Colonial Homes and Their Furnishings Part 12

These are deeply cut, and were brought to this country from Russia by one John Harrod about the year 1800. For many years they were stored in the old Harrod house at Newburyport, finding their way to their present abode when the Harrod dwelling was dismantled, the owner being a descendant of this family. One piece, which is most unusual, is a deep punch bowl with a cover.

Curiously enough, the first industrial enterprise undertaken in America was a factory for the manufacture of gla.s.s bottles. It was built very early in the history of the Virginia colony, and stood about a mile from Jamestown, in the midst of a woodland tract. Later, other factories were erected, many of them manufacturing gla.s.s beads to be used in trading with the Indians. The oldest gla.s.s plant still doing business, which has been continuous since its beginning, is located at Kensington in Philadelphia, having been established in 1711.

To many it may be still unknown that Bohemian gla.s.sware has been manufactured in this country, and at a very early period. From Mannheim, in Germany, in the year 1750, came a certain Baron Steigel, whose parents had dubbed him William Henry. He laid out, in Pennsylvania, the village which bears the name of his native place, and there he established ironworks and gla.s.sworks, and deeded a plot of ground to the Lutheran congregation, in consideration of their annual payment, forever, of one red rose. The gla.s.shouse was dome-shaped, and so large that a coach-and-six could enter at the doorway, turn around inside, and drive out again. He brought skilled workmen from the best factories in Europe, and made richly colored bowls and goblets, which have the true Bohemian ring, and which are now in the possession of local collectors.

His works did not continue for any length of time, as he failed in business about five years after he started, but the old Steigel house is still standing in the heart of the town, distinguished by the red and black bricks of which it is built. And there still, in the month of June, is often celebrated the Feast of Roses, one feature of which is the payment of a great red rose by a church officer to the baron's descendants.

But of all the old gla.s.s made here, perhaps the bottles form the most interesting portion. For the first seventy years of the nineteenth century, fancy pocket flasks and bottles were manufactured in the United States. The idea of the decorations probably came, in the first place, from the fact that English potters were decorating crockery with local subjects, in order to catch the American trade. This gla.s.sware, however, was wholly the result of our own enterprise. The objects here shown were blown in engraved metal molds, which had been prepared by professional mold cutters.

Colors and sizes vary too much to be a test of age. The scarred base and the sheared neck are the surest sign of age. In all the older forms, the neck was sheared with scissors, leaving it irregular and without finis.h.i.+ng band; also, the base always showed a rough, circular scar, left by breaking the bottle away from the rod which held it while the workman was finis.h.i.+ng the neck.

Smooth and hollow bases were made between 1850 and 1860 by means of an improvement called a "snap" or case, which held the bottle. At the same time, a rim was added to the mouth. The designs were worked out in transparent white, pale blue, sapphire blue, light green, emerald green, olive, brown, opalescent, or claret color. Twenty-nine of these historic flasks bear for ornament some form of the American eagle; nineteen different designs display the head of Was.h.i.+ngton, and twelve the head of Taylor.

Their shapes varied with the pa.s.sing of time. The very earliest were slender and arched in form, with edges horizontally corrugated; then came in vogue oval shapes, with edges ribbed vertically. The next pattern was almost circular in form, with plain, rounded edges; and at this time some specimens show a color at the mouth. Then appeared the calabash, or decanter form, no longer flattened and shallow, as the others had been, but almost spherical, with edges that showed vertical corrugation, ribbing, or fluting; with long, slender neck, finished with a cap at the top; with smoothly hollowed or hollowed and scarred base.

These were superseded by bottles arched in form, deep and flattened, having vertically corrugated edges, a short and broad neck, finished with a round and narrow heading, and a base either scarred or flat. Last of all appeared the modern flask shape, also arched in form, with a broad shoulder, a narrow base, plainly rounded edges, and a return to the flattened and shallow type of the earliest manufactures. The neck had a single or double beading at the top, and the base was either flat or smoothly hollowed.

All the Kossuth and Jenny Lind bottles were made about 1850. The Taylor or Taylor and Bragg bottles belong to the period of the Mexican War, and were probably blown in 1848. One of these bears Taylor's historic command, "A little more grape, Captain Bragg," as delivered at the battle of Buena Vista. Another has a portrait of Was.h.i.+ngton upon one side, and that of Taylor upon the other, with the motto, "Gen. Taylor never surrenders." This shows the circular, canteen shape.

