Below is a brief outline over the 19th century for the treatment of Hepatitis. As I was preparing this list I couldn't help but thank the Lord that I was born in this time period than back in that one. If your characters develop this disease, I sure do pity them.
In the American Journal of Medical Sciences Vol. 8 ©1830 the treatment for hepatitis was the use of leeches and bleeding.
I found a reference in the Medical Examiner ©1839 that mentions the use of the "blue pill" but also the use of the leeches.
Leeches and Bleeding is still standard course of treatment in 1845 cited in the Half-yearly abstract of the medical sciences. It also states a light diet is in order.
In 1871 Beeton's Medical Dictionary it states that blood letting is not recommended now except in severe cases. It mentions the most common treatment is to try to an support the system during the course of the disease. It also mentions the possibility of using Mercury.
In 1885 A Revised and Enlarged Edition of Clark's new system of electrical medication we find the use of electricity as the practice of apply the current to 'as much as the patient can bear' for 20 minutes once or twice a day.
In 1899 The Practitioner's manual, by Charles Allen acknowledges that the treatment is symptomatic, in other words it only treats the symptoms not the cause of the disease.
Showing posts with label 1839. Show all posts
Showing posts with label 1839. Show all posts
Friday, June 23, 2017
Tuesday, April 11, 2017
Etiquette & Manners
Etiquette & Manners is something often discussed on some of my of the writer loops I belong to as they pertain to the 19th century. Through Google books I've found a great source of books regarding such topics. Below is a list ordered by the year they were published. I've gathered this resource list over the past two years from Google Books. Hope it helps you in your search for proper behavior in the time period of your setting.
1832 Domestic Manners of the Americans
1835 Pencil Sketches
1837 The Young Lady's Friend
1839 Miss Leslie's Behavior Book
1842 Elegant Extracts
1843 Etiquette or, A Guide to The Usages of Society with a Glance at Bad Habits
1854 Etiquette Social Ethics and the Curtiousy of Society
1854 The Behavior Book
1860 The Gentlemen's Book of Etiquette and Manners
1860 The Hand Book of Etiquette
1866 Marine's Sensible Letter Writer
1868 Manners or Happy Homes
1870 Good Manners a Manual of Ediquette
1872 The Ladie's Book of Etiquette and Manual of Politeness
1873 The Gentlemen's Book of Etiquette and Manual of Politeness
1884 Don't: A Manual of Mistakes and Improprieties More or Less
1888 Manners
1889 American Etiquette and Rules of Politeness
1889 Perfect Etiquette or How to Behave in social...
1892 Etiquette An Answer to the Riddle, When? Where? How?
1896 Social Etiquette or Manners and Customs of Polite Society
1897 Manners for Men
1897 Practical Letter Writing
1899 Twenty Letters in Letter Writing and Business
1832 Domestic Manners of the Americans
1835 Pencil Sketches
1837 The Young Lady's Friend
1839 Miss Leslie's Behavior Book
1842 Elegant Extracts
1843 Etiquette or, A Guide to The Usages of Society with a Glance at Bad Habits
1854 Etiquette Social Ethics and the Curtiousy of Society
1854 The Behavior Book
1860 The Gentlemen's Book of Etiquette and Manners
1860 The Hand Book of Etiquette
1866 Marine's Sensible Letter Writer
1868 Manners or Happy Homes
1870 Good Manners a Manual of Ediquette
1872 The Ladie's Book of Etiquette and Manual of Politeness
1873 The Gentlemen's Book of Etiquette and Manual of Politeness
1884 Don't: A Manual of Mistakes and Improprieties More or Less
1888 Manners
1889 American Etiquette and Rules of Politeness
1889 Perfect Etiquette or How to Behave in social...
1892 Etiquette An Answer to the Riddle, When? Where? How?
1896 Social Etiquette or Manners and Customs of Polite Society
1897 Manners for Men
1897 Practical Letter Writing
1899 Twenty Letters in Letter Writing and Business
Tuesday, February 21, 2017
Milk Paint
Milk Paint
A fellow historical author Vicki McDonough asked about Milk paint on a writer's loop. I'm posting some recipes and information about this commonly used paint. It was even used in the 20th century. As you'll see by the recipes below there were other additives placed in the paint, like the first recipe adds linseed oil. This changes the paints drying time and luster. If the paint is simply milk and lime it is a flat paint, without color it was used on many walls to brighten up the homes. The lack of fumes was another consideration of preference for this paint. Vicki's question dealt with aged paint, in my limited experience, I've mainly seen it worn off, I've never seen in flake or peel. (however, I spoke with my husband who's been house painting for 40 years, he says it powders.) You can still purchase milk paint today and if you like the antique look on furniture milk paint might just be the way to go.
Many of the sources in Google books take from the 1825 copy from Smith's Art of House Painting. This source notates that it comes from Smith's book but was written much later in 1839.
