f ffirst ---f-fffloor bbbedchamber 1. 11.. lady wearing a

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FFFFIRSTIRSTIRSTIRST----FFFFLOOR LOOR LOOR LOOR BBBBEDCHAMBEREDCHAMBEREDCHAMBEREDCHAMBER 1.1.1.1. Lady wearing a robe de chambre, c. 1770sLady wearing a robe de chambre, c. 1770sLady wearing a robe de chambre, c. 1770sLady wearing a robe de chambre, c. 1770s

Peignoir, antique linen, reproduction of extant item in a private

collection; boudoir cap reconstructed of antique linen and laces,

after Madame de Pompadour at her Tambour Frame, by François-Hubert Drouais, 1763-4 (Collection of the National

Gallery, London, accession #NG6440); shift styled after period

pieces; white silk stockings; reproduction tan kid leather,

buckled high-heeled shoes. Silk workbag (on chair),

reproduction of item in the collection of Colonial Williamsburg

(accession #1960-730).

Before dressing in more fitted clothing for her daily routine, an upper-class woman might don a dressing gown or peignoir. This example is of fine quality linen, loose and unrestricting, with a shaped neckline. Scallop-edged, gathered bands are set along the front, hem and arm openings of the robe, and form a double collar at the neckline. A boudoir cap of white linen and blonde lace ties under the chin with lace ‘kissing strings’ and silk ribbons. A silk-covered workbag, embroidered with metallic laces and bullion, is a stylish mode of carrying sewing notions and small projects.

2.2.2.2. “Pandora” fashion doll and wardrobe, c. 1765“Pandora” fashion doll and wardrobe, c. 1765“Pandora” fashion doll and wardrobe, c. 1765“Pandora” fashion doll and wardrobe, c. 1765

18th century doll and wardrobe, handmade/sewn, adapted from

designs and extant items in various collections.

During the 18th century, France was the unquestioned leader of the fashion world. Along with first-hand descriptions from travelers, news from personal correspondence to family and friends, and magazines, the dissemination of France’s seasonal fashions was provided in a three-dimensional manner by the use of fashion dolls, poupées de mode, or “pandoras.” These dolls, dressed as adult women, and complete with appropriate seasonal wardrobes, showcased the latest fashions coming from Paris. Mantuamakers (dressmakers) would send to France or England for a fashion doll, complete with a collection of the most up-to-date styles, to be displayed in their shops. Eager

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customers could then peruse the newest styles – in miniature – and have their favorites made up for them.

3.3.3.3. Child’s robe, midChild’s robe, midChild’s robe, midChild’s robe, mid----18th century18th century18th century18th century

The toddler in the bedroom wears a long baby dress opening in

the front, made in damask-woven linen, with a collar and cuffed

sleeves, trimmed in gold silk. Robe styled after existing examples

in various collections. White underclothes, hand-knit woolen

stockings and mitts, and a dark green cotton velvet pudding cap

are the accessories. Pudding cap is reproduced from a piece in

the collection of Colonial Williamsburg (accession # 1952-55).

Pudding caps were worn by young children as they learned how to walk and navigate the house without falling down and bumping their heads. Padded with materials like wool, horsehair, or straw, they could be made plain or fancy. The name “pudding cap” comes from the cap’s resemblance to a traditional pudding mold.

4.4.4.4. Gentleman in a banyan (dressing gown), last quarter 18th Gentleman in a banyan (dressing gown), last quarter 18th Gentleman in a banyan (dressing gown), last quarter 18th Gentleman in a banyan (dressing gown), last quarter 18th

centurycenturycenturycentury

Banyan, cotton textile with a block-print design, pattern

construction is a reproduction of an extant garment in the

collection of the Chester County Historical Society (accession

#1990.500 [CLM 208], patterned in Fitting & Proper by Sharon Ann Burnston). Brown leather mules, clocked stockings with

leather garters, white linen shirt and drawers, green brocade

nightcap, styled after period examples.

The loose, unfitted design of the banyan had been known since the 17th century. It became popular in European countries, including France, England and the Netherlands, since Dutch traders had access to the early Japanese trade. They soon brought back exotic goods - including the kimono, which was soon adapted to western ‘undress’ menswear.

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GGGGREAT REAT REAT REAT HHHHALLALLALLALL 5.5.5.5. Lady’s riding habit, c. 1760sLady’s riding habit, c. 1760sLady’s riding habit, c. 1760sLady’s riding habit, c. 1760s

Green wool riding habit with velvet and gold passementarie trim,

adapted from Patterns of Fashion 1: 1660-1860 by Janet Arnold.

For riding or travelling, a lady might choose to dress in a tailored riding habit. These practical outfits were popular for women of the gentry in colonial America and the aristocracy in Europe, and many portraits were made of fashionable equestriennes. Some ensembles were rather austere; some were elaborate and trimmed with ornate gold or silver braids and laces. In this outfit, the jacket of hunter green wool has a fitted bodice and flared, pleated peplum skirt, and is quite similar to a man’s jacket of the period. The jacket includes stylish features of revers, collar and cuffs made in deep green velvet with matte gold passementarie trim and bright gold buttons. A matching green wool skirt completes the ‘habit.’ Like her male counterparts, the lady also wears a cocked hat, edged with antique metallic gold lace, and under the jacket would wear a ‘habit shirt’ of white linen with a neck cravat.

