Tag Archives: Victorian photography

Wanted: A Wife: 1871

woman wearing flower wreath

WANTED— A WIFE.

BY S. ANNIE FROST.

“I wonder,” said pretty Lizzie Thorndyke, looking up from a newspaper, whose columns had held her attention for nearly half an hour, “I wonder if any of these matrimonial advertisements are ever put in the papers in good faith? Here are no less than five, commencing, ‘Wanted— a wife.”‘

“I should think,” responded Anna Green, cousin to Lizzie, “that if a man wanted a wife very badly, his best plan was to go court one. There are plenty of nice girls to be won.”

“Just fancy advertising for a husband, Anna.”

“Can’t. My imagination cannot compass such an absurdity. But what makes you so interested to-day? I’m sure that trash has been in the papers for years.”

“Why, three of these enterprising gentlemen are modest enough to ask for photographs, and I was thinking it would be fun to send some of those in the box Bob left up stairs.”

“What box?”

“Have you never seen it? You know Bob learned to photograph just before he left for California, to be able to take views of scenery. He took lessons of the foreman at Wright & Hill’s, who were burnt out just before Bob left. Bob was at the fire, trying to save all he could, and amongst other things he rescued a box of pictures that they told him to keep. There is the greatest mix of stuff in it— copies of pictures and statues, groups, heads, and quite a lot of pretty faces.”

“But we might send some picture of a person who would get into trouble by it.”

“Oh, no! I wouldn’t send anything but a fancy head; there are plenty of those. I’ll get the box and let you see them.”

The box proved to be a treasure for passing time. It was quite large and well filled, and the two girls found the morning slipping away rapidly as they examined the contents. Suddenly Anna gave a cry of admiration.

“What an exquisite face!”

“That is one of the fancy heads,” said Lizzie, taking the picture from her cousin’s hand.

“Are you certain, Lizzie? It is very lifelike.”

“But very fanciful, Anna. Nobody in these days sits for a photograph with a wreath of field daisies and green leaves round their head, and who ever saw such hair? Why, there is enough to start a chignon factory in flourishing business.”

Anna looked again at the picture. It certainly was fanciful enough to justify Lizzie’s assertion, although the face had an animated expression rarely attained by the pencil. There was only the head set in a framework of clouds, the dimpled shoulders rising from the fleecy clusters, and the sweet face encircled by them. The regular features, exquisite mouth, and large, soft eyes were framed in masses of heavy curls, just caught from the low brow and little ears by a wreath of field daisies, grasses, and leaves.

“It is a lovely, lovely face, Lizzie, is it not?”

“Yes. I think,” said Lizzie, musingly, “that I will send this to Mr. Edgar Holmes; ain’t that the name? Yes,” she added, after a reference to the paper. “Mr. Edgar Holmes, Box No. 47, Waterford, Illinois. Illinois is a good ways from Hilton, Massachusetts, Anna, so I guess he will not come to look for the original very soon. There! how does that look?” and she tossed the picture to her cousin, having written on the margin, “Ever yours, with love, Ida.”

“But, Lizzie, suppose, after all, this should be a real portrait?”

“Nonsense! We certainly know everybody in Hilton.”

“I don’t half like it, Lizzie.”

“Oh, pshaw! You are always fussy. I mean to get some answers from Mr. Edgar Holmes & Co. It will be real fun. Here is one from California and one from New York; pick out two more pictures. O Anna, here is that hateful old maid, Matilda Truefit. I have half a mind to send her.”

“No, I won’t let you, Lizzie. Send only fancy heads.”

“Well, just as you say. Now for the letters. See how nicely I can disguise my hand,” and she wrote a few lines in a stiff, angular hand as legible and almost as unrecognizable as print.

“Anybody can see that it is a disguised hand.”

“Of course they can; but that’s of no consequence. I shall only write a few lines at first, professing deep interest and a desire for further acquaintance. You are as grave as a deacon, Anna.”

“Because it seems to me foolish, a waste of time, to say the best of it, and it may get you into trouble, Lizzie.”

“I’m not afraid. It is all for fun. I shall sign them all ‘Ida,’ and have the answers directed to the same name.”

An hour passed away, almost in silence. Lizzie wrote three letters of the character she had described, while Anna pondered over the pictures, read the newspaper which had inspired her cousin with the new piece of mischief, and perused the letters as they were finished and tossed over to her for criticism.