Milk Paint. Take of skimmed milk nearly two quarts; of fresh slacked lime, about six ounces and a half; of linseed oil four ounces, and of whiting three pounds: put the lime into a stone vessel, and pour upon it a sufficient quantity of milk to form a mixture, resembling thin cream; then add the oil a little at a time, stirriitg it with a small spatula; the remaining milk is then to be added, and lastly the whiting. The milk must on no account be sour. Slake the lime by dipping the pieces in water, out of which it is to be immediately taken, and left to slack in the air. For fine white paint, the oil of caraways is best, because colourless; but with ochres the commonest oils may be used. The oil, when mixed with the milk and lime, entirely disappears, and is totally dissolved by the lime, forming a calcareous soap. The whiting, or ochre, is to be gently crumbled on the surface of the fluid, which it gradually imbibes, and at last sinks: at this period it must be well stirred in. This paint may be coloured like distemper or size-colour, with levigated charcoal, yellow ochre, ftc., and used in the same manner. The quantity here prescribed is sufficient to cover twentyseven square yards with the first coat, and it will cost about three-halfpence a yard. The same paint will do for out-door work by the addition of two ounces of slaked lime; two ounces of linseed oil, and two ounces of white Burgundy pitch; the pitch to be melted in a gentle heat with the oil, and then added to the smooth mixture of the milk and lime. In cold weather it must be mixed warm, to facilitate its incorporation with the milk. (Smith's Art of House-Painting, 1825, p. 26.)
Source: An Encyclopaedia of Cottage, Farm, and Villa architecture and furniture ©1839 pg277
Another recipe:
"Milk Paint.—A paint has been used on the-Continent with success, made from milk and lime, that dries quicker than oil paint, and has no smell. It is made in the following manner: Take fresh curds and bruise the lumps on a grinding-stone, ! or in an earthen pan, or mortar, with a spatula or strong spoon. Then pmt them into a pot with an equal quantity of lime, well slacked with water, to make it just thick enough to-be kneaded. Stir this i mixture without adding more water, and a white : coloured fluid will soon be obtained, which will serve as a paint. It may be laid on with a brush with as much ease as varnish, and it dries very speedily. It must, however, be used tho same day it is made, for if kept till next day k will be too thick: consequently no more must be mixed up at one, time than can be laid on in a day. If any colour be required, any of the ochres, as yellow ochre, or red ochre, or umber, may be mixed with it in any proportion. Prussian blue would be changed by the lime. Two coats of this paint will be sufficient, and when quite dry it may be polished with a piece of woolen cloth, or similar substance, and il will become as bright as varnish. It will only do for inside work ; but it will last longer if varnished i over with white of egg after it has been polished." j "The following receipt for milk paint is given in •Smith's Art of House Painting:' Take of skimmed milk nearly two quarts ; of fresh-slacked lime i about six ounces and a half; of linseed oil four I ounces, and of whiting three pounds ; put the lime j into a stone vessel, and pour upon it a sufficient quantity of milk to form a mixture resembling thin cream ; then add the oil, a little at a time, stirring i it with a small spatula ; the remaining milk is then to be added, and lastly the whiting. 1116 milk must I on no account be sour. Slack the lime by dipping the pieces in water, out of which it is to be immediately taken, and left to slack in the air. For fine white paint the oil of caraway is best, because -colourless; but with ochres the commonest oils may be used. The oil, when mixed with the milk and lime, entirely disappears, and is totally dissolved by the lime, forming a calcareous soap. The whiting or ochre is to be gently crumbled on the surface of the fluid, which it gradually imbibes, and at last sinks: at this period it must be well stirred in. This paint may be coloured like distemper or size-colour, with levigated chartoal, yellow ochre, &<:., and used in the same manner. The quantity here prescribed is sufficient to cover twenty-seven square yards with the first coat, and it will cost about three halfpence a yard. The same paint will do for outdoor work by the addition of two ounces of slacked lime, two ounces of linseed oil, and two ounces of white Burgundy pitch: the pitch to be melted in a gentle heat with the oil, and then added to the smooth mixture of the milk and lime. In oold weather it must be mixed warm, to facilitate its incorporation with the milk."
Source: Western Farmer and Gardener Vol 2 ©1846 pg327
And finally at the end of the century we have this recipe:
Skim Milk Paint.
A method of painting farm buildings and country houses, while by no means new, is yet so little known and so deserving of wider application as to warrant a description, says an exchange. The paint has but two parts, both cheap materials, being water lime or hydraulic cement and skim milk. The cement is placed in a bucket, and the skim milk, sweet, is gradually added, stirring constantly until just about the consistency of good cream. The stirring must be thoroughly done to have an even flow, and if too thin the mixture will run on the building and look streaked. The proportions cannot be exactly stated, but a gallon of milk requires a full quart of cement, and sometimes a little more. This is a convenient quantity to mix at a time for one person to use. If too much is prepared the cement will settle and harden before all is used.
A flat paintbrush about four inches wide is the best implement to use with this mixture. Lay it on exactly as with oil paint. It can be applied to woodwork, old or new, and brick and stone. When dry, the colour is a light creamy brown, or what some would call yellowish stone colour. The skim milk cement paint, well mixed, without adding colour has a good body, gives smooth satisfactory finish on either wood or stone and wears admirably.—American Mechanic.
Source Agricultural Journal of the Cape of Good Hope Vol. 10 ©1897 pg424
A fellow historical author Vicki McDonough asked about Milk paint on a writer's loop. I'm posting some recipes and information about this commonly used paint. It was even used in the 20th century. As you'll see by the recipes below there were other additives placed in the paint, like the first recipe adds linseed oil. This changes the paints drying time and luster. If the paint is simply milk and lime it is a flat paint, without color it was used on many walls to brighten up the homes. The lack of fumes was another consideration of preference for this paint. Vicki's question dealt with aged paint, in my limited experience, I've mainly seen it worn off, I've never seen in flake or peel. (however, I spoke with my husband who's been house painting for 40 years, he says it powders.) You can still purchase milk paint today and if you like the antique look on furniture milk paint might just be the way to go.