6.6.6.6. Gentleman’s cloak, 1775Gentleman’s cloak, 1775Gentleman’s cloak, 1775Gentleman’s cloak, 1775----1790179017901790

Cloak of tan wool broadcloth, based on a cloak in the collection

of Colonial Williamsburg (accession #G1956-213; patterned in

Costume Close-Up by Linda Baumgarten); wool felt cocked hat.

An alternative to the greatcoat for men, cloaks were popular outerwear for both men and women. Thick wool fabric that had been “fulled”—processed to thicken the fibers and mat them together—was typically used for such outerwear, both helping to add warmth and water-resistance to the finished garment, and making construction easier, as fulled wool will hold a cut edge without fraying, eliminating the need to finish the edges.

7.7.7.7. Spring season ensemble, c. 1780Spring season ensemble, c. 1780Spring season ensemble, c. 1780Spring season ensemble, c. 1780

Gown adapted from a dress in the collection of the Los Angeles

County Museum of Art (LACMA) (accession #M.66.31a-b);

hooded cape adapted from extant garments in the collection of

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LACMA (accession # M.2007.211.669) and the collection of

Colonial Williamsburg (accession #1953-968, patterned in

Costume Close-Up). The painted bag is a reproduction of an extant item in the Boston Museum of Art (accession #43.696b).

By the last quarter of the 18th century, cotton was rising in popularity for use in clothing for all classes of society. Printed cottons from India called ‘calicoes’—derived from their manufacture in Calcutta—became the rage in both Europe and America, and by the 1780s these printed, painted, and patterned "Indiennes” were used for both clothing and furnishing fabrics. Fashion trends come and go; one fad which swept fashionable society was a passion for dark-grounded textiles, used particularly for women’s clothing items. These colorways were made in dark green, grey, and rusty reds, but dark brown and black were especially popular. Because of their darker ‘sooty’ hues, these fabrics were termed “ramoneur” (the chimney sweep). Printed on both cotton and linen, ramoneur fabrics were used in women’s clothing of all types, from outerwear to dresses to American shortgowns.

This warm weather ensemble features a robe à l'anglaise gown with matching petticoat in a light-colored cotton “Indienne” design of trailing vines and delicate flowers. Unlike the flowing pleats of the sack-back style, the robe à l'anglaise was fitted to the figure by means of sewn-down, curved back pleats or separate, shaped back pattern pieces. By the 1770s, gowns were constructed with a center-front closing and often had ruffled fabric or ribbon trimming around the neckline, sleeve cuffs and down the bodice center front. Worn as a spring wrap, the “ramoneur” cape is a large semicircular cloak with a wide hood. The entire garment is bordered with an 8-inch band of finely gathered pleats, has ribbon neck ties, and is lined with a floral cotton print. The outfit is accessorized with a hand-painted, silk chinoiserie design drawstring bag.

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PPPPARLORARLORARLORARLOR 8.8.8.8. Lady wearing a robe à la française c.1770Lady wearing a robe à la française c.1770Lady wearing a robe à la française c.1770Lady wearing a robe à la française c.1770

Robe à la française adapted from The Cut of Women’s Clothes, 1600-1930 by Norah Waugh; white silk hand-quilted petticoat and lady’s embroidered mitts reproduced from extant items

featured in Eighteenth-Century Embroidery Techniques by Gail Marsh; butterfly cap of silk, lace and pearls, and silk and pearl

jewelry recreated from the engraving A fashionably dressed lady [no title], after Thomas Frye, 1762 (in the collection of Colonial

Williamsburg, accession # 1982-165); replica lady’s fan of hand-

painted silk with bone sticks.

To be ‘dressed’ in the 18th century signified wearing a formal ensemble, correct for an elegant dinner, reception or ball; ‘un-dress’ was everything else – clothing appropriate for daytime or informal wear. For the majority of the century, a favorite style was the robe à la française (or as it was known in England, the sack-back dress), a design which evolved from the late 17th century mantua. From about 1700 to the mid-1770s, women’s ensembles followed the predominant ‘gown-and-petticoat’ formula comprising an over-gown worn with a separate petticoat, closing across the front bodice with a triangular stomacher. All three wardrobe components – gown, stomacher and petticoat – might match, or be made of different colors or textiles. Matching ensembles were considered the most suitable for formal events, but sack gowns were often made for daywear with a contrasting petticoat. Quilted petticoats were in fashion throughout the 18th century, and well into the nineteenth, worn by women of all classes. The customary face textile was silk, which reflected light over the tactile surfaces of the dimensional sewing designs. Most quilted petticoats were backed with linen, with a filling of wool or cotton.

This robe à la française gown is made in marigold-yellow silk taffeta, an ideal textile to display the crisp gathers and graceful drape of the signature feature of double back pleats. Ruched silk self-trim edged with white floss ‘fly fringe’ decorates the stomacher and bodice robings and goes down the front of the

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skirt. Single-flounced pagoda sleeves are edged with white floss trim.

9.9.9.9. Young boy, midYoung boy, midYoung boy, midYoung boy, mid----18th century18th century18th century18th century

Child’s two-piece suit in dark blue wool with a tan wool

waistcoat, recreated from period styles.

