch 11 October 1896: p. 28

Mrs Daffodil’s Aide-memoire:  Mrs Daffodil rarely wonders at the morbid vagaries of the human race, but she is pursing her lips dubiously about the strict veracity of the tale above. The lady and her well-known physician husband are not named and the image does not convince us it is anything more than a portrait drawn from the artist’s fancy. One wonders if it was merely a satire about the hyperbolic hat styles of the late nineteenth century?

On the other hand, medical students and physicians, quite aside from their proclivities for stealing corpses and treating dissection-room subjects with levity, were known for some very grisly fancies, such as turning human remains into articles such as shoes, tobacco pouches, jewellery, tobacco jars, and drinking vessels. So one cannot entirely rule out the possibility of a skull being casually brought home by a physician. And the late nineteenth century was known for some decadent entertainments, such as the Cabaret du Néant, where the waiters dressed as undertakers and patrons sat at coffin-shaped tables, drank from skull-shaped cups, and watched Death-themed floor shows.

Surprisingly, the term “skull bonnet” was a well-known millinery term. For example:

A fashion writer refers to  “the ugly old skull bonnet we used to see during the war.” in The Weekly Era [Raleigh NC] 8 October 1874: p. 2

A small skull bonnet of straw, the crown surrounded with flowers, is worn with this [spring morning] costume.” (spring morning costume)

The Huddersfield Chronicle and West Yorkshire Advertiser 5 May 1881: p. 4

Tiny skull-cap bonnets are mentioned in The Graphic [London, England] 29 April 1893: p. 20

And in other advertisements we see “French Skull Bonnets” [1897]; Silk Skull Bonnets [1906] and the phrase is used to describe the 1920’s cloche: “The modern skull-tight bonnet” [1924]. The term seems simply to mean a bonnet with a tight-fitting crown.

Mrs Daffodil would be delighted to see proof that this was a genuine lady with a taste for truly macabre millinery.  And she wishes those who celebrate it a happy World Goth Day.

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.

Why is the Cat Uncanny?: 1912

fairies riding cat 1894 McDonald Phantasies

Fairies riding a cat, 1894

In various parts of Europe (some districts of England included) white cats were thought to attract benevolently disposed fairies, and a peasant would as soon have thought of cutting off his fingers, or otherwise maltreating himself, as being unkind to an animal of this species. In the fairy lore of half Europe we have instances of luck-bringing cats—each country producing its own version of Puss in Boots, Dame Mitchell and her cat. Dick Whittington and his cat. It is the same in Asia, too; for nowhere are such stories more prolific than in China and Persia.

To sum up then,—in all climes and in all periods of past history, the cat was credited with many properties that brought it into affinity and sympathy with the supernatural— or, if you will, superphysical—world. Let us review the cat to-day, and sec to what extent this past regard of it is justified.

Firstly, with respect to it as the harbinger of fortune. Has a cat insight into the future? Can it presage wealth or death?

I am inclined to believe that certain cats can, at all events, foresee the advent of the latter; and that they do this in the same manner as the shark, crow, owl, jackal, hyaena, etc., viz. by their abnormally developed sense of smell. My own and other people’s experience has led me to believe that when a person is about to die, some kind of phantom, maybe, the spirit of some one closely associated with the sick person, or, maybe, a spirit whose special function it is to be present on such occasions, is in close proximity to the sick or injured one, waiting to escort his or her soul into the world of shadows—and that certain cats scent its approach.

Therein then—in this wonderful property of smell—lies one of the secrets to the cat’s mysterious powers—it has the psychic faculty of scent—of scenting ghosts. Some people, too, have this faculty. In a recent murder case, in the North of England, a rustic witness gave it in her evidence that she was sure a tragedy was about to happen because she “smelt death in the house,’’ and it made her very uneasy. Cats possessing this peculiarity are affected in a similar manner—they are uneasy. Before a death in a house, I have watched a cat show gradually increasing signs of uneasiness. It has moved from place to place, unable to settle in any one spot for any length of time, had frequent fits of shivering, gone to the door, sniffed the atmosphere, thrown back its head and mewed in a low, plaintive key, and shown the greatest reluctance to being alone in the dark.

This faculty possessed by certain cats may in some measure explain certain of the superstitions respecting them. Take, for instance, that of cats crossing one’s path predicting death.

The cat is drawn to the spot because it scents the phantom of death, and cannot resist its magnetic attraction.