One of the very oldest forms known to have been decorated in this country is the one which bears in relief a design of the first railroad, represented by a horse drawing along rails a four-wheeled car heaped with cotton bales and lumps of coal. This picture runs lengthwise of the bottle and bears the legend "Success to the Railroads" about the margin of the panel. This could not have been produced earlier than 1825. Some of the Was.h.i.+ngton designs belong to earlier periods, as do the eagle and United States flag. Most of the Masonic decorations belong between 1840 and 1850.

The log cabin designs are connected with the notable Harrison "hard cider" campaign of 1840, as are the inkstands made in the form of log cabins, cider barrels, and beehives. The dark brown whisky bottles in the shape of a log cabin are souvenirs of the same period of political excitement, and were made by a New Jersey gla.s.s firm for a certain liquor merchant in Philadelphia.

The Jackson bottles belong to the period of the stormy thirties. The "Hero of New Orleans" is represented in uniform, wearing a throat-cutting collar which entirely obscures his ear.

A Connecticut firm, in the late sixties, sent out a bottle of modern shape, decorated with a double-headed sheaf of wheat, with rake and pitchfork, having a star below. At about the same time a firm in Pittsburg put upon the market a highly decorated flask, similarly modern in outline, having upon one side an eagle, monument, and flag; upon the reverse, an Indian with bow and arrow, shooting a bird in the foreground, with a dog and a tree in the background.

Some bottles of unknown origin were decorated with horns of plenty, vases of flowers, panels of fruit, sheaves of wheat, a Masonic arch and emblems, s.h.i.+p and eight-pointed star, and a bold Pikes Peak pilgrim with staff and bundle to celebrate the pa.s.sage of the Rocky Mountains.

Among the early curio bottles shown are numerous fancy designs in the form of animals, fishes, eggs, pickles, canteens, cigars, sh.e.l.ls, pistols, violins, lanterns, and the like. To this cla.s.s belongs the Moses bottle, which also goes by the name of Santa Claus. It is of clear and colorless gla.s.s, with a string fastened about the neck and attached to each end of a stick which crosses the top.

Should the collector enlarge his fad so as to take in bottles from foreign lands, he would find that his collection would gain much in beauty. In the Metropolitan Museum of New York there is a very comprehensive exhibit of rare Venetian gla.s.s bottles and vials, which was the gift of James Jackson Jarves. These are the most brilliant and elegant types of their kind, graceful and refined, dainty and ethereal.

CHAPTER XVI

OLD PEWTER

There is a charm about old pewter that is well-nigh irresistible to the collector of antiques, its odd shapes, mellow tints, and, above all, its rarity, luring one in its pursuit. In the days when it was in general use,--after the decline in favor of the wooden trencher,--it was but little valued, and our forbears quaffed their foaming, home-made ale from pewter tankards, and ate their meals from pewter dishes with little thought of the prominence this ware would one day attain, or the prices it would command. To-day pewter represents a lost art, and the tankards and plates and chargers which our ancestors used so carelessly are now pursued with untiring energy, and, if secured, are treasured as prizes of priceless worth.

Intrinsically, the metal is of little value, being nothing more than an alloy of tin and lead, with sometimes a sprinkling of copper, antimony, or bis.m.u.th, but historically it is hugely interesting. Like many other old-time features, records of its early history are scanty, affording but little knowledge of its origin, though proving beyond a doubt that it was in use in very early times. When it was first used in China and j.a.pan,--those countries to which we are forced to turn for the origin of so many of the old industries,--it is impossible to ascertain, but it is certain that pewter ware was made in China two thousand years ago, and there are to-day specimens of j.a.panese pewter in England, known to be all of eleven hundred years old, these latter pieces being very like some shown in the Museum of Fine Arts in Boston. Some old chroniclers claim that the ware was used by the Phoenicians and early Hebrews, and all agree that it was manufactured, in certain forms, in ancient Rome.

Proof positive of this fact was gleaned some years ago, when quant.i.ties of old pewter seals of all shapes and sizes were discovered in the county of Westmoreland, in England, where they had evidently been left by the Roman legions centuries before. It is indeed deplorable that, owing to their making excellent solder, all these seals should have been destroyed by enterprising tinkers in the neighborhood.

As early as the fourteenth and fifteenth centuries, pewter was produced in quant.i.ties, in France, Germany, Holland, and Switzerland, and a very little in Italy and Spain. The year 1550 marked the period of the most showy development in the first-named country, of which Francis Briot was the most celebrated worker. His most noted productions were a flagon and salver, with figures, emblems, marks, and strapwork. These exquisite pieces were cast in sections, joined together, and then finished in the most careful manner, in delicate relief. Briot was followed by Gasper Enderlein, Swiss, and by the year 1600 the Nuremberg workers entered the field with richly wrought plates and platters. France continued to hold high rank in pewter manufacture until 1750, after which time the quality of her output considerably deteriorated.