Many of the sources in Google books take from the 1825 copy from Smith's Art of House Painting. This source notates that it comes from Smith's book but was written much later in 1839.
Milk Paint. Take of skimmed milk nearly two quarts; of fresh slacked lime, about six ounces and a half; of linseed oil four ounces, and of whiting three pounds: put the lime into a stone vessel, and pour upon it a sufficient quantity of milk to form a mixture, resembling thin cream; then add the oil a little at a time, stirriitg it with a small spatula; the remaining milk is then to be added, and lastly the whiting. The milk must on no account be sour. Slake the lime by dipping the pieces in water, out of which it is to be immediately taken, and left to slack in the air. For fine white paint, the oil of caraways is best, because colourless; but with ochres the commonest oils may be used. The oil, when mixed with the milk and lime, entirely disappears, and is totally dissolved by the lime, forming a calcareous soap. The whiting, or ochre, is to be gently crumbled on the surface of the fluid, which it gradually imbibes, and at last sinks: at this period it must be well stirred in. This paint may be coloured like distemper or size-colour, with levigated charcoal, yellow ochre, ftc., and used in the same manner. The quantity here prescribed is sufficient to cover twentyseven square yards with the first coat, and it will cost about three-halfpence a yard. The same paint will do for out-door work by the addition of two ounces of slaked lime; two ounces of linseed oil, and two ounces of white Burgundy pitch; the pitch to be melted in a gentle heat with the oil, and then added to the smooth mixture of the milk and lime. In cold weather it must be mixed warm, to facilitate its incorporation with the milk. (Smith's Art of House-Painting, 1825, p. 26.)
Source: An Encyclopaedia of Cottage, Farm, and Villa architecture and furniture ©1839 pg277
Another recipe:
"Milk Paint.—A paint has been used on the-Continent with success, made from milk and lime, that dries quicker than oil paint, and has no smell. It is made in the following manner: Take fresh curds and bruise the lumps on a grinding-stone, ! or in an earthen pan, or mortar, with a spatula or strong spoon. Then pmt them into a pot with an equal quantity of lime, well slacked with water, to make it just thick enough to-be kneaded. Stir this i mixture without adding more water, and a white : coloured fluid will soon be obtained, which will serve as a paint. It may be laid on with a brush with as much ease as varnish, and it dries very speedily. It must, however, be used tho same day it is made, for if kept till next day k will be too thick: consequently no more must be mixed up at one, time than can be laid on in a day. If any colour be required, any of the ochres, as yellow ochre, or red ochre, or umber, may be mixed with it in any proportion. Prussian blue would be changed by the lime. Two coats of this paint will be sufficient, and when quite dry it may be polished with a piece of woolen cloth, or similar substance, and il will become as bright as varnish. It will only do for inside work ; but it will last longer if varnished i over with white of egg after it has been polished." j "The following receipt for milk paint is given in •Smith's Art of House Painting:' Take of skimmed milk nearly two quarts ; of fresh-slacked lime i about six ounces and a half; of linseed oil four I ounces, and of whiting three pounds ; put the lime j into a stone vessel, and pour upon it a sufficient quantity of milk to form a mixture resembling thin cream ; then add the oil, a little at a time, stirring i it with a small spatula ; the remaining milk is then to be added, and lastly the whiting. 1116 milk must I on no account be sour. Slack the lime by dipping the pieces in water, out of which it is to be immediately taken, and left to slack in the air. For fine white paint the oil of caraway is best, because -colourless; but with ochres the commonest oils may be used. The oil, when mixed with the milk and lime, entirely disappears, and is totally dissolved by the lime, forming a calcareous soap. The whiting or ochre is to be gently crumbled on the surface of the fluid, which it gradually imbibes, and at last sinks: at this period it must be well stirred in. This paint may be coloured like distemper or size-colour, with levigated chartoal, yellow ochre, &<:., and used in the same manner. The quantity here prescribed is sufficient to cover twenty-seven square yards with the first coat, and it will cost about three halfpence a yard. The same paint will do for outdoor work by the addition of two ounces of slacked lime, two ounces of linseed oil, and two ounces of white Burgundy pitch: the pitch to be melted in a gentle heat with the oil, and then added to the smooth mixture of the milk and lime. In oold weather it must be mixed warm, to facilitate its incorporation with the milk."
Source: Western Farmer and Gardener Vol 2 ©1846 pg327
And finally at the end of the century we have this recipe:
Skim Milk Paint.
A method of painting farm buildings and country houses, while by no means new, is yet so little known and so deserving of wider application as to warrant a description, says an exchange. The paint has but two parts, both cheap materials, being water lime or hydraulic cement and skim milk. The cement is placed in a bucket, and the skim milk, sweet, is gradually added, stirring constantly until just about the consistency of good cream. The stirring must be thoroughly done to have an even flow, and if too thin the mixture will run on the building and look streaked. The proportions cannot be exactly stated, but a gallon of milk requires a full quart of cement, and sometimes a little more. This is a convenient quantity to mix at a time for one person to use. If too much is prepared the cement will settle and harden before all is used.