Once out of babyhood, boys were dressed in frocks, or back-laced gowns, as were girls. In portraits of the era, it is only by accessories the children hold or headdresses they wear that distinguish their sex. Once a boy was ‘breeched’—when the decision was made by his parents that he be dressed as a male (usually between the ages of three and five) in breeches, shirt and other gender specific clothing, he was dressed much as a miniature adult.

10.10.10.10. Young girl, c. 1769Young girl, c. 1769Young girl, c. 1769Young girl, c. 1769

One-piece dress of rose silk taffeta, with leading strings and

back-lacing, hand-sewn; fine white linen gathered cuffs attached

to sleeves, reproduced from portrait of The Pybus Family by Nathaniel Dance, c. 1769 (collection of the National Gallery of

Victoria, Australia, accession #2003.687).

Although boys and girls were dressed alike as infants and young children, female children were kept in dresses throughout their lives. Before they matured (physically) girls customarily wore back-laced garments for ordinary everyday use. These dresses were simple in construction, with bodice, skirt and sleeves, but also featured a set of long, ribbon-like streamers descending from the back shoulders of the bodice. These were ‘leading strings’; functional especially for use with toddlers, as gentle restraints for an adult to hold if necessary. Once past babyhood, leading strings came to have a social significance when worn by girls, indicating that the youngster was still a child and not yet ready to be included in social circles as a young woman (i.e. ready for courtship or of marriageable age).

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11.11.11.11. GirlGirlGirlGirl’’’’s robe a la s robe a la s robe a la s robe a la frafrafrafrançaisençaisençaisençaise, c. 1750s, c. 1750s, c. 1750s, c. 1750s

Dress adapted from pattern in The Cut of Women's Clothes. Vintage lace kerchief with tambour embroidery.

Although most young girls wore back-laced dresses into their early teens, it was not unknown for even very young 'ladies' to be dressed up in the elegant sack-back style. This three-piece ensemble of gown, petticoat and stomacher are all made of the same fabric, which was customary for more formal attire. Bold stripes of varying widths in ivory and rich apricot are brocaded with a pattern in ivory of flowers and vines. The textile itself reflects mid-century taste with bright color and a robust design; as the century progressed fabrics were generally smaller in scale, or more subtle in coloring. With clean lines, and without added surface decoration common in this style, the ensemble has a functional laced bodice which closes in front across the brocade stomacher.

12.12.12.12. Infant, 18th centuryInfant, 18th centuryInfant, 18th centuryInfant, 18th century

White cotton baby linen, reproduced from various period

examples.

Very young infants of both sexes were typically dressed in white linen, wool, or cotton garments, consisting of a shirt; belly-band, stays, or swaddling-band; petticoat; long gown; diaper and diaper cover (or “pilch”); and cap. After the first nine months or so, babies were transitioned to gowns and petticoats with shorter hems as they learned how to walk.

13.13.13.13. Fashionable gentleman, c. 1775Fashionable gentleman, c. 1775Fashionable gentleman, c. 1775Fashionable gentleman, c. 1775

Two-piece (matching fabric) suit of frock coat and breeches, in

burnt sienna brown silk; ivory silk embroidered waistcoat, all

adapted from The Cut of Men's Clothes 1600-1900 Norah Waugh. The embroidered floral designs of carnations, lilies,

anemones and tulips are from an 18th century border design.

Waistcoat detail inspired by 18th-century waistcoat with “insect”

embroidery at the Metropolitan Museum of Art.

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The origins of a man’s three-piece suit (coat, trousers and vest) date from the late 17th century, and by the early 1700s were standard garments for all classes of men. Lower legs were covered by stockings of wool, linen or silk; these were long enough to come above the knee, the tops covered neatly by the buckled knee bands of the breeches. The frock coat evolved from an early version with wide skirts and large cuffs to a slim, tailored line, skimming the proportions of the wearer’s body; by the last quarter of the century the fronts were curved back over the chest to show fitted waistcoats beneath, often made of costly fabrics or exquisitely embroidered.

14.14.14.14. Boy’s frock coat outfit, c. 1760Boy’s frock coat outfit, c. 1760Boy’s frock coat outfit, c. 1760Boy’s frock coat outfit, c. 1760

Child’s frock coat outfit of jacket and petticoat in teal satin, with

royal blue sash, recreated from Portrait of Two Children attributed to Joseph Badger, c. 1760 (in the collection of

Colonial Williamsburg, accession #57.100.15).

Fashion was very much an individual choice, and not all parents dressed their young boys in unisex frocks all the time. One alternate style that had a more masculine look was the combination of an ankle length jacket-robe, with a fitted and buttoned bodice and cuffed sleeves that resembled those on a grown man’s frock coat. Beneath the jacket was worn a matching skirt—for the convenience of changing diapers on a child not yet ready to don “big-boy” breeches with multiple buttons that a nursemaid would have to manipulate.

SSSSERVANTSERVANTSERVANTSERVANTS’’’’ HHHHALLALLALLALL 15.15.15.15. Fashionable lady in polonaise gown, c. 1780Fashionable lady in polonaise gown, c. 1780Fashionable lady in polonaise gown, c. 1780Fashionable lady in polonaise gown, c. 1780

Polonaise gown, hand-painted and hand-sewn reproduction of

extant ensemble at the Metropolitan Museum of Art (accession

#1976.146); silk calash, replica of extant item in the collection of

Pottsgrove Manor and on display in this exhibit.