There were not two prettier girls in Hilton than these cousins— one a resident of the village from her birth, the other a regular visitor for the summer months. Lizzie Thorndyke was a brown-eyed, dark-haired beauty, with a short, plump figure, fair complexion, a tongue that was the terror of every dull-witted youth in the village, and a love of mischief and excitement that made her the leader in every picnic, festival, and frolic for miles around. Anna, a tall, slender blonde, was more quiet and reserved, a resident of Boston, fond of music and literature, but yet ready to enjoy heartily all the pleasures offered during a visit to Hilton in the summer months. Twice her father had taken herself and Lizzie for a trip to Niagara, the lakes, and the White Mountains; but generally Anna spent the summer in Hilton, and Lizzie a portion of each winter in Boston. Many a heedless prank originating in Lizzie’s busy brain Anna had checked in time to prevent mischief and confusion, while her own graver nature was cheered and made happier by intercourse with her lively little cousin. She sat, now, rather soberly perusing Lizzie’s daring epistles, very doubtful of the results of sending them away, yet not trusting her own powers of persuasion to prevent a freak which she saw had taken strong hold of her cousin’s imagination. The letters were all sealed and directed at last, and depositing them in the post-office being postponed for an afternoon walk. Lizzie yawned, declared she was tired to death, and threw herself upon the sofa for a nap, while Anna took up an intricate piece of knitting to pass the time before dinner. One of the letters only is of interest to our readers, and that we will follow to its destination. It was directed to “Mr. Edgar Holmes, Waterford, Illinois,” and contained the beautiful photograph of the girl crowned with field daisies. Lying upon the table, in a neatly-furnished lawyer’s office, half-hidden by a number of other epistles, it was there found by two young gentlemen, who came in chatting and laughing soon after the office-boy had brought the mail from the post-office.

“More answers to my matrimonial advertisement, Al,” said one of the gentlemen, a handsome, bright-eyed young fellow, whose sunny face spoke of a life free from care, and formed, quite a contrast to that of his companion, who was evidently an earnest man, a deep thinker, and of a grave, rather reserved nature.

“How can you tell before opening them?” he inquired, courteously, but evidently feeling no interest in the matter.

“Oh! they are so daintily enveloped and directed, and I can feel the photograph cards.”

As he spoke he was rapidly breaking open his batch of letters, whilst his companion scanned the columns of a morning paper. Suddenly a cry broke from the lips of the younger man.

“What an exquisite face! It cannot be a portrait, but it is lovely. Direct ‘Ida, Hilton, Massachusetts.’ Look at it, Al.”

Albert Clayton languidly stretched out his hand for the card, but the instant his eyes fell upon the picture the whole expression of his face changed. In the place of the look of indifference, there now flashed from his eyes a look, first of utter surprise, then bitter anger, and finally a contempt that was the strongest of all. Once he turned the card to see the name of the artist, and then slowly there gathered upon his brow and round his lip a set, determined look that it was painful to see.

“Why, Al, what ails you?” suddenly cried his friend. “One would think Miss Ida’s was a gorgon’s head.” The forced smile of answer would never have deceived a keener observer, but Edgar Holmes was satisfied with it.

“Let me see the letter, Ned?”

“Certainly. You can be reading it while I am in court. Shall I find you here when I return?”

“Yes. I shall wait for you, for I must leave this evening, you know, for home.”

“I know. I shall miss you constantly. Well, good-morning!”

Left alone, Albert Clayton, after reading the letter signed “Ida,” drew from his vest pocket a card-case, and from its folds a photograph, an exact copy of the daisy-crowned beauty. Well remembered he the day when the lovely face had been so crowned. The original of the picture was his promised wife, into whose keeping he had put the whole treasure of his love, to whom he had given a heart, which, sorely tried by suffering, had never before bowed before the charms of a woman. Educated in a different school, Albert Clayton might have been a trusting, frank nature, but he had been trained from childhood to suspect and question all around him. He had worshipped his parents, and his father, a wealthy Western lawyer, had given him love for love. When that father died, he was a boy at school, and returned for a summer vacation less than two years from the time he was left fatherless to find his mother again married, and to a man whom he had every reason to believe unworthy of any good woman’s affection. Too fully were all his fears for the future realized. His own share of his father’s property was squandered by the new guardian before he was of an age to claim it; his mother, oppressed and ill-treated, died broken-hearted; and his only sister, driven to desperation, eloped with a young scamp, attracted to her by her father’s wealth.

Orphaned and almost penniless before he was quite twenty-one, Albert was offered a home and an opportunity to continue the study of law by his father’s partner, continuing with him long after he knew that he was a mere drudge, half-paid for services his own intellect and hard study soon made valuable to his employer. The practice of his profession was not calculated to increase the young lawyer’s faith in mankind; and when, at the age of thirty, he opened an office of his own in Cincinnati, he had acquired a reputation as a shrewd, long-headed lawyer, impossible to cheat, but a hard, reserved man, devoid of affection for any one. This was the man who, coming one summer to Hilton to investigate a law case in his care, met there Sadie Elkington, the niece of his client, paying a summer visit to her aunt. Something in the pure, sweet face of the young girl, just stepping into womanhood, attracted first the world-hardened man. Watching her jealously, he found a nature open and frank, yet modest, full of all womanly grace and sweetness, and the closed portals of his heart opened, at last, to fold in a close embrace this true woman, who, in winning his love, all unconsciously had given him her own.