From this, it does not follow that the person who sees the cat is going to die, but that death is overtaking some one associated with that person; and it is in connexion with the latter that the spirit of the grave is present, employing, as a medium of prognostication, the cat, which has been given the psychic faculty of smell that it might be so used.

But although I regard this theory as feasible, I do not attribute to cats, with the same degree of certainty, the power to presage good fortune, simply because 1 have had no experience of it myself. Yet, adopting the same lines of argument, I see no reason why cats should not prognosticate good as well as evil.

There may be phantoms representative of prosperity, in just the same manner as there are those representative of death; they, too, may also have some distinguishing scent (flowers have various odours, so why not spirits ?); and certain cats, i.e. white cats in particular, may be attracted by it.

This becomes all the more probable when one considers how very impressionable the cat is—how very sensitive to kindness. There are some strangers with whom the cat will at once make friends, and others whom it will studiously avoid. Why? The explanation, I fancy, lies once more in the Occult—in the cat’s psychic faculty of smell. Kind people attract benevolently disposed phantoms, which bring with them an agreeably scented atmosphere, that, in turn, attracts cats.

The cat comes to one person because it knows by the smell of the atmosphere surrounding him, or her, that they have nothing to fear—that the person is essentially gentle and benignant. On the contrary, cruel people attract malevolent phantoms, distinguishable also to the cat by their smell, a smell typical of cruelty—often of homicidal lunacy (I have particularly noticed how cats have shrunk from people who have afterwards become dangerously insane). Is this sense of smell, then, the keynote to the halo of mystery that has for all times surrounded the cat—that has led to its bitter persecution—that has made it the hero of fairy lore, the pet of old maids? I believe it is— I believe, in this psychic faculty of smell, lies wholly, or in greater part, the solution to the riddle—Why is the cat uncanny!

“Cats and the Unknown,” Elliott O’Donnell The Occult Review December 1912

Mrs Daffodil’s Aide-memoire: Mrs Daffodil really must take issue with the Great Ghost-hunter O’Donnell. It is axiomatic that if there is one person in the room who is highly allergic or antipathetic to cats, it is into the lap of that person which a cat will leap. Mrs Daffodil has never seen it fail.

That said, the idea of a spirit having a particular odour, like a flower, is a diverting one. One elderly American gentleman was queried by a “psychic researcher” after he divulged that he had smelt a ghost. He retorted “You ask me how ghosts smell. They smell like ghosts—that’s all I can tell you. How you speck they smell?”

Mrs Daffodil is fond of cats and does not consider them uncanny in the least. However, Mrs Daffodil is reminded by Mr O’Donnell’s assertion that cats can scent the approach of death of the handsome and remarkably prescient Oscar, who has foretold fifty to one hundred deaths at a Rhode Island nursing home and even has his own “Facebook” page.

Some other stories of uncanny cats are What the Cat Saw, The Cats Came Back, The Black Cat Elemental, Murder by Cat, and The White Cat

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.

 

A Phrenological Failure: 1824

veggie face

 

The science of Phrenology is not likely to be long in fashion. Important anticipations were entertained of indications and discoveries in the head of Thurtell, but they have failed. Some time ago a gentleman found a large turnip in his field, the shape of a man’s head, and with the resemblance of the features of a man. Struck with the curiosity, he had a cast made from it, and sent the cast to a Society of Phrenologists, stating that it was taken from the head of Baron Turnempourtz, a celebrated Polish Professor, and requesting their opinion thereon. After sitting in judgment, they scientifically examined the cast, in which they declared that they had discovered an unusual prominence, which denoted that he was a man of an acute mind and deep research, that he had the organ of quick perception, and also of perseverance, with another that indicated credulity. The opinion was transmitted to the owner of the cast, with a letter, requesting as a particular favour that he would send them the head. To this he politely replied, “that he would willingly do so, but was prevented, as he and his family had eaten it the day before with their mutton at dinner.”

The Gentleman’s Magazine, Volume 135,1824

Mrs Daffodil’s Aide-memoire: The “science” of Phrenology was just getting started. Although it was scientifically discredited by the 1840s, it survived in the patter of the snake-oil salesman, and as a popular lecture-circuit topic and parlour entertainment into the early 20th century, as Mrs Daffodil has written in Bump Parties: 1905, 1907.

Thurtell was John Thurtell who murdered Mr William Weare over a gambling debt. The crime caused a sensation; the gruesome particulars were memorialised in a ballad, part of which ran:

They cut his throat from ear to ear,
His head they battered in.
His name was Mr William Weare,
Wot lived in Lyons Inn.