Exotic goods from the East were always highly desirable in fashionable European society, whether they were home

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furnishings of rare woods, ladies’ ivory fans, or textiles for expensive garments. Along with “the queen of textiles” – woven silk material– China exported exquisite silk fabrics that were hand-painted with designs of flowers, birds and insects in realistic and fantastical colors and designs, made especially for the Western market. In addition to extant gowns in collections, these vibrant silks can be seen in both European and American portraits of fashionable women.

Mid-century dresses employed yards of painted silks for the sack-back or robe à la française gown, but later modes also used these luxury fabrics. The polonaise gown first came into fashion in the 1770s. It had a close-fitting bodice with the back skirt gathered into puffed sections held by rings and cords sewn inside the skirt revealing the petticoat below. To protect the elaborate hairstyles, a lady could wear the calash bonnet, which had thin cane supports sewn into channels in the silk hood to keep the high round shape safely over her hairdo.

16.16.16.16. Housekeeper wearing a round gown (robe à l'anglaise), c. 1775Housekeeper wearing a round gown (robe à l'anglaise), c. 1775Housekeeper wearing a round gown (robe à l'anglaise), c. 1775Housekeeper wearing a round gown (robe à l'anglaise), c. 1775

Striped linen round gown, reproduction of an extant item in the

Philadelphia Museum of Art (accession #1959-113-1); pinball

adapted from extant item in the Chester County Historical

Society (accession #1988.1079, patterned in Fitting & Proper). Cotton organdy cap with silk ribbon trim, based on cap from A Girl Seated, in a Flowered Dress by Sir Nathaniel Dance-

Holland (1735‑1811), undated (in the collection of the Tate Museum, accession # T08165); fine white cotton handkerchief;

white linen apron, based on a Philadelphia example in the

collection of Colonial Williamsburg (accession #2004-17).

This unadorned but interesting gown is an example of the type worn by servants and the lower classes, or by middle class women for informal daywear. The plain design and the use of striped fabric are suited to an informal dress, but also reflect the growing preference for simplicity during the 1770s and 1780s. This is a one-piece style with closed skirts called a "round gown," which was put on over the head. The apron-front then tied

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around the waist, and when the bodice was settled on and fastened, no separation (except for slits in the side-front skirts of the ‘apron’) would be evident. The center front closure of the bodice was fashionable from the 1770s on; in this dress, the triangular shape of a false stomacher is maintained through unusual robings attached from the shoulders to a pointed waistline. Accessories include a linen neckerchief and apron, and an embroidered silk queen-stitch pinball on a chain hung from the waist.

17.17.17.17. Male domestic servant, c. 1770Male domestic servant, c. 1770Male domestic servant, c. 1770Male domestic servant, c. 1770

Yellow wool sleeved waistcoat/jacket, adapted partially from

Diagram XXII in The Cut of Men’s Clothes, 1600-1900 by Norah Waugh. White linen half-apron, based on those pictured

in period images, including The Idle ‘Prentice Executed at Tyburn by William Hogarth, 1747; Kitchen Scene by John Atkinson, 1771 (in the collection of the Yale Center for British

Art, Paul Mellon Collection; accession #B1981.25.23); and the

frontispiece to The Housekeeper’s Instructor; Or, The Universal Family Cook by William Henderson, c. 1790. White linen shirt and neckcloth; black wool breeches; black cotton

stockings; tied leather shoes.

Wealthy families like the Potts had a number of household servants, some of whom were more “visible” to the public eye than others. A male servant or slave may have served as a butler for the household, and would have been well-dressed. Some upper-class households dressed visible male servants in “livery,” a uniform designed to match the colors on the family’s coat of arms, and sometimes trimmed elaborately with tapes and braids called “lace.” It is not known if the Potts had liveried servants, but a domestic like this one may have had a blue frock coat to go on over his waistcoat, representing the Potts colors of azure and gold.

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KKKKITCHENITCHENITCHENITCHEN 18.18.18.18. Woman’s silk round gown (robe a l’anglaise), c. 1775Woman’s silk round gown (robe a l’anglaise), c. 1775Woman’s silk round gown (robe a l’anglaise), c. 1775Woman’s silk round gown (robe a l’anglaise), c. 1775

Robe a l’anglaise round gown (back cut en fourreau), reproduction of extant garment attributed to Phoebe Massey, c.

1775, in the collection of the Massey House. Like the original, it

is made in chestnut brown silk with a linen-lined bodice and

sleeves. It is entirely hand-sewn and constructed from a pattern

taken directly from the original garment. Mitts, white linen with

blue silk embroidery, reproduction of extant item in the

collection of Colonial Williamsburg (accession #1985-216.1).

White silk organza apron and cap. Cap based on Portrait of Mr. and Mrs. Thomas Mifflin (Sarah Morris) by John Singleton Copley, 1773 (in the collection of the Philadelphia Museum of

Art, accession #EW1999-45-1). Pinball in wool with 18th-

century motifs from extant examples.