A flat paintbrush about four inches wide is the best implement to use with this mixture. Lay it on exactly as with oil paint. It can be applied to woodwork, old or new, and brick and stone. When dry, the colour is a light creamy brown, or what some would call yellowish stone colour. The skim milk cement paint, well mixed, without adding colour has a good body, gives smooth satisfactory finish on either wood or stone and wears admirably.—American Mechanic.
Source Agricultural Journal of the Cape of Good Hope Vol. 10 ©1897 pg424
Tuesday, November 29, 2016
19th Century Photography
Wikipedia has a great overview of the history of the camera. There are a few dates that should be noted for those of us who write historical fiction.
In 1839 the first commercially produced camera, a Daguerreotype Giroux was sold.
1840 an American Chamfered daguerreian was made
Daguerrotypes are shown at the Great Exhibit in London in 1851 by 1853 New York Daily Tribune estimates that in the US 3 million daguerrotypes are being produced yearly.
The first studio that took portrait shots opened in 1853 in Paris.
In 1854 a boom of portrait studios worldwide over the next decade.
1859 a panoramic camera was invented.
1861-1865 Civil War is photographed by Mathew Brady and staff creating 7000 negatives.
Color Photography is introduced to the world in 1868
Eastman sets up Dry Plate Company in 1880
In 1887 a detective camera was patented by Eastman.
1888 First Kodak camera containing 20 foot roll of paper.
1889 first Kodak camera containing film
1900 Brownie camera introduced.
And behind every camera there is a photographer. I stumbled on this page and thought it might be helpful as well. It is a list of 19th century photographers, along with the dates they were in operation and where. Wikipedia has a great overview of the history of the camera. There are a few dates that should be noted for those of us who write historical fiction.
In 1839 the first commercially produced camera, a Daguerreotype Giroux was sold.
1840 an American Chamfered daguerreian was made
Daguerrotypes are shown at the Great Exhibit in London in 1851 by 1853 New York Daily Tribune estimates that in the US 3 million daguerrotypes are being produced yearly.
The first studio that took portrait shots opened in 1853 in Paris.
In 1854 a boom of portrait studios worldwide over the next decade.
1859 a panoramic camera was invented.
1861-1865 Civil War is photographed by Mathew Brady and staff creating 7000 negatives.
Color Photography is introduced to the world in 1868
Eastman sets up Dry Plate Company in 1880
In 1887 a detective camera was patented by Eastman.
1888 First Kodak camera containing 20 foot roll of paper.
1889 first Kodak camera containing film
1900 Brownie camera introduced.
And behind every camera there is a photographer. I stumbled on this page and thought it might be helpful as well. It is a list of 19th century photographers, along with the dates they were in operation and where.
In 1839 the first commercially produced camera, a Daguerreotype Giroux was sold.
1840 an American Chamfered daguerreian was made
Daguerrotypes are shown at the Great Exhibit in London in 1851 by 1853 New York Daily Tribune estimates that in the US 3 million daguerrotypes are being produced yearly.
The first studio that took portrait shots opened in 1853 in Paris.
In 1854 a boom of portrait studios worldwide over the next decade.
1859 a panoramic camera was invented.
1861-1865 Civil War is photographed by Mathew Brady and staff creating 7000 negatives.
Color Photography is introduced to the world in 1868
Eastman sets up Dry Plate Company in 1880
In 1887 a detective camera was patented by Eastman.
1888 First Kodak camera containing 20 foot roll of paper.
1889 first Kodak camera containing film
1900 Brownie camera introduced.
And behind every camera there is a photographer. I stumbled on this page and thought it might be helpful as well. It is a list of 19th century photographers, along with the dates they were in operation and where. Wikipedia has a great overview of the history of the camera. There are a few dates that should be noted for those of us who write historical fiction.
In 1839 the first commercially produced camera, a Daguerreotype Giroux was sold.
1840 an American Chamfered daguerreian was made
Daguerrotypes are shown at the Great Exhibit in London in 1851 by 1853 New York Daily Tribune estimates that in the US 3 million daguerrotypes are being produced yearly.
The first studio that took portrait shots opened in 1853 in Paris.
In 1854 a boom of portrait studios worldwide over the next decade.
1859 a panoramic camera was invented.
1861-1865 Civil War is photographed by Mathew Brady and staff creating 7000 negatives.
Color Photography is introduced to the world in 1868
Eastman sets up Dry Plate Company in 1880
In 1887 a detective camera was patented by Eastman.
1888 First Kodak camera containing 20 foot roll of paper.
1889 first Kodak camera containing film
1900 Brownie camera introduced.
And behind every camera there is a photographer. I stumbled on this page and thought it might be helpful as well. It is a list of 19th century photographers, along with the dates they were in operation and where.
Tuesday, November 1, 2016
Salt
Hi all,
I stumbled across some information regarding the history of Cape Cod that mentioned salt making and the amount of salt produced annually. In the report dated 1839 is stated "About two millions of dollars are invested in the manufacture of salt. There were manufactured in this county in the year ending April 1,1837, 669,064 bushels of salt, valued at $219,870. " (John Hayward's 1839 New England Gazetteer). This made me wonder just how they made salt from salt water, oh I know it means evaporating the water out of the ocean but I wondered just how they went about doing it.