It was pronounced rather a dull summer at Hilton. Many of the young people were away, the cousins Lizzie Thorndyke and Anna Green were at Niagara, and picnics, drives, and dances were “few and far between.” But the month occupied by Albert Clayton in the investigation of old Mrs. Elkington’s papers flew by on gilded wings; and when he returned to Cincinnati, Sadie to her father’s home in Boston, it was with mutual promises of constancy, and bright hopes for the future.

Well did Albert Clayton remember the day when the lovely photograph was taken at his request. They had been for a long ramble in the fields, and he had crowned her with daisies, making her so beautiful in his loving eyes that he would not rest until she consented to allow him to carry away the picture of her face as he had adorned it. One year of betrothal, and the wedding day was set for a certain seventh of October, when, again absent from home on a professional visit, Albert found the face of the woman he had loved almost to idolatry inclosed in a letter answering a matrimonial advertisement.

It is impossible to describe the shock given to the fastidious, suspicious nature of this man. He had given, for the first time in many years, the confidence of his heart to another’s keeping. He had thrown aside the suspicions of all human nature, that had warped his own character, to give a trusting, perfect love to one woman. In her he had found all that his starved heart craved of gentleness, affection, and modesty. All her letters were filled with a spirit of devotion, toned down by a sweet, maidenly reserve, that had commanded his respect as well as his affection. Loving faithfully, trusting utterly, he had looked forward to his future happiness as a thing assured and certain.

And now, to find this woman, his promised wife, his ideal of modest refinement, answering a vulgar matrimonial advertisement, sending the picture, for which he had been forced to plead and petition for hours, to be the sport of an unknown man, writing a letter that was an invitation for future correspondence, and covering all only by the flimsy veil of a disguised hand, and a post-office address a few miles from home. Some friend in Hilton, probably, mailed this precious letter, and would call for the answer. Well, his dream was over. He brooded for a long time over his duplicate pictures, then, tossing one back upon young Holmes’ pile of letters, he inclosed the one he had carried over his heart for a twelve-month in a short letter, directed and sealed it, and, taking up his hat, left the office. His return to Cincinnati the same evening had been settled before the receipt of the momentous letter, so his friend was prepared for his departure, though scarcely for his abrupt and hasty farewell.

And while strangers and her dearest were thus ruthlessly destroying Sadie Elkington’s love dream and hopes of happiness, she was living her life of peaceful daily duty, making the sunshine of home, and looking forward to a future of married bliss. Already there were piles of snowy linen, daintily embroidered by her own skilful fingers, lying in readiness for the trousseau , and daily some such needlework passed through her busy hands, while she sat and dreamed of Albert, his love, and her own powers of rendering him happy. It was a very pure, unselfish love this fair young girl had given to her betrothed. With quick, womanly instinct she had read the character of the reserved suspicious man, penetrated the crust of his proud reticence, and knew that her love was to him almost his sole hopes of faith in any human excellence. She knew also, that from this hard mistrust and cynicism, it was often but one step to positive infidelity, and it was her earnest prayer that she might be permitted so to soften this noble heart as to let in upon it a fuller light and higher faith than it could ever know whilst clouded by doubts of all mankind. Sadie Elkington would have smiled had any one suggested to her that there was any sacrifice in her prospects for the future. She loved Albert Clayton with all the fervor of a first love, and it had never occurred to her to contrast her own home with the one awaiting her. The eldest of a family of nine children, she had learned early to make all the little sacrifices of her own comfort daily required from the oldest sister in a large family. Her father almost worshipped her, while her mother could scarcely endure the prospect of seeing this loving, tender daughter leave the home she had brightened so long, for one so far away. Yet hiding away their own grief, the loving parents were aiding in the preparation of a bridal outfit that was to be as perfect as ample means, taste, and loving care could make it. The mother and daughter were in the sitting-room just before the dinner hour, discussing the merits of a new collar pattern, when Mr. Elkington came to the door, holding a bundle in one hand, a letter in the other.

“There, Miss Sadie,” he said, opening the paper to unroll a piece of superb blue silk, “see if you can get a petticoat out of that. Mamma, there, will lend you some old cotton lace to trim it.”

“Not a yard,” laughed his wife. “Why, you extravagant man, this is the third Irish poplin.”

“Fully paid for by the kisses Sadie has just given me. What are you gazing at this letter for, Sadie? Women are never satisfied. Give them finery and they want flattery. Well, there is your sugar plum.”

“Sadie! Sadie!”

It was a startled cry from the mother that broke the interval of silence following the opening of the letter. The young girl tried to answer the cry, but the stiff white lips were powerless to move, and with a moan of pain she fainted, falling heavily upon the dress just received with warm, shy blushes, and representing so much thoughtful love.