Thurtell committed a vicious murder, but was astonishingly stupid over it, openly boasting that he would “do” Weare, who was said to have cheated Thurtell at cards, and leaving the murder weapon, one of a matched set he owned, in the road. No doubt the phrenologists wanted to analyse his cranium to determine where he went wrong and prevent future murderers from making the same egregious errors.

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 Most Eccentric Dresser in America: 1916

THE MOST ECCENTRIC DRESSER IN AMERICA
Barbara Craydon

There is in America at least one woman to whom the styles do not matter. Styles may come and styles may go but Baroness Else von Freitag leaves them out of her calculations altogether. She is her own designer and dressmaker. One might say that she dresses as she paints, for as an artist this highly temperamental woman is a follower of the futuristic school.

Seven years ago Baroness von Freitag came to America from Germany. It was not until she entered the art field in New York that she began dressing otherwise than in a semi-conventional way. In fact she seems to have caught her inspiration from the riotous colors of the futurists, and was seen in some of the most marvelous clothes New York has ever observed.

Everything that comes to her hands may be turned to a use in her art of dress. One electrifying costume is trimmed with common meat skewers painted in most intricate design. Another is ornamented with the gilt spiral springs such as one uses in hanging bird ages. Elaborate bead work, resembling the wampum of the Indians figures largely in her scheme of decoration, and heavy embroideries of futuristic design and brilliant colors are made from nothing else than knitting wool. The baroness never throws anything away, and the effect in her clothes is marvelous.

“Clothes,” said the baroness in her studio, “should always be a matter of inspiration not of one person for thousands of different style women, but of each individual. When one follows the styles and makes herself a slave to those who invent the fashions she might just as well be in the uniform of an institution as not for all the individuality expressed in her garments. The only difference between the conventionally dressed persons and the inmates of an institution is that the style and texture of the garment is changed several times a year. While there is little expense in charity uniforms there is a demand for great outlay of money by those who are slaves to the fashions and listen to the dictates of the fashion makers.

“How often have you heard a woman say, ‘yes, the dress is pretty but I cannot wear it, I do not feel right in it.’ What more than an expression of that kind does one need to show that clothes ought to be made for the individual character? It does not matter from what materials things are constructed as long as they suit the personality of the wearer, as long as the colors blend harmoniously.

“Look about you at nature. It is seldom that the landscape presents a pale, fade-away pastel appearance. Flowers are bright with color, greens are vivid, all colors are bright. Why not use them in one’s garments? I revel in color, I must have color and plenty of it, but the colors must be put together artistically. I have found that persons who generally cling to one color have a mental attitude toward the world and things in general that harmonizes pretty well with their colors. Drab clothes fit drab-colored minds. Perhaps that is why people who have been gifted with brilliant minds have worn clothes that have been called fantastic in cut and in color. They have been criticized for such things and have been called eccentric, but then the world always calls persons whom they do not understand eccentric. It is the simplest way out for simple minds, a way that does not demand analysis, and removes all necessity of particular thought.”

Among the studios of New York City the baroness von Freitag has frequently been urged by fellow-artists to pose for pictures and it sometimes amuses her to do so. Her poses are full of imagination, full of life. There are times when she refuses to pose, especially if she does not like the style of work that the artist is doing. She insists that she must be in sympathy with the artist’s work, must understand what he is doing before she can give him a satisfactory pose. The baroness says that just standing or sitting still for an artist is no posing.

The baroness has a most marvelous collection of rings, many of them are silver set with dull stones, others she was made herself from artistically arranged beads. Some of these that she has made are futuristic in the extreme. One might say that she practically paints with her needle and the beads. The result is weird but extremely interesting.

“Why should I not cover my hands with rings if I wish?” she said, looking up from her work. “Others cover their hands with gloves. I think gloves ugly. I would certainly to feel at home with my hands encased with gloves. But my rings are a joy and pleasure to me. Sometimes I can wear only one. It depends upon my state of mind. But when I am very happy and gay I like to wear them all. Barbaric? Perhaps it is. If so, I like the barbaric.”

Shoes, also, the baroness thinks, ought to be a matter of artistic work on the part of the wearer. One pair of slippers of black satin she has made into footgear to suit her. These are Oriental to an extreme, beaded and ringed. And from the back of one hang two large beaded tassels.

When an ordinary “slave to fashions” might spend a day in selecting a hat the baroness will spend a week in making one to please her. One creation is made from the crown of a derby hat which this original woman has painted and glazed until it looks like a highly lacquered helmet. On top, for a decoration, is a long bone hair pin partly sheathed in an intricate bead design. At the back of the hat coming down to the nape of her neck she has added a strip of silver-covered cardboard edged with a gilt trimming. The effect is that of a headpiece of an Amazon, and when dressed in the costume she has designed to go with the hat the baroness carries with her one of her pet alligators.