So I found this brief description from the "Library of Cape Cod History and genealogy, Issue 78 page 30 ©1912 that I found very informative. I hope you do as well.
Prior to 1860 and particularly early in the 19th century, shipbuilding was carried on to some extent, small vessels being turned out of the works. In 1845 six vessels were built and in 1855 fifteen. The business of making salt by the evaporation of sea water was early established here Extensive shallow vats were built along the shores of the bays, equipped with movable roofs so that they could be covered on the approach of rain. The water was pumped into them by windmills. The last works that were operated were those of Jesse Nickerson on the neck where the hotel Chatham stood. These were closed about 1886. In 1802 there were six salt works in the town; in 1837, 80, producing annually 27,400 bushels, worth $8,220; in 1845, 54, producing 18,000 bushels; and in 1855, 14, producing 3,300 bushels. The industry ceased to pay and began to decline when duties on salt were lowered, when the State bounty was removed, when salt springs in New York and elsewhere in the country came to be developed, and when the price of pine lumber necessary in the construction of the works rose to a high level. General manufacturing was never carried on here to any extent.
I stumbled across some information regarding the history of Cape Cod that mentioned salt making and the amount of salt produced annually. In the report dated 1839 is stated "About two millions of dollars are invested in the manufacture of salt. There were manufactured in this county in the year ending April 1,1837, 669,064 bushels of salt, valued at $219,870. " (John Hayward's 1839 New England Gazetteer). This made me wonder just how they made salt from salt water, oh I know it means evaporating the water out of the ocean but I wondered just how they went about doing it.
So I found this brief description from the "Library of Cape Cod History and genealogy, Issue 78 page 30 ©1912 that I found very informative. I hope you do as well.
Prior to 1860 and particularly early in the 19th century, shipbuilding was carried on to some extent, small vessels being turned out of the works. In 1845 six vessels were built and in 1855 fifteen. The business of making salt by the evaporation of sea water was early established here Extensive shallow vats were built along the shores of the bays, equipped with movable roofs so that they could be covered on the approach of rain. The water was pumped into them by windmills. The last works that were operated were those of Jesse Nickerson on the neck where the hotel Chatham stood. These were closed about 1886. In 1802 there were six salt works in the town; in 1837, 80, producing annually 27,400 bushels, worth $8,220; in 1845, 54, producing 18,000 bushels; and in 1855, 14, producing 3,300 bushels. The industry ceased to pay and began to decline when duties on salt were lowered, when the State bounty was removed, when salt springs in New York and elsewhere in the country came to be developed, and when the price of pine lumber necessary in the construction of the works rose to a high level. General manufacturing was never carried on here to any extent.
Thursday, September 15, 2016
Mardi Gras
The first Mardi Gras was February 27, 1827 in New Orleans, Louisiana. Early French settlers practiced Mardi Gras in other areas before New Orleans but it by the end of the 17th century Spanish Governors put an end to the celebration. AFter Louisiana became a state the residents of New Orleans managed to have the ban on wearing masks and dancing/partying in the streets.
The original Mardi Gras was a group of students, who had returned from school in Paris, wore masks and costumes and danced through the streets on the last day of Carnival season. Also known as Fat Tuesday because it was the day before Ash Wednesday.
Ten years later in 1837 the first "organized' Mardi Gras parade was started. It was reported in 1839 that there was only one float but people marveled at the parade and it was considered a successful event.
In 1872 Grand Duke Alexis Romanoff from Russia attended the parade. It was through his presence and influence that the traditional colors of Mardi Gras were adopted. Purple as the symbol of Justice, green as the symbol of faith and gold as the symbol of power.
The original Mardi Gras was a group of students, who had returned from school in Paris, wore masks and costumes and danced through the streets on the last day of Carnival season. Also known as Fat Tuesday because it was the day before Ash Wednesday.
Ten years later in 1837 the first "organized' Mardi Gras parade was started. It was reported in 1839 that there was only one float but people marveled at the parade and it was considered a successful event.
In 1872 Grand Duke Alexis Romanoff from Russia attended the parade. It was through his presence and influence that the traditional colors of Mardi Gras were adopted. Purple as the symbol of Justice, green as the symbol of faith and gold as the symbol of power.
Friday, August 19, 2016
NY Canals 1860
According to the History of Railroads & Canals ©1860, the state of NY reported this list of Canals.
NEW YORK STATE CANALS
Erie Canal. Opened in 1825
Champlain Canal. Completed in 1819
Black River Canal. (was a feeder canal to Erie)
Oneida Lake Canal. Completed in 1802
Oswego Canal. Opened in 1828
Seneca River Towing Path. completed in 1839
Baldwinsville Side-cut. purchased by the state in 1853
Cayuga And Seneca Canal. completed in 1839
Crooked Lake Canal. completed in 1833
Chemung Canal. completed in 1833
Chenango Canal. commencement of work 30th Sept. 1859
Genesee Valley Canal. completed in 1859
NEW YORK STATE CANALS
Erie Canal. Opened in 1825
Champlain Canal. Completed in 1819
Black River Canal. (was a feeder canal to Erie)
Oneida Lake Canal. Completed in 1802
Oswego Canal. Opened in 1828
Seneca River Towing Path. completed in 1839
Baldwinsville Side-cut. purchased by the state in 1853
Cayuga And Seneca Canal. completed in 1839
Crooked Lake Canal. completed in 1833
Chemung Canal. completed in 1833
Chenango Canal. commencement of work 30th Sept. 1859
Genesee Valley Canal. completed in 1859
Friday, August 12, 2016
Pasta Tidbit
As common of a staple this is in our American diet today it was not the case in the 19th Century. Yes, Thomas Jefferson did bring home to the white house a pasta maker in the 1789, but it wasn't until the Italian Immigrants came to America in the 1880's to 1900 that pasta became intertwined in our American diets.