Mr. Elkington took up the letter which had fallen from the nerveless hand, and while his wife was trying to restore life to the insensible girl, he was seeking the cause of her sudden fall.

“Sadie’s picture! Valueless when shared with others! Trusts her new love may prove more agreeable than the old! Shocked at her want of maidenly modesty! What does the fellow mean, mother? How dare he insult our Sadie by such a letter. Useless to answer, as he intends to leave Cincinnati at once. Well for him! He had better get beyond the reach of my horsewhip, for my arm is not yet too weak to thrash the scoundrel!”

“Hush, father; she is recovering,” said Mrs. Elkington, interrupting the passionate exclamations and bitter readings from the letter.

Sadie was, indeed, reviving, and trying to realize her own position.

“Father,” she said, as her father came to her with the fatal letter still in his hand, “what does he mean? How can he write so cruelly to me?”

“He is a rascal!” said the angry old gentleman; “a scoundrel! He has found some newer face to flatter, and tries to make you to blame for his inconstancy. Why, the letter is perfectly absurd upon the face of it. Accusing you of having another love, and giving your photograph to some one else! You, who have lived like a nun ever since Sir Jealousy condescended to bestow his regards upon you! You, who are such a model of reserve and devotion, that your own old father has been jealous fifty times of your fiancé, to be accused of a want of maidenly modesty! I should like to wring the fellow’s neck.”

“There is some terrible mistake, father.”

“Mistake! I should think there was a mistake! There was a mistake when we all believed him an honorable, upright gentleman, if he was a grumpy, sulky companion; and a grand mistake when we believed him capable of appreciating our Sadie, and making her an affectionate husband.”

“But, father, I am sure he has been deceived in some way.”

He deceived! I think it is we who have been deceived! Well, there, don’t look at me so pitifully. I won’t rave any more. Here, mother, you talk to her.” And, conscious of his own inability to talk quietly, the angry, insulted father went off to the library to march up and down, and work off his wrath in solitude. Poor Sadie! It was in vain she read the cruel letter over and over to try to find some solution of the mystery. She could not accept her father’s theory of Albert’s voluntary renunciation of her love. Some influence had been at work upon his jealous, suspicious nature, she felt convinced, though what it was, she could not divine. It was a hard blow, and her cross seemed almost too heavy to carry, but she put out of sight the pretty clothing collected with so much care, and full of such loving associations, locked up the letters that she had welcomed so eagerly, responded to so faithfully, and bravely crushing her own sorrow out of sight, was always the loving child, the devoted sister to the home circle, fully appreciating the tender care her mother bestowed upon her, and the delicacy which kept back all her father’s expressions of anger. She was not one to parade her grief or bare her heart for any eye, and the effort to appear calm and cheerful was rewarded by a real feeling of resignation. She had done no wrong, and perhaps at some future time Albert might learn how truly and faithfully she had loved him; in the mean time she would try to find happiness in her home, her parents’ love, and her friends’ society. A very dull commonplace view of the matter, perhaps, but one that required more real unselfish heroism than many an act admired by the world. Four years passed away with many changes, and Albert Clayton returned from a prolonged European trip to Cincinnati, and again opened an office for the practice of law. Amongst the many friends who came to offer him a word of welcome, he was surprised one morning to receive a call from Edgar Holmes.

“When I heard you had left Cincinnati, Al, I thought I would come for a while, and see if some of your clients would not fancy me for a substitute.”

“I hope you have done well!” said Albert, politely.

“Oh, yes, pretty well. You must drop in when you are passing and see how the old office looks. By the way, you know I am a married man, don’t you?”

“No, indeed! Did you marry Miss Elkington?”

The name seemed almost to choke him, spoken for the first time in four long years.

“Miss Elkington? Never heard of her in my life. What put that into your head?”

“I— was she not the lady who answered your advertisement for a wife?”

“O Al, I must tell you all about that. Can you listen to a long story?”

“Yes.”

“Well, about two years ago, I had business which called me to Boston, and amongst other gentlemen friends there, was one Mr. Green, who made me welcome to a very pleasant home, and introduced me to a pretty daughter and an equally pretty niece, Miss Lizzie Thorndyke, of Hilton, Mass. Miss Lizzie was in Boston purchasing her bridal finery, being engaged to a young gentleman from New York. It was not long before I noticed that the young lady avoided me as much as possible, seeming half afraid of me when thrown into my company. My business was soon transacted, but my heart was yielding to the charms of Anna Green, and I lingered in the city, trying to win an answering affection. I succeeded, and won the father’s consent to my suit. The day was set for a double wedding, the cousins wishing to be married at the same time. You look bored, Al!”

“Oh no, go on,” said Albert, who certainly did look bored.