The ‘round gown’ dress style was favored by women in all levels of society, and was frequently seen in wardrobes of Quaker women. Simple, elegant lines and ease of construction – compared to some of the era’s elaborate outfits - must have appealed to these ladies, but there was another quality that would also have been advantageous, and encouraged thrift of goods. Round gowns, because of the apron-front construction, had no need of a separate, visible petticoat, and thus, an entire one-piece outfit could be made with much less fabric than the more common dress-and-petticoat ensemble. Members of the Society of Friends (Quakers) were advised to dress modestly in contemporary style, so as not to attract attention by their appearance. Nevertheless, successful families would dress ‘simply, but in the best materials that can be had’ including clothes made of fine linens, wool and silk - many portraits of Philadelphia Quaker families attest to this. In their clothing, colors were not proscribed, but most Friends wore dark or ‘modest’ hues, women favoring ivory, black, rosy beige, grey and various shades of rust or golden browns.

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19.19.19.19. Cook, c. 1740Cook, c. 1740Cook, c. 1740Cook, c. 1740----1780178017801780

Brown and white checked shortgown; wool petticoat; tan and

white checked linen apron; block-printed cotton handkerchief;

white linen lappet cap, based on the cap worn by The Jersey Nanny, by John Greenwood, 1748 (in the collection of the Museum of Fine Arts, Boston; accession #1971.715).

Shortgowns, cut in a T-shape from a single piece of fabric and pleated in the back to fit, were a simple working woman’s garment and seem to have been exclusive to the Mid-Atlantic colonies in the 18th century. Checked linens, like those in the shortgown and apron, were very common for work clothing. And though a gown-length of printed Indian cotton fabric may have been out of reach for a domestic servant to purchase, a colorful cotton handkerchief was an inexpensive way to add a bit of fashion to a basic outfit.

20.20.20.20. Servant boy, second half 18th centuryServant boy, second half 18th centuryServant boy, second half 18th centuryServant boy, second half 18th century

Brown wool broadcloth sleeved waistcoat, reproduced from

Diagram XXII in The Cut of Men’s Clothes; Russia drill linen breeches, reproduced from boy’s breeches in the collection of

the Chester County Historical Society (accession #1986.731;

patterned in Fitting & Proper; the original breeches are on display in this exhibit); white and red checked linen neckcloth;

white linen shirt; hand-knit red wool stockings; handmade

leather mules; felt round hat.

Young boys were often apprenticed or bound as indentured servants and would be provided clothing by their masters. An outfit like this one, with a sturdy, serviceable wool broadcloth outer garment and coarse but durable linen breeches of a canvas-like fabric called “drill,” would be typical. Such clothing is referenced in numerous runaway advertisements of the era.

21.21.21.21. Scullery maid, secondScullery maid, secondScullery maid, secondScullery maid, second half 18th centuryhalf 18th centuryhalf 18th centuryhalf 18th century

Blue and white striped linen gown; blue linen petticoat; white

linen handkerchief; coarse linen apron; resist-dyed cotton

headscarf; shoes and pattens. Clothing based on various period

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images and contemporary runaway advertisements in the

Pennsylvania Gazette.

One of the Potts’s slaves, Flora, may have been a young girl and likely worked as a “lower” servant, fetching water and firewood for the house and cleaning pots and kettles in the kitchen. Her clothing was likely secondhand, patched, and faded. Some servants and slaves of African descent continued to wear handkerchiefs or scarfs as headwraps, while others adopted (or were forced to adopt) the typical Anglo woman’s headwear, the white linen cap. Wood and iron overshoes called “pattens” helped keep one’s shoes and hem clean when walking along muddy paths and streets, and also minimized how much dirt was tracked inside the house.

JJJJOHN OHN OHN OHN PPPPOTTSOTTSOTTSOTTS’’’’S S S S OOOOFFICEFFICEFFICEFFICE 22.22.22.22. Clerk, c. 1770sClerk, c. 1770sClerk, c. 1770sClerk, c. 1770s

Blue cloth suit, with matching waistcoat and breeches, adapted

from various period sources; cotton stockings, silk neckcloth,

leather shoes, reproduction spectacles.

A working man would dress less elegantly than a businessman, but certainly as well as he could afford; for a clerk in the Potts’ employ, another version of the 18th century suit is shown. Blue was a common color for working people’s clothing, since the dye (indigo) was easy to obtain, as well as being less expensive than materials to dye other colors. Here, a blue wool waistcoat and breeches are the matching components of the suit; a blue cloth coat completes the outfit. A silk cravat provides a touch of finery for an upwardly-mobile office worker.

23.23.23.23. Mature woman’s English gown (robe a l’anglaise), c. 1765Mature woman’s English gown (robe a l’anglaise), c. 1765Mature woman’s English gown (robe a l’anglaise), c. 1765Mature woman’s English gown (robe a l’anglaise), c. 1765

Robe a l’anglaise (cut en fourreau) and matching petticoat, in black linen, reproduced from The Cut of Women’s Clothes by Norah Waugh. Accessories in white linen recreated to typical

styles of the period, as shown in contemporary portraits of

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American matrons. Blue silk mitts, reproduced from an extant

example in the Costume Collection of Platt Hall in England.