In Northern Italy in 1824 the Agnese family opened the very first pasta factory.
The first written record of a tomato sauce recipe is 1839.
In Northern Italy in 1824 the Agnese family opened the very first pasta factory.
The first written record of a tomato sauce recipe is 1839.
Friday, August 5, 2016
Wallpaper
Wallpaper wasn't a new in the 19th century, in fact, Eqyptian's were said to have used wallpaper. All sorts of wallcoverings have been used over the years, fabrics & thick hand woven wool rugs to name a couple.
In 1839 however, a machine was invented that changed wallpaper for ever. Prior to this invention the prints on the paper were block printing and hand painted on the paper. But once this wallpaper printer was invented. Image below:

Wallpaper became a product more and more people could afford. Potters of Darwen in Lancashire, England, adapted a printing machine for wallpaper and patented it 1839.
In 1839 however, a machine was invented that changed wallpaper for ever. Prior to this invention the prints on the paper were block printing and hand painted on the paper. But once this wallpaper printer was invented. Image below:

Wallpaper became a product more and more people could afford. Potters of Darwen in Lancashire, England, adapted a printing machine for wallpaper and patented it 1839.
Friday, February 26, 2016
The Wedding Dress
For those of us who've gotten married, the wedding dress can be hard to find just the right one. On the other hand, some of us just want to get married and the less fan-fare the better. It was no different for the ladies of the 19th Century as it is/was for us today. In fact an entire novel was written "The Wedding Dress" by Fanny Wheeler ©1876.
A drama was written titled "The Wedding Gown" and had two acts. ©1837
Below is an excerpt from "The Highland Inn" ©1839 about wedding dresses which I found quite fun:
When any thing occurs to annoy or to vex me, when my mind is irritated or my temper ruffled, in order to sooth the one and to daughter's wedding. Luckily for the proprieties of the thing, he fell into a grave the week before, 'sprained his ankle, and was obliged to have a deputy, both to give his daughter away, and to perform the responses. The bride looked more than usually beautiful, although there was a delicacy in her complexion which still augured ill health; and it was even then prophesied, by some of the croakers of the place, that she would not enjoy her prosperity long: but the more favourable observation was, that her ill health made her look the more like a lady, and fitter to be the parson's wife. My Aunt has still a picture of her in her wedding dress. By the bye, I think wedding dresses in general the most tawdry, ill-fitting things. I have a friend who wears hers regularly every year, and supposes that a dress made for her when she was thin and pretty can suit her when she has had a dozen children. But my mother's was a very simple attire. Her rich hair, untutored by the fashion of the time to travel upwards, when nature intended it to shade her fair forehead, was suffered to appear in unadorned ringlets under a white lace veil, the present of my great great Aunt Tabitton, who sent it to her from Northamptonshire. I forget the other details of her dress; nor will you expect me to give you a dissertation on her dress with the same precision as the Ladies' Magazine, or the Belle Assemblee. But this I know, that she not only looked so lovely, that the ladies, in allusion to a novel of Miss Burney's, called her Evelina, but also so elegant, that some of the genteelest people in Averford were proud to speak of her afterwards as their acquaintance. Indeed, it was remarkable that those who had not deemed her worth a glance, as they passed her, now began to speak of her as ' their friend Miss Middleton, their charming protegee, their sweet and interesting early acquaintance.'
"For my father, I am told that he was the handsomest bridegroom that had been seen in Averford for a century: but that is not saying much. However, he looked like what he was, the Honourable and Reverend Mr. Percival; and, I may say, conducted himself as such. My mother trembled as the solemn service proceeded; but the tears were all shed by her sister and her fond mother, the latter especially, who foresaw, in her child's elevation, estrangement from her humble home. Miss Courtenay was not present; for she was absent from her home, on a hasty excursion to the Lakes.
A drama was written titled "The Wedding Gown" and had two acts. ©1837
Below is an excerpt from "The Highland Inn" ©1839 about wedding dresses which I found quite fun:
When any thing occurs to annoy or to vex me, when my mind is irritated or my temper ruffled, in order to sooth the one and to daughter's wedding. Luckily for the proprieties of the thing, he fell into a grave the week before, 'sprained his ankle, and was obliged to have a deputy, both to give his daughter away, and to perform the responses. The bride looked more than usually beautiful, although there was a delicacy in her complexion which still augured ill health; and it was even then prophesied, by some of the croakers of the place, that she would not enjoy her prosperity long: but the more favourable observation was, that her ill health made her look the more like a lady, and fitter to be the parson's wife. My Aunt has still a picture of her in her wedding dress. By the bye, I think wedding dresses in general the most tawdry, ill-fitting things. I have a friend who wears hers regularly every year, and supposes that a dress made for her when she was thin and pretty can suit her when she has had a dozen children. But my mother's was a very simple attire. Her rich hair, untutored by the fashion of the time to travel upwards, when nature intended it to shade her fair forehead, was suffered to appear in unadorned ringlets under a white lace veil, the present of my great great Aunt Tabitton, who sent it to her from Northamptonshire. I forget the other details of her dress; nor will you expect me to give you a dissertation on her dress with the same precision as the Ladies' Magazine, or the Belle Assemblee. But this I know, that she not only looked so lovely, that the ladies, in allusion to a novel of Miss Burney's, called her Evelina, but also so elegant, that some of the genteelest people in Averford were proud to speak of her afterwards as their acquaintance. Indeed, it was remarkable that those who had not deemed her worth a glance, as they passed her, now began to speak of her as ' their friend Miss Middleton, their charming protegee, their sweet and interesting early acquaintance.'