“Well, to make a long story short, Lizzie’s fiancé, Mr. Moreton, came on from New York, preparations were going on for the wedding, and everything was pleasant, when one evening we were all seated in the parlor chatting. Amongst other subjects, the one of matrimonial advertisements came up. I saw that Lizzie looked distressed, but suspecting nothing, I laughed about my correspondent Ida, and read two or three of her last letters— warm enough they were, too— for the benefit of the party. Mr. Moreton expressed his opinion on the indelicacy of such a correspondence in no measured terms, finally declaring that he would disown his own sister if she was guilty of such a proceeding. Fancy our amazement when Lizzie, as white as ashes, started to her feet, crying out:—

“‘O Robert, don’t, don’t say so! I am Ida!’ and fell in a dead faint upon the floor.”

“But the picture?” said Albert Clayton, himself as pale as a corpse .

“That was a fancy head her brother picked up in some photograph gallery in Hilton. Are you going to faint, Al?”

“No, no,” he said, rousing himself by a great effort; “finish your story.” “There is not much more to tell. Robert, touched by Lizzie’s distress, and influenced by Anna’s entreaties, forgave her, but there came into his manner a reserve and coolness of which he, himself, I think, was unconscious, but which grated terribly on Lizzie’s sensitive, high strung spirit. For a week or two there was a sort of enforced peace, and then the engagement was broken by mutual consent, Lizzie returning to Hilton, and Mr. Moreton to New York, before the wedding day which gave me the dearest wife in the world. I was half afraid I should lose her for my share in the correspondence, but she never referred to it, and you may be sure I did not. Ten o’clock! I must go. You will come soon to see us, Al? No.— Fourth Street.”

He was gone at last. For hours Albert Clayton paced his office floor, now and then sighing out:—

“O Sadie, Sadie, can you ever forgive me?”

Then he sat down to write to her whom he had so cruelly misjudged; but letter after letter was tossed into the fire, till, finally, giving up that task, he packed a valise and started for Boston. It was not Sadie’s nature to be unforgiving when he pleaded for pardon. He should have known her better, she thought, but she made all allowance for the strong evidence against her. It was not so easy to win the old gentleman over; he growled and scolded, made sarcastic speeches, and was altogether most impenetrable, till Sadie’s pleading face and great pitiful eyes silenced him.

“You really think you can forgive him, and trust your happiness to him?” he asked.

“Yes, father,” was the quiet answer, but the expressive face lighted with pleasure.

“Well, get out your finery again, and I —”

“Will go buy more Irish poplins,” laughed his wife.

Nobody ever knew exactly how the story got to Hilton, but Lizzie— still Miss Thorndyke— found all eyes would turn upon her if, in company, any allusion was made to the advertisements headed, “Wanted, a Wife.”

Godey’s Lady’s Book [Philadelphia, PA] March 1871

Mrs Daffodil’s Aide-memoire:  Strong evidence? Indeed, no matter how fastidious and suspicious his nature, the lover should have known her better and any lawyer worth his fee should have thought her innocent until proven guilty.  At the very least, he should have given her the chance to look at the “evidence” and refute it. Why did he not call upon a graphology expert? And even at this early date, fingerprints could have been revealed by iodine fumes and compared with Miss Elkington’s. One wonders how accomplished a lawyer Clayton actually was. He seems to have lacked the ability to examine the case against his beloved in a scrupulously fair manner, yet possessed the imagination of a fiend when it came to believing her guilty. Mrs Daffodil hopes that they lived happily ever after and that he devoted his life to making amends for his vile suspicions, but is not sanguine.

Mrs Daffodil has written before about the imprudence of the promiscuous sending of photographs.

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

 

Week-end Compendium: 13 January 2016 Valentine Edition

Mrs Daffodil has noticed the fluttering in the dove-cote that is the Servants’ Hall over the upcoming Valentine’s holiday. Mrs Daffodil does her best, but managing a mixed-sex staff is sometimes like directing a Feydeau farce translated into Mandarin.  Here are the somewhat distracted posts for this week:

Hints for the Photographer shares tips on looking one’s best in front of a camera including the colours that photograph as dark or light and how to achieve the desired facial expression. “Say ‘bosom!'” says the photographer.

A Stolen or Stray’d Heart at Vaux-Hall is a rare look at a so-called “missed connections” personal want-advertisement from 1738.

That grave person over at Haunted Ohio contributed some occupational valentine verses in Hearse Verses: Valentines for Undertakers

On Valentine’s Day, Mrs Daffodil will share a heart-warming piece of Victorian Valentine’s Day fiction. Happy endings are guaranteed.

A late 18th-century buckle of a cameo showing "the education of Cupid" framed in pastes http://www.bonhams.com/auctions/19760/lot/230

A late 18th-century buckle: a cameo showing “the education of Cupid” framed in pastes http://www.bonhams.com/auctions/19760/lot/230

Over at the Haunted Ohio blog, in honour of the Chinese New Year, the Year of the Monkey, a post featuring a Cornish road-demon and monkey ghosts in Aping the Devil.