In the sixteenth century the trade sprang up in Scotland, many excellent pieces of the ware being produced here, and during the seventeenth century Dutch and German pewter came to the fore, being considered, during this period, the best made. Nuremberg and Ausberg were the centers of the industry in Germany, while in Scotland, Edinburgh and Glasgow appear to have been the chief trade centers. The ware made in Spain never seems to have attained any great degree of perfection, and records of its progress in this country are extremely scarce. Barcelona seems to have been the center of the industry, but just when or where the craft had its inception, research has been unable to disclose.

Certain it is that no trace of any corporation or guild has been found prior to the fifteenth century.

English pewter dates back as far as the tenth century, though few pieces are now in existence that antedate the seventeenth century. Here, as in other European countries, the ware was at first made solely for ecclesiastical purposes, its manufacture for household use not becoming popular until many years later. From the twelfth to the fifteenth centuries, the ware gradually grew in importance through northern Europe, though domestic pewter was used only by the clergy and n.o.bility up to the fourteenth century. Just when it became popular for table and kitchen use is not definitely known, though it is certain that it supplanted wooden ware some time in the fifteenth century.

Pewter reached the height of its popularity during the sixteenth and seventeenth centuries, though its use for household purposes continued throughout the eighteenth and the first part of the nineteenth centuries. In the sixteenth century the artistic quality of the ware was greatly improved, for by an act of James VI the ware was divided into two grades, the best to be marked with a crown and hammer, and the second with the maker's name. Specimens of this century are to-day extremely scarce, those few examples that do remain being for the most part found in museums or in old English castles, where they have remained in the same family from generation to generation. No doubt, specimens would have been more plentiful had not the greater part of the church plate in England and Scotland been destroyed during the Reformation.

After 1780 pewter was but little used among the wealthy cla.s.ses, except in their kitchens and servants' quarters, where it held sway for a considerable length of time. In fact, in some of the larger establishments, it continued to be used regularly until within the last thirty-five years, and even now it is used in the servants' hall in two or three of the large old country houses. It lingered longest in the taverns and inns, and in the London chop-houses, being used in the last named until they were forced out of business through the introduction of coffee palace and tea rooms.

English pewter differs materially from that made in other countries, the workmen employing designs characterized by a st.u.r.diness and sedate dignity that raised the ware above that made in other lands. Almost every conceivable domestic utensil was made of pewter as well as garden ornaments, and it is interesting to note, in connection with the latter, that several urns were designed by the brothers Adam.

The history of pewter making in England might almost be said to be that of the London Guild or Wors.h.i.+pful Company of Pewterers, so closely is the ware allied with it. For a long time this company or guild controlled the manufacture and sale of the ware in England, and during the days of its greatest influence it did much to improve the quality.

At one time it attempted to make general the employment and recording or marks, but the rule was not enforced, and an excellent opportunity of insuring the exact date of manufacture of a certain piece was thus lost.

Several private touch marks were registered at Pewterers' Hall, but these, together with important records that the company had compiled, were destroyed in the great London fire of 1666. Very few pieces now in existence bear any of these touch marks, though occasionally a piece will be found that shows the regulation London Guild quality mark, a rose with a crown. The touch mark was the mark of the maker. This was generally his name alone, though sometimes his name was combined with some device, like an animal or flower.

Scotland boasted a guild at Edinburgh that at one time enjoyed a fame second only to that of the celebrated London Company. Touch plates of the pewterers that were registered here are no longer in existence, and, indeed, much of the pewter made in this country bears no mark at all.

The usual hallmark was a thistle and a crown, though there were several local marks that were frequently used, which are sometimes found on Scotch pieces.

France, too, had its guilds, but they were abolished by Turgot on the ground that the free right to labor was a sacred privilege of humanity.

Gradually the influence of all the guilds was less keenly felt, and in time the majority were abolished. After this the quality and use of pewter steadily declined, and with the coming into favor of china and other ware, pewter grew to be considered old-fas.h.i.+oned, and its use was discontinued during the first years of the nineteenth century.

[Ill.u.s.tration: PLATE LXI.--Pewter half-pint, pint and quart Measures, one hundred years old; Three unusual-shaped Pewter Cream Jugs; German Pewter, Whorl pattern.]

The old-time metal played a prominent part in the first colonial households in America, it being in many cases the only available ware, but after a time, as the population and strength of the young colonies increased, it had to give way, as in England, to the introduction and steadily increasing popularity of china. During the seventeenth century several English pewterers came to America to find employment, settling princ.i.p.ally in Boston, Salem, and Plymouth County, and during the eighteenth century the manufacture of the ware here became quite common.