For a mature or elderly woman, fashion choices might have to do with custom, comfort or keeping up with current modes. A well-to-do woman of means, such as John Potts’ mother-in-law Anna Nutt, could have dressed as up-to-date as she wished in silk, but as a woman of many responsibilities, practical clothing might have better suited her needs on a daily basis. Anna was twice widowed, and black was not an uncommon shade for older women to adopt, especially widows, though other colors were not prohibited by society. It is likely that she dressed sensibly for an active household life, perhaps in an ordinary robe a l’anglaise gown and petticoat ensemble. Suitable accessories would include a linen cap, neckerchief and long mitts.

24.24.24.24. Businessman, c. 1770Businessman, c. 1770Businessman, c. 1770Businessman, c. 1770

Burgundy linen coat and breeches, worn with a buff-colored

brocade waistcoat, adapted from various period sources. Worn

with a plain linen shirt; accessories include white silk stockings, a

fine linen neck stock and wool-work pocketbook.

By the 18th century, the three-piece man’s suit was an established fashion, although the pieces could be mixed-and-matched depending on the formality of the occasion. A daytime outfit for a gentleman is made up of a two-piece suit of heavy linen in a conservative burgundy shade, worn with a buff-colored waistcoat of diapered floral brocade.

25.25.25.25. Ironworker, second half 18th centuryIronworker, second half 18th centuryIronworker, second half 18th centuryIronworker, second half 18th century

Black and white checked linen shirt; resist-dyed cotton

neckcloth; tan linen trousers; blue linen workman’s cap; leather

apron; rough leather shoes. Clothing is based on period

illustrations of ironworkers from Denis Diderot’s Encyclopedie and the paintings of Joseph Wright of Derby.

Many of those in John Potts’s employ were ironworkers, toiling at a blast furnace, refinery forge, or blacksmith’s shop. All of

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those work environments called for appropriate work wear. While the typical white linen shirt could be washed and bleached in the sun, a checked linen would hide the dirt and soot and could go longer between washings (which themselves wore out the fabric). Long trousers were sometimes preferred to knee breeches, especially in ironworks, where hot or even molten iron was a hazard. A close-fitting linen cap keeps the hair clean, and a long leather apron helps guard against burns.

WWWWORKROOMORKROOMORKROOMORKROOM 26.26.26.26. Female servant in bedgown, c. 1769 Female servant in bedgown, c. 1769 Female servant in bedgown, c. 1769 Female servant in bedgown, c. 1769

Bedgown in orange linen, reproduced from Art du Tailleur by Francois Alexandre De Garsault, 1769; brown linen petticoat;

accessories include checked linen apron, shift, handkerchief,

and white linen cap.

Middle or lower-class women were usually those who led the most physically demanding lives in any household. There were many informal garments that allowed for the active lifestyle of a servant or rural farm woman. Traditionally, women always wore a petticoat (skirt) over their linen undergarments, but their upper garment might be a full-length gown or one of a variety of shorter, jacket-like bodices. One useful style was the “bedgown” or “manteau de lit.” Somewhat similar to a square, kimono-type pattern, this was a loose jacket practical for everything from doing housework to use by a lady who had just given birth and wished to wear an unrestrictive wrap. Bedgowns were most commonly made of linen or cotton, and could be lined or unlined.

27.27.27.27. Lady in “undress” separates, c. 1775Lady in “undress” separates, c. 1775Lady in “undress” separates, c. 1775Lady in “undress” separates, c. 1775

Fitted jacket with hip-length peplum tabs of garnet and ochre

brocade, trimmed with red and matte gold passementarie braid;

white-work kerchief, replica of extant item in the Los Angeles

County Museum of Art (Accession #M.80.190.5); quilted

petticoat in mustard yellow cotton chintz, hand quilted from a

pattern of an extant item in Patterns of Fashion 1 by Janet

16

Arnold; apron with lace edging; 18th century silver chatelaine

hook with replica silk pincushion (original pincushion in

collection of the Pottstown Historical Society and on display in

this exhibit). Replica white linen round-eared cap with silk

ribbon trim.

As an alternative to a full length gown, an upper class woman might choose to wear a jacket and petticoat combination for ordinary day dress. For practical warmth in drafty 18th century homes, a quilted petticoat was just the thing; they were available commercially, but many women made their own at home, and a machine made version of quilted fabric, called Marseilles, became available during the 18th century. There were a myriad of bodices and jacket styles from which to choose for daywear. Fashion features such as pleated or gathered short skirts, fitted swallowtail basque skirts, tabbed peplums and hip-length sack-back jackets were made. Fabrics ranged from plain linens to printed and quilted cottons, to striped and embroidered silk textiles, depending on the woman’s station in life and financial means – and also a practical way to stretch a wardrobe with a garment requiring a small amount of fabric.

28.28.28.28. Spinning servant, c.1755Spinning servant, c.1755Spinning servant, c.1755Spinning servant, c.1755----1775177517751775

English gown (robe a l’anglaise) of green worsted wool, adapted

from a gown pictured in Costume in Detail, 1730-1930 by Nancy Bradfield; tan worsted wool petticoat; silk handkerchief;

white linen apron; white linen cap reproduced from an original

owned by Landis Valley Museum and displayed in this exhibit.