"For my father, I am told that he was the handsomest bridegroom that had been seen in Averford for a century: but that is not saying much. However, he looked like what he was, the Honourable and Reverend Mr. Percival; and, I may say, conducted himself as such. My mother trembled as the solemn service proceeded; but the tears were all shed by her sister and her fond mother, the latter especially, who foresaw, in her child's elevation, estrangement from her humble home. Miss Courtenay was not present; for she was absent from her home, on a hasty excursion to the Lakes.
Thursday, August 20, 2015
1839 Furnishings Part 3
Wash Stands for japanned work.
Teapoys.
Varying considerably from the design in plate 3, particularly in the forms of the blocks; the supports of the lower two are of very plain turned work, intended for French polish.
A Toilet
Table And Glass.—Stuffing is introduced upon the stretcher rail, as a rest for the feet; and a draw is at each end instead of the usual one in front, as being more convenient for the person while sitting at the table.
Ladies' Work Tables,
The first has a draw in front and a pouch formed by ribs of thick wire, which falls, and forms an opening, by disengaging the snap beneath the centre of the draw.
Thursday, August 13, 2015
1839 Furnishings Part 2
Sofas.
The principal ornamental parts are intended to be carved in relief only, and the leaves in the front rail of the first design are produced by being first ploughed like a moulding and then cut into form.
Sofa Ends
Couches.—The very plain parts, which frequently occur in the turned work, (and here are seen in the legs of the first Couch) are intended to shew the beauty of the French polish; and when a hanging husk appears as from the scroll, it should be in slight relief only.
Couch Ends
Couches.
The rosettes introduced here and in many of the other plates, it should be remembered, are intended to be turned by the lathe into the form, and then finished by being channeled into leaves, as a saving in the expence of carving.
Sofas.
The carved work of these should be neatly executed and of very delicate projection, otherwise a vulgarity in appearance would be the consequence.
Thursday, August 6, 2015
1839 Furnishings
Below are some designs from early 19th century furnishings with a brief description.
The first are Ladies' Work Tables.
The top of the first lifts up by hinges and shews a circle of divisions, containing pin-cushion, scissors, needle-cases, &c., the centre of which is open to the space below for fancy work.
The second has the top made to slide back, in order that the table may be opened without disturbing whatever might be lying on it at the time; the interior is fitted up the same as the first, except that the forms will be square instead of circular.
Next we have A Toilet.
It may be observed by the profile that the glass is intended to rise or slide down the pilasters, by the aid of weights and lines, so that when pushed quite down the lower edge will rest upon the plinth, and the ornamental top only be seen above; it is designed to stand against a window. The small draws on each side were introduced as a great convenience to the person sitting in front of the table, and the trays on the top intended for candles, &c.
Followed by Tea Poys.
The rounded front of the first was designed to display the beauty of fine veneer; the last is also calculated for the same effect. In this plate, and in others, throughout the work, the attempt has been to give the greatest possible variety of forms in the blocks.
Finishing today's selection with Japanned Wash Stands.
The first contains, at the bottom, a cupboard; by its angular shape it is adapted to stand in a corner.
The second has two supports only, in the French manner; the space below the basin is intended to hold the waterbottle and glasses.
The first are Ladies' Work Tables.
The top of the first lifts up by hinges and shews a circle of divisions, containing pin-cushion, scissors, needle-cases, &c., the centre of which is open to the space below for fancy work.
The second has the top made to slide back, in order that the table may be opened without disturbing whatever might be lying on it at the time; the interior is fitted up the same as the first, except that the forms will be square instead of circular.
Next we have A Toilet.
It may be observed by the profile that the glass is intended to rise or slide down the pilasters, by the aid of weights and lines, so that when pushed quite down the lower edge will rest upon the plinth, and the ornamental top only be seen above; it is designed to stand against a window. The small draws on each side were introduced as a great convenience to the person sitting in front of the table, and the trays on the top intended for candles, &c.
Followed by Tea Poys.
The rounded front of the first was designed to display the beauty of fine veneer; the last is also calculated for the same effect. In this plate, and in others, throughout the work, the attempt has been to give the greatest possible variety of forms in the blocks.
Finishing today's selection with Japanned Wash Stands.
The first contains, at the bottom, a cupboard; by its angular shape it is adapted to stand in a corner.
The second has two supports only, in the French manner; the space below the basin is intended to hold the waterbottle and glasses.