Truly if one searched the United States from coast to coast, from north to South, it might be difficult to find a more amazingly gowned woman than the baroness, and it would also probably be difficult to find a woman who spends less in money or more in energy on her clothes than she does. As for the enjoyment derived from clothes, the baroness takes a delight in her costumes that is extremely frank and genuine enough to suggest that clothes pleasure may have been neglected by the philosophers as an element of the art of life.

New Orleans [LA] States 1 October 1916: p. 45

Mrs Daffodil’s Aide-memoire: The Baroness (the newspaper misspells her name, which is correctly rendered Else von Freytag-Loringhoven) was born Elsa Plötz in the supremely un-futuristically-named town of Swinemünde, Germany.  She came to the United States after helping her second husband fake suicide to escape his creditors. She was a luminary of the Dada and avante-garde movements.  Mrs Daffodil must confess that she is inherently unsympathetic to movements known as “Futuristic” or, indeed, as any sort of “istic,” as they suggest those who advocate the wearing of tin-foil head-gear.

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 Ice Carnival at Leadville: 1896

leadville's ice palace 1896

The great social-amusement event of the season in the far West is the opening of the Ice Castle at Leadville. Colorado, under the auspices of the Crystal Carnival Association, and life in the Carbonate Camp is, for the months of January, February, and March, to be one continuous round of pleasure, fun and entertainment for all who have leisure.

The present season marks a new era in the camp, in its recovery from the effects of the silver slump, and in its attaining new fame as a great gold producer. It also marks a temporary departure from the intense attention to mining and money getting that has possessed the people of the camp for nearly two decades. It tends toward an appreciation of the artistic, toward indulgence in amusement for amusement’s sake, and to a too unfrequent recognition of the social side of life.

The Leadville Carnival, according to its managers, bids fair to be the most successful concern of its kind ever undertaken in America. The idea was born of the restless energy that characterizes the people of the high, altitudinous portion of the West. It was seized, in lieu of a mining boom, with rare avidity and enthusiasm, and. backed by the plethoric purses of bonanza kings, it has crystallized into a magnificent structure of cold splendors—an artist’s chef d’ouevre  in ice. It is a veritable palace, patterned in a measure after those of St. Petersburg and Moscow. Its site is nearly two miles above sea level, on a ridge in the Leadville basin, and overlooking the city of Leadville and the valley of the Arkansas, picturesque in winter snow and belts of sombre conifers. The grim snow-clad peaks of the Musquito and Saguache ranges rise to majestic heights on either side of the valley, and the cycloramic view from the ice castle is one of alpestrine, wintry grandeur.

For two months about two hundred men have been employed in erecting the building, which is of the Old Norman school of architecture, and in which three hundred thousand feet of lumber and five thousand tons of ice are used. The greatest length is four hundred and fifty feet and the width is three hundred and fifty feet. It is a permanent frame structure, encased with solid walls of ice. Two massive octagonal towers ninety feet high flank the main entrance. Flag-staffs rise from the towers to the height of one hundred and twenty feet.

The effect is of massive architectural beauty. Within the portals stands a huge female figure in ice, representing the glorification of Leadville. With one arm she points to the eastern hills, and in the other she holds a scroll bearing the legend “$207,000,000.” These being the figures which represent the total metallic wealth produced by the camp—since its conversion front a placer-mining into a lode-mining camp.

ice statues in the leadville palace

Ice statues in the Leadville ice palace

The main chamber is a skating rink with fifteen thousand square feet of ice surface. Its ceiling is decorated with a heavy frost-work of artificially produced rime. Corinthian columns of solid ice, inclosing incandescent lights before tin reflectors, support the roof.

The grand ballroom has a floor of grooved Texas pine. The annexes include an auxiliary ballroom and dining hall, and a complement of modern conveniences; icicle effects are given in the decorations. The eastern annex is finished in terra-cotta and blue, and the western annex in orange and blue. Throughout the edifice an effort has been made to combine beauty of scene with comfort, a fitting abode for the devotees of the Frost King.

ice statues in the leadville palace 2

A museum annex has a lot of snow statuary carved out of snow slushed solidly and then sprayed, and exhibits of fruit. flowers, and mechanical appliances in solid cakes of ice. A programme of divertisements throughout the winter on an elaborate scale has been planned, and a season of festivities, glittering pageantry, and winter sports has been inaugurated. Chief among them will be the storming of the ice castle by the Snow-Shoe and other clubs, the castle being held and defended by the Leadville Press Club. Various gala and occasional days have been set, and brilliant balls and receptions will be given from time to time. Among the outdoor attractions is a toboggan slide two thousand feet long with a double rush.