A very typical style for everyday wear for English and American women, the open robe gown with a fitted “en fourreau” back and triangular “stomacher” front was commonplace during the middle decades of the 18th century for all classes of society. The stomacher, a separate piece that was pinned on to the stays before the gown was put on, could match the gown fabric or could contrast the gown (some are elaborately trimmed and embroidered). Worsted wool was a popular fabric choice for its durability and versatility—contrary to popular belief, not all wool

17

is itchy, and lightweight wools can actually be quite comfortable for summer wear, owing to the fiber’s breathability.

SSSSLAVE QUARTERSLAVE QUARTERSLAVE QUARTERSLAVE QUARTERS 29.29.29.29. Servant girl, second half 18th centuryServant girl, second half 18th centuryServant girl, second half 18th centuryServant girl, second half 18th century

Unbleached oznabrig linen shift, leather stays, brown linen

pockets, striped linen headscarf, cotton stockings. Clothing

based on various period images and contemporary runaway

advertisements in the Pennsylvania Gazette.

Runaway advertisements indicate that coarse, “brown” (i.e., unbleached) fabric was sometimes used for lower-status servants and slaves. With repeated washings, the fabric would eventually lighten, but would never look bright white. Leather stays or “jumps” were also worn by some of the poorest women in society and were sometimes included in clothing given to indigent women. These would provide some bust and back support and keep the wearer looking “decent,” but would not give a fashionable 18th-century shape.

30.30.30.30. Female servant, second half 18th centuryFemale servant, second half 18th centuryFemale servant, second half 18th centuryFemale servant, second half 18th century

Linen shortgown and petticoats; blue and white checked linen

handkerchief; white and black striped linen apron; plain linen

cap; wool felt hat. Clothing based on various period images and

contemporary runaway advertisements in the Pennsylvania Gazette.

As noted before, checked and striped linen was particularly popular for working-class clothing. The account books of John Potts show purchases of such fabrics, probably to clothe his servants and slaves, and also purchased in bulk to sell in his Pottstown store to the local inhabitants.

18

CCCCLOSET LOSET LOSET LOSET RRRROOMOOMOOMOOM 31.31.31.31. Woman’s 18thWoman’s 18thWoman’s 18thWoman’s 18th----century undergarmentscentury undergarmentscentury undergarmentscentury undergarments

Shift, replica of extant garment in the collection of Colonial

Williamsburg (accession #1986.207, patterned in Costume Close-Up), hand sewn, made of antique linen; side hoops, checked linen, reproduction from a pattern in Corsets and Crinolines by Norah Waugh; linen stays, based off of various extant pieces, including those pictured in Costume in Detail; clocked silk stockings, adapted from period designs by

American Duchess; mules, reproduction using antique and

modern materials.

Women of all levels in society wore similar undergarments, although ladies of the upper classes might add extra items as fashion demanded. Linen was the common textile for nearly all underwear (clothing worn next to the skin) of both sexes—it was comfortable, easily laundered and wore well over time; of all garments, underwear was the most finely and well-sewn, with strong, tiny stitches, to last for years of daily wear. A shift served as the woman’s next-to-the-skin apparel; cut from minimalist geometric shapes to conserve fabric, it reached below the knees and could have a plain or drawstring neckline. Over this would be worn a set of stays, to support and reshape the figure to the ideal smooth, high-bosomed 18th century contour. Made of multiple thicknesses of linen and other stiffened fabrics, stays were reinforced with long, straight seams which held thin strips of baleen (whalebone)—flexible enough to mold to a woman’s curves, but stiff enough to support the bust and achieve the elegant, upright posture a lady desired. Fashionable women achieved the skirt fullness required by contemporary fashion by the use of side hoops or “panniers.” Suspended from a band that tied around the waist, these were shaped bags of fabric with sewn channels which held flexible whalebone or thin cane, bent in a semi-circle to make an oval hoop shape so the petticoat and gown skirt could spread out to show the rich fabrics of the outer dress. Other accessories include ‘clocked’ (embroidered or knitted-in design) blue silk stockings and backless, brocade mules for indoor footwear.

19

32.32.32.32. Gentleman’s 18thGentleman’s 18thGentleman’s 18thGentleman’s 18th----century undergarmentscentury undergarmentscentury undergarmentscentury undergarments

White linen hand-sewn shirt, based on period examples and

adapted from Kannik’s Korner’s “Man’s Shirt, 1750-1800”

pattern; white linen hand-sewn drawers, reproduced from an

extant pair in the Colonial Williamsburg collection (accession

#1996-218, patterned in Costume Close-Up); clocked silk stockings, adapted from period designs by American Duchess;

reproduction leather mules.

The shirt was the common denominator of every man’s wardrobe; during the 18th century, it was made in linen and like the woman’s shift, cut in geometric shapes to save fabric. White shirts were made to last many years, with re-enforced panels and fine, even stitching. Many shirts were quite long, to serve the purpose of underpants on the lower body parts, since relatively few men wore under drawers. Those who did were gentlemen of the upper class, and linen under drawers (with ties rather than buckles at the knee) must have been luxurious as an extra layer of warmth or smooth barrier between tender skin and the woolen material of breeches. Various styles of neckwear were fashionable; a stiffened band called a “stock” was worn over the upright collar, and buckled neatly in the back. Stockings of wool, linen or silk were worn on the lower legs, and embroidered ‘clocked’ versions, often in color, were popular accessories. Backless ‘mules’ of wood and leather were a version of men’s leisure footwear.

33.33.33.33. Toddler’s 18thToddler’s 18thToddler’s 18thToddler’s 18th----century undergarmentscentury undergarmentscentury undergarmentscentury undergarments

Linen shift, linen stays based on extant examples in the

collection of Colonial Williamsburg, plain linen cap

Like adult women, girls and unbreeched boys wore a white linen shift as their innermost garment. They often wore stays as well, though stays for children were much more lightly boned and worn to encourage proper posture and to provide a foundation for petticoats and other garments that might otherwise slide off of thick-waisted little bodies, rather than to shape the torso.

20

SSSSECOND ECOND ECOND ECOND FFFFLOOR LOOR LOOR LOOR HHHHALLALLALLALL 34.34.34.34. Woman’s cap, c. 1780sWoman’s cap, c. 1780sWoman’s cap, c. 1780sWoman’s cap, c. 1780s

Embroidered cotton gauze with lace trim Family legend says that this cap is the one worn by an elderly

Ruth Potts (1716-1786) in her portrait. Since the original

painting is no longer in existence, and the extant copy (displayed

above the case) was made from a 19th-century photograph of

the original, it is impossible to confirm this. It may also be a

similar cap owned by Ruth Potts, or simply a similar cap of

unknown provenance.

Collection of Pottstown Historical Society 35.35.35.35. Miniature portrait of John Potts, Junior, second half 18th Miniature portrait of John Potts, Junior, second half 18th Miniature portrait of John Potts, Junior, second half 18th Miniature portrait of John Potts, Junior, second half 18th

centurycenturycenturycentury

Watercolor on ivory One of John and Ruth Potts’s nine sons, John Potts, Junior

(born 1738) was an ironmaster, lawyer, and judge. He was a

Loyalist during the American Revolution.

Collection of Pottstown Historical Society

36.36.36.36. Shoe buckle, second half 18th centuryShoe buckle, second half 18th centuryShoe buckle, second half 18th centuryShoe buckle, second half 18th century

Silver with paste stones Believed to have belonged to a member of Samuel Potts’s

(1736-1793) family, this buckle would have been used to hold

the latchets (straps) of a shoe closed. Paste stones, made of

leaded glass with foil backing, were very popular in the

eighteenth century.


CCCCHILDRENHILDRENHILDRENHILDREN’’’’S S S S BBBBEDCHAMBEREDCHAMBEREDCHAMBEREDCHAMBER

37.37.37.37. Infant’s embroidered cap, 18th centuryInfant’s embroidered cap, 18th centuryInfant’s embroidered cap, 18th centuryInfant’s embroidered cap, 18th century

White linen Infant’s caps could be plain linen or wool, but many were

decorated with whitework embroidery and lace insertions like

this example.

Collection of The National Society of The Colonial Dames of America in the Commonwealth of Pennsylvania at STENTON

21

38.38.38.38. Child’s quilted cap, c. 1770sChild’s quilted cap, c. 1770sChild’s quilted cap, c. 1770sChild’s quilted cap, c. 1770s

White cotton, unknown batting material Rather unusually shaped, this cap features delicate quilting,

which is beautiful as well as warm. The provenance of the cap

suggests it may have been made by a Pennsylvania German

woman.

Collection of Landis Valley Museum, Pennsylvania Historical and Museum Commission

39.39.39.39. Child’s stockings, 18th centuryChild’s stockings, 18th centuryChild’s stockings, 18th centuryChild’s stockings, 18th century

Cream knitted silk A machine for knitting stockings on a flat frame had been

invented at the end of the 16th century, and by the 18th,

machine-knit stockings were common and readily available in

the colonies.


40.40.40.40. Child’s shoes, c. 1750sChild’s shoes, c. 1750sChild’s shoes, c. 1750sChild’s shoes, c. 1750s----1770s1770s1770s1770s

Blue-green wool, red leather Styled similar to adult shoes, this fine example would have

fastened with buckles.


41.41.41.41. Child’s gown, c. 1720sChild’s gown, c. 1720sChild’s gown, c. 1720sChild’s gown, c. 1720s

White linen damask This type of gown would be worn by an infant who had not

started walking yet, with a long skirt that covered the feet. Only

one sleeve remains and is detachable.


42.42.42.42. Boy’s coat, c.1760 and breeches, c.1760Boy’s coat, c.1760 and breeches, c.1760Boy’s coat, c.1760 and breeches, c.1760Boy’s coat, c.1760 and breeches, c.1760----1770177017701770

Coat: green wool, brown linen and checked linen lining, metal buttons; Breeches: tan linen twill, off-white linen lining, horn button (only one button remains) Once a boy was breeched, his clothing would be nearly identical

to his father’s. The provenance of the breeches indicates that

they were Benjamin Bonsall’s first pair. He was born in Upper

22

Darby in 1764. The size of the frock coat indicates that it was

probably a little boy’s first real coat, as well. Breeches pictured in

Fitting & Proper (#28). Collection of Chester County Historical Society

43.43.43.43. Child’s bodice, lateChild’s bodice, lateChild’s bodice, lateChild’