And for the anniversary of the first appearance of the Virgin Mary to Bernadette, a post on the giant angel a psychic saw drifting over Lourdes.

Bonus holiday post: The Medium’s Valentine, should one be in love with one who talks with the dead.

From the Archives:  Speaking of vile valentines, the “vinegar valentine” roused some recipients to violence in The St. Valentines’ Day Massacres.

Favorite recent posts:

Posthumous portraiture: Is it live or is it a memorial?

The sad lives of some of the First Children.

That unlucky fellow who married not one, but two women accused of witchcraft. Or were witches just his type?

The best quotes about gin, AKA “Mother’s Ruin.”

Cover art, Richardson's New Fashionable Lady's Valentine Writer or Cupid's Festival of Love, 1830

Cover art, Richardson’s New Fashionable Lady’s Valentine Writer or Cupid’s Festival of Love, 1830

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.

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.

 

Hints on Dressing for the Photographer: 1865-1921

attractive 1890s lady portrait

In striving to look natural while having your picture taken, imagine yourself a desperado, just planning a bloody murder and you will unquestionably be successful. New Orleans [LA] Item 15 January 1881: p. 2

Mrs Daffodil has been inspired by a comment on “Face-book” about American Duchess’s self-described “rant,” suggesting that the people of the past wore their best clothing for the photographer. There are many factors that went into the choice of costume for a sitting. To judge by the articles below, the photographer may have had more influence than he is credited with.

1860s lady portrait

How to Dress for a Photograph. 

A lady or gentleman, having made up her or his mind to be photographed, naturally considers, in the first place, how to be dressed to show off to the best advantage. This is by no means such an unimportant matter as some might imagine. Let me offer a few words of advice touching dress. Orange color, for certain optical reasons is photographically, black. Blue is white; other shades or tones of color, are proportionally darker or lighter as they contain more or less of these colors. The progressive scale of photographic color commences with the lightest. The order stands thus—white, light blue, violet, pink, mauve, dark blue, lemon, blue green, leather-bound, drab, cerise, magenta, yellow-green, dark brown, purple, red, amber, maroon, orange, dead-black. Complexion has to be much considered in connection with dress. Blondes can wear much lighter colors than brunettes, the latter always present better pictures in dark dresses, but neither look well in positive white. Violent contrasts of color should be especially guarded against. In photography, brunettes possess a great advantage over their fairer sisters. The lovely golden tresses lose all their transparent brilliancy and are represented black, where “the bonnie blue e’e,” theme of rapture to the poet, is misery to the photographer; for it is put entirely out. The simplest and most effective way of removing the yellow color from the hair is to powder it nearly white; it is thus brought to about the same photographic tint as in nature. The same rule, of course, applies to complexions. A freckle quite invisible at a short distance, it, on account of its yellow color, rendered most painfully distinct when photographed. The puff box must be called into the assistance of art.

Here let me intrude one word of general advice. Blue, as we have seen, is the most readily affected by light, and yellow the least; if therefore, you would keep your complexion clear and free from tan freckles whilst taking your delightful rambles at the seaside, discard by all means the blue veil, and substitute a dark green or yellow one in its stead. Blue tulle offers no more obstruction to the action of the actinic rays of the sun than white. Half a yard of yellow net, though perhaps not very becoming will be more efficacious and considerably cheaper than a quart of kaydor—All the Year Round Cincinnati [OH] Daily Enquirer 20 January 1865: p. 1

1870s lady portrait darker

The photographer might also have suggestions for assuming a particular expression, although one suspects a joke in this squib:

A photographer gives’ the following directions to his customers: “When a lady sitting for a picture would compose her mouth to a bland and serene character she should, just upon entering the room, say ‘Bosom,’ and keep the expression into which the mouth subsides until the desired effect in the camera is evident. If, on the other hand, she wishes to assume a distinguished and somewhat noble bearing, not suggestive of sweetness, she should say ‘Brush,’ the result of which is infallible. If she wishes to make her month look small she must say ‘Flip,’ but if the mouth be already too small, and needs enlarging, she must say ‘Cabbage.’ If she wishes to look mournful, she must say ‘Kerchunk,’ if resigned, she must forcibly ejaculate ‘S’cat.” Evening Post, 21 February 1880: p. 1

1880s upholstered lady portrait

Actresses and professional beauties made it their business to photograph well.

DRESSING FOR A PHOTOGRAPH

How Colors Change in the Camera Why Actresses Take the Best.

New York Sun.

“The question is often asked,” said an experienced photographer, “why actors and actresses take the most pleasing pictures. It is because they study the principles of art and good taste in their procession and understand how to dress. Moreover, they usually bring a selection of veils, flowers, curls, braids, lace and sometimes costumes to give the photographer a choice of accessories. They come when they are wholly at leisure and are not flustered. A red face takes black, and they know it. Then they do not load themselves down with gewgaws and haberdasheries, to show all that they have got in worldly goods. Few persons know how to dress for a picture like an actress.