Monday, May 12, 2014
Lemonade
I was wondering how far north lemons made it and how early in the 19th century could you find them when I came across these fun recipes for or using lemonade. Note the dates of some of the sources. I did find an article written in 1801 comparing the use of crystalized lemon vs. real lemon juice.
In my research I did come across a note regarding the import of lemons from Spain and Madrid. Lemons and importing them had been going on before the 19th century.
LEMONADE
white sugar 1lb.
tartaric acid 1/4 oz.
essence of lemon 30 drops
water 3 quarts
Mix
Source: The Cyclopedia of Practical Receipts ©1841
LEMONADE. To prepare lemonade a day before it is wanted for use, pare two dozen lemons as thin as possible. Put eight of the rinds into three quarts of hot water, not boiling, and cover it over for three or four hours. Rub some fine loaf sugar on the lemons to attract the essence, and put it into a china bowl, into which the juice of the lemons is to be squeezed. Add a pound and a half of fine sugar, then put the water to the above, and three quarts of boiling milk. Pour the mixture through a jelly bag, till it is perfectly clear.—Another way. Pare a quantity of lemons, and pour some hot water on the peels. While infusing, boil some sugar and water to a good syrup, with the white of an egg whipt up. When it boils, pour a little cold water into it. Set it on again, and when it boils take off the pan, and let it stand by to settle. If there be any scum, take it off, and pour it clear from the sediment, to the water in which the peels were infused, and the lemon juice. Stir and taste it, and add as much more water as shall be necessary to make a very rich lemonade. Wet a jelly bag, and squeeze it dry; then strain the liquor, and it will be very fine.—To make a lemonade which has the appearance of jelly, pare two Seville oranges and six lemons very thin, and steep them four hours in a quart of hot water. Boil a pound and a quarter of loaf sugar in three pints of water, aud skim it clean. Add the two liquors to the juice of six China oranges, and twelve lemons; stir the whole well, and run it through a jelly bag till it is ouite clear. Then add a little orange water, if approved, and more sugar if necessary. Let it be well corked, and it will keep.--Lemonade may be prepared in a minute, by pounding a quarter of an ounce of citric or crystalised lemon acid, with a few drops of quintessence of lemon peel, and mixing it by degrees with a pint of clarified syrup or capillaries.
Source: The Cook and Housekeeper's Complete and Universal Dictionary ©1822
LEMONADE.
Three lemons to a pint of water, makes strong lemonade ; sweeten to your taste.
This is the best beverage for parties, cool, refreshing, pleasant and salubrious.
Source: Good Housekeeper ©1839
LEMONADE ICED. Make a quart of rich lemonade, whip the whites of six fresh eggs to a strong froth—mix them well with the lemonade, and freeze it. The juice of morello cherries, or of currants mixed with water and sugar, and prepared in the same way, make very delicate ices.
Source: The Virginia Housewife ©1838
In my research I did come across a note regarding the import of lemons from Spain and Madrid. Lemons and importing them had been going on before the 19th century.
LEMONADE
white sugar 1lb.
tartaric acid 1/4 oz.
essence of lemon 30 drops
water 3 quarts
Mix
Source: The Cyclopedia of Practical Receipts ©1841
LEMONADE. To prepare lemonade a day before it is wanted for use, pare two dozen lemons as thin as possible. Put eight of the rinds into three quarts of hot water, not boiling, and cover it over for three or four hours. Rub some fine loaf sugar on the lemons to attract the essence, and put it into a china bowl, into which the juice of the lemons is to be squeezed. Add a pound and a half of fine sugar, then put the water to the above, and three quarts of boiling milk. Pour the mixture through a jelly bag, till it is perfectly clear.—Another way. Pare a quantity of lemons, and pour some hot water on the peels. While infusing, boil some sugar and water to a good syrup, with the white of an egg whipt up. When it boils, pour a little cold water into it. Set it on again, and when it boils take off the pan, and let it stand by to settle. If there be any scum, take it off, and pour it clear from the sediment, to the water in which the peels were infused, and the lemon juice. Stir and taste it, and add as much more water as shall be necessary to make a very rich lemonade. Wet a jelly bag, and squeeze it dry; then strain the liquor, and it will be very fine.—To make a lemonade which has the appearance of jelly, pare two Seville oranges and six lemons very thin, and steep them four hours in a quart of hot water. Boil a pound and a quarter of loaf sugar in three pints of water, aud skim it clean. Add the two liquors to the juice of six China oranges, and twelve lemons; stir the whole well, and run it through a jelly bag till it is ouite clear. Then add a little orange water, if approved, and more sugar if necessary. Let it be well corked, and it will keep.--Lemonade may be prepared in a minute, by pounding a quarter of an ounce of citric or crystalised lemon acid, with a few drops of quintessence of lemon peel, and mixing it by degrees with a pint of clarified syrup or capillaries.
Source: The Cook and Housekeeper's Complete and Universal Dictionary ©1822
LEMONADE.
Three lemons to a pint of water, makes strong lemonade ; sweeten to your taste.
This is the best beverage for parties, cool, refreshing, pleasant and salubrious.
Source: Good Housekeeper ©1839
LEMONADE ICED. Make a quart of rich lemonade, whip the whites of six fresh eggs to a strong froth—mix them well with the lemonade, and freeze it. The juice of morello cherries, or of currants mixed with water and sugar, and prepared in the same way, make very delicate ices.
Source: The Virginia Housewife ©1838
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