Leadville is gay with bunting, the colors being old gold, silver, copper, and lead, representing the royal and chief base metals produced by the camp. The official souvenir badge is of silver and gold, a bucket of ore hung on a bar composed of a shovel, pick. and hammer, emblematic of the miners’ calling. On the streets gay carnival costumes mingle with the picturesque garb of the miners.

The director-general of the Crystal Carnival. Mr. Tingley S. Wood, is a representative and successful miner, operating on a large scale, and owning productive properties in the gold belt and silver contact zone. He is a native of southeastern Ohio, and resides with his family part of the time in Springfield, Illinois, where he is a member of the famous Sangamon Club. Mr. Wood is a gentleman of dignified demeanor, handsome, courteous, and urbane. Always well dressed, he is thoroughly versed in geology, mineralogy, and the mysteries of smelting, and is the ideal successful miner.

That the fair sex will be brilliantly represented at the Carnival will be understood by any one who will glance at our page of pictures of the prominent women of Leadville.

Julius Von Linden

The Illustrated American 11 January 1896: p. 345

Mrs Daffodil’s Aide-memoire:  Undoubtedly a glittering occasion, to judge by the lavish prose of Mr Von Linden. Mrs Daffodil is reminded of the fancy-dress skating carnivals of Canada and the luxury ice hotels of the frozen north.  While acknowledging the novelty (and the appeal of seeing the Northern Lights in their native habitat), Mrs Daffodil is at a loss for why one would travel so far to spend the night in an unheated chamber, when one might experience the same sensations at any week-end spent at an English country-house.

 

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 Swan for Christmas Dinner: 1910

A Devonshire man sent his club, just before Christmas, a fine large swan in a hamper. The hamper was addressed to the secretary, who notified the club members of the treat that was in store, and a special swan dinner was arranged. The swan came on, at this dinner, looking magnificent — erect and stately on a great silver-gilt salver. But tough! It was so tough you couldn’t carve the gravy.

A few days later the sender of the swan dropped in at the club. “Got my swan all right. I hope?” he said to the secretary.

“Yes, and a nice trick you played us.”

“Trick? What do you mean?”

“Why, we boiled that swan for sixteen hours, and when it came on the table it was tougher than a block of granite.”

“Good gracious! Did you have my swan cooked?”

“Yes, of course.”

The other was in despair.

“Why, that bird was historic,” he groaned. “I sent him up to be stuffed and preserved. He had been in my family for 200 years. He had eaten out of the hand of King Charles I.”

The Argonaut [San Francisco, CA] 8 January 1910

Mrs Daffodil’s Aide-memoire:  Mrs Daffodil does not like to call a gentleman a liar, but swans only live for perhaps two or three decades at best. If the swan truly had eaten out of the hand of King Charles I, he must have been frozen solid for at least two centuries.

The club secretary and members would have felt like royalty: roast swan was a feature of royal Christmas feasts from time immemorial. The Crown may lay claim to all swans in public waters; currently the Queen shares her swans with two livery companies: the vintners and the dyers; the yearly ceremony of “swan upping” divides the Thames swans between the Queen and the livery companies. Queen Victoria and King Edward VII enjoyed a nice Christmas swan. This article gives the receipt for its preparation, should you happen to have a 200-year-old swan lying about the larder.

KING’S CHRISTMAS SWAN.

Every Year One is Served at Sandringham—The Recipe.

The royal swan has ever been a conspicuous item in the Christmas menu at Sandringham. Every year the largest and plumpest young cygnet that can be obtained from the swannery on the Thames is killed.

When it leaves the hands of the special messenger at Sandringham it is taken charge of by the head cook, who personally looks after it until it is laid before the king.

Trussed like a goose, it is stuffed with a rich mixture of which the principal ingredient is ¾ of a pound of rump steak. It is finally covered with a piece of oily paper, sprinkled with flour, wrapped in a second piece of paper; and then roasted on a spit for four or five hours in front of a blazing fire.

A gravy of beef is provided to which is added a pint of good port wine. Folk who have tasted this dish describe the flavor as being half way between goose and hare. New York World.

The Boston [MA] Globe 24 January 1909: p. 48

 

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.