The best materials for ladies to wear when about to sit for a photograph are such that will fold or drape nicely, like reps, winceys, poplins, satins and silks. Lavender, lilac, sky blue, purple and French blue take very light, and are worse for a picture than pure white. Corn color and salmon are better. China pink, rose pink, magenta, crimson, pea green, buff, plum color, dark purple, pure yellow Mazarine blue, navy blue, fawn color, Quaker color, dove color, ashes of roses and stone color show a pretty gray in the photograph. Scarlet, claret, garnet, sea green, light orange, leather color, light Bismarck and slate color take still darker and are excellent colors to photograph. Cherry, wine color, light apple green, Metternich green, dark apple green, bottle green, dark orange, golden and red brown show nearly the same agreeable color in the picture. A black silk always looks well, and it takes well if not bedecked with ribbons and laces that will take white. Dark Bismarck and snuff brown usually take blacker than a black silk or satin and are not easy to drape. A silk, because it has more gloss and reflects more light, usually takes lighter than a woolen dress. Ladies with dark or brown hair should avoid contrasts in their costumes, as light substances photograph more quickly than dark, and ladies with light hair should dress in something lighter than those whose hair is dark or brown.

Few ladies understand how to arrange their hair so as to harmonize with the form of the head, but blindly follow the fashion, be the neck long or short, or the face narrow or broad. A broad face appears more so if the hair is arranged low over the forehead or is parted at the side, and a long neck becomes stock-like when the hair is built up high, while a few curls would make a most agreeable change in the effect. Powdered hair gives good effect and powder should be bestowed upon freckles. Plain Dealer [Cleveland, OH] 24 May 1881: p. 4

pretty lady with feathers portrait

 

SITTING FOR PICTURES

THINGS NOT GENERALLY KNOWN ABOUT ARRANGING THE DRESS AND HAIR.

[By B. C. Towne, Photographer.]

“I wonder why I never take a good picture?” Is a question frequently asked, and often with good reason, too. Excellence in a picture depends partly on the artist and partly on the sitter, and, of course, the first rule to be observed is to visit a good photographer. The first thing necessary seems to be to decide what style you will have—bust, three-quarter figure, or full length. The first two are the prevailing modes; the last implying a more elaborate toilet. Before leaving the studio, consult the photographer as to your dress, etc. Let him know what it is to be. You may be undecided which of several to use. It there may be a choice in color or in cut, etc. He will tell you at once which is best. He may request you to try more than one, and in the absence of such invitation you will be expected to pay extra for the experiment…

He will probably request you not to dress the neck too high or too tight, or in an exact circle, with the fore part of it lying close under the chin, for, of all things, the present high mode of dressing the neck is distressing to an artistic photographer. It is done because the lady has a short neck or a long one, or it is thin, and the cords must be concealed. It is done, for it is the fashion. This is all a mistake. You are surprised when the photographer says it, for there is a touch of bitterness in his tone. He illustrates his meaning by winding the lapels of his coat tightly around his neck. “You see, madam, the effect on a long face like my own. It overhangs and becomes almost deformed, while a round face becomes button shaped, and none of the little tricks of hairdressing or expression can remedy it. No; it’s all a mistake. If your neck is short, as you say, do not lose what you have, lower the drapery, do a little judicious borrowing, and, presto! the face that was round becomes oval. In any case the neck must not be hidden, for all the action and grace of position in a bust portrait centers there.”

Black, dark green, crimson, brown, and yellow, take nearly the same shade. A dress cut low in the neck always seems higher in a photograph than to an observer. Mr. Towne has secured the services of a young lady from a leading gallery in Chicago, who will offer suggestions or assist ladies in draping or arranging minor details toward making up to the best advantage for a perfect picture. Patriot [Harrisburg, PA] 26 July 1888: p. 4

1908 figure portrait

HOW TO ACT BEFORE THE CAMERA.

ADVICE FROM A VETERAN PHOTOGRAPHER.

By A. Bogardus.

Dress as you are accustomed to do, and as your friends see you. Many ladies are inclined to overdress when getting a picture; that is, they dress for effect, and it generally results in so much damage to the picture. Do not disguise yourself either in dress or in the mode of wearing the hair. A gentleman once spoke to me in regard to making a picture of his wife. She came at the appointed time. I had never seen her before. The picture was delivered in due time, and was a success in execution. He gave me his opinion as follows:—”Your execution is well done, but it has no value to me as her hair was arranged as I had never seen it before, and as I never wish to see it again.”

The time was when the photographer required certain colors in dress to produce good effects. Now, with experience and the improvements in chemicals, these restrictions are removed. He can photograph white as well as black. The capable artist prides himself on his ability to show the most delicate and elaborate lace-work on the bridal dress.

With these restrictions no longer necessary, I would say—wear your most becoming dress.

Blue and pink will photograph white.