It is interesting to note that the greater part of the American-made pieces bear the name of the maker.

English and Continental pewter was also extensively used here, and, in consequence, American collections of the present include specimens from these countries. Most of the pieces now preserved belong to the eighteenth and early nineteenth centuries, though there are some few pieces which are of earlier manufacture.

The value of pewter, like all other antiques, varies, and a piece is really worth what one can obtain for it. In England, the highest prices are paid for sixteenth-century pewter, while in our own country the product of the eighteenth century is that most sought after, and the best prices are paid for pieces of this period. Ecclesiastical pewter is rare here, and therefore is valuable, but it does not hold such high favor in the collector's regard as do the simple pieces that once graced the quaint dressers in colonial homes.

The fad for pewter has been productive of much imitation ware. This is especially true of certain types which are particularly popular, and, indeed, were it not for this demand, it would hardly pay to imitate the old metal, even at the prices now paid for the same. It costs considerable to make up spurious bits that are almost entirely like the old-time pieces, in composition, and, besides, they must be put through several processes to make them look old. Consequently, it is safe to a.s.sume that at the present time the number of imitation pieces on the market is comparatively small, and in this country there are really few pieces that are entirely counterfeit. To be sure, plain pieces of the genuine metal are sometimes ornamented to increase their value, but lately collectors seem to regard plain pieces with the greatest favor, and this form of counterfeiting will no doubt soon disappear.

To-day, in America, there is one manufacturer, and perhaps more, who is reviving some of the original forms and producing pewter reproductions which are being put on the market as such. For the modern colonial dining-room these are especially attractive, serving in every particular the purpose of decoration, but to the collector they are of no interest.

America boasts of several fine collections of this ware, especially in the New England states, where the chief ports for the trade were located. The Bigelow collection at Boston includes, besides plates and platters, rare bits of odd design, many of them characterized by markings. One such piece is a hot-water receptacle, showing a s.h.i.+eld decoration on which are marked the initials "H. H. D." and the date "1796." The lid is ornamented with two lines and the initials "R. G."

Several quaint lamps are other prized possessions in this collection, some of them made about 1712, and most of them of American manufacture.

One of them, the smallest of the group, is marked "N. Y. Molineux."

Tankards of the "tappit hen" type are also preserved here, though they are not precisely the same shape as the measures of Scotch make which went by that name; other pieces included in the collection are cream jugs, milk pitchers, spoons, forks, a water urn, and several odd tankards.

Equally as interesting is the Caliga collection at Salem. Here are to be seen quant.i.ties of this rare old ware, worked up into almost every conceivable device, and several of the pieces are numbered among the choicest in the country. A squatty little teapot with wooden handle is among the most interesting specimens, and its history is in keeping with its quaintness. It was secured by Mr. Caliga in a little German town during his residence abroad, and soon after it came into his possession, it was much sought after by a collector, who offered a large sum of money for its acquirement. Mr. Caliga refused to part with it, and later he learned that it was indeed a very rare piece, being a part of a set which the collector was endeavoring to obtain for the Duke of Baden, who owned one of the three pieces, the would-be purchaser having the second.

This teapot has for a hallmark an angel; a quaint sugar bowl of like design, also in this collection, shows a crown and bird.

An odd pewter lamp, known as a Jewish or Seven Days' lamp, is included in this collection, the receptacle for oil being in the lower portion.

There are two large pewter plates, also, one of which has the royal coat of arms in the center, and is surrounded by the whorl pattern. These plates measure about twenty inches across, and one has the hallmark of three angels on the back.

Perhaps the rarest bit of pewter in existence to-day is that owned by a Ma.s.sachusetts lady. It is of j.a.panese manufacture, and is a family heirloom, through generations back. It first came into possession of the owner's ancestors in 1450; even at that date it had a history, and, indeed, its battered sides speak eloquently and forcibly of a past. It is said to have been the possession of a French n.o.bleman, who, for some cause or other, was compelled to flee from his native land, and who sought refuge in England, where he met and married an English girl. The precious bit remained with his descendants until the year above mentioned, when the last of his race, dying without issue, bequeathed the old relic to his dearest friend, of whom its present owner is a direct descendant.

But whatever its type and origin, the old ware is always interesting. To be sure, even at its best it is plain, relying on its form for its pleasing appearance, but no other metal better repays its owner for the care expended upon it. No doubt it costs an effort or two to keep it bright and s.h.i.+ning, but who does not feel repaid for the time and energy expended, when the slow gleams of silver-like hue that gradually appear on the surface greet one in appreciation, like the smile of an old friend!