Purple will appear many shades lighter than it is in reality.

Red and deep yellow appear black, or nearly so.

Strong contrasts in dress or trimmings will give a gaudy effect.

Subdued and quiet colors make the neat picture. For example see the pictures of nuns, or the lovely pictures of Quaker ladies… An obnoxious mole too prominent for a beauty spot may be covered with wax, and powdered over. A light veiling may be draped over scars or bruises.

Unless you can smile naturally to order, don’t attempt to look pleasant, for the result may be heartrending. Omaha [NE] World Herald 21 December 1902: p. 19

1920s girl portrait

And, finally, there is advice about not wearing one’s newest or most fashionable gown for the photographer:

 How to Dress for the Photographer

It is a good rule to follow never to wear a new dress to the photographer’s. Not only do you show awkwardness that comes from wearing something with which you are not entirely familiar, but it is a well-known fact that new clothes are stiffer and hang in less graceful folds than do clothes that have been worn. The old frock has taken on the curves and lines of your body. It seems to have absorbed something of your personality.

And, of course, the old frock, if it is becoming, may be worn for a photograph when you might not select it for a party. If it is a little faded, or even shows signs of wear, this will not show in the photograph.

You may have noticed that certain pictures taken some time ago are almost grotesque now, while others of the same date are still satisfactory portraits. If you stop to observe you will see that the pictures that are still pleasing show no freaks or extremes of fashion. Collars and collar lines seem to be the details that most quickly look out of date; hence the wisdom in always having your picture taken with a low neck line if possible.

Hats, too, date a picture. The picture you had taken without a hat you will like to display for a longer time than the picture that shows its date by the hat you wore.

Jewelry does not add to the effect of a picture and often detracts much. Baltimore [MD] American 9 October 1921: p. 5

Mrs Daffodil’s Aide-memoire: Sound words from the professionals! It is most interesting that the suggestions about colours and about powder are so very consistent over several decades. As for wearing one’s best clothing, Mrs Daffodil has seen interviews with photographers stating that they kept clothing to be used by clients and that some persons would don top hats, watch chains, and fraternal organisation regalia for the camera, sending the finished photographs to their families back in “the old country.”

Mrs Daffodil has previously written of the Tin-type Girls—the scourge of the sea-side photographer, as well as a fad for being photographed as an Egyptian mummy. There are also posts on post-mortem photography and spirit photographs under the “Photography” category.

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 Promiscuous Giving of Photographs:” 1888

 

A miniature photograph similar in size to the ones mentioned in the story. Her head is about an inch and a half high.

A miniature photograph similar in size to the ones mentioned in the story. Her head is about an inch and a half high.

The Latest Thing in Stationery.

One of the latest “fads” among the New York society youths is to have engraved at the bottom of their stationery, a small square, about the size of a postage stamp, in which they insert their own photograph, instead of signing the name. The pictures, when finished and ready for use, are just the size of a postage stamp, and are ordered by the dozens and tens of dozens. Some of them have the eyes, cheeks, lips and hair colored like the original, in which case they become very expensive.

It is hard to determine to what extravagance vanity will carry itself, but it certainly seems a great piece of conceit to deliberately paste one’s likeness upon every letter or note written to acquaintances. This promiscuous giving of photographs is a bad idea at the best. Among dear friends and relatives the exchange is always a pleasure, but when it comes to scattering one’s own pictures broadcast among mere acquaintances, it becomes nothing more or less than conceit. How can anyone be sure what will become of a likeness when in the possession of any but those who will hold it sacred?

It is almost sure to be placed in a row with a dozen others, or “lumped” with the collection and carelessly tossed somewhere in a heap, subject to the inspection and remarks of any who care to gaze at it. Photographs are a reflection of one’s own self, and it seems as if persons lose identity when their features are mixed up with a dozen others, not one of them able to say a word for themselves. Style or no style, the sending of a photograph instead of signing the name, shows a vast amount of self-conceit. Imagine the blow it would receive should the recipient of a missive chance to have forgotten the sender’s name and appearance—a thing which is by no means an impossibility. Toledo Blade

Times-Picayune [New Orleans, LA] 6 January 1888: p. 4

Mrs Daffodil’s Aide-memoire: Plus ça change… Mrs Daffodil fears that no one heeded the timely warning of the author about the promiscuous distribution of photographs. One can only sigh and turn the page when one sees the hundreds of Facebook albums littered with self-portraits. Those who persist in flaunting these photographs invariably favour states of undress popular on French post-cards and pouting lips that would be stimulating to only the most hardened roué of an ichthyologist. And when one reads of adolescents and politicians caught in the distasteful practice of “sexting,” well, what will  become of a likeness when in the possession of any but those who will hold it sacred?

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 rituals gone horribly wrong, and, of course, Mrs Daffodil’s efficient tidying up after a distasteful decapitation in A Spot of Bother: Four Macabre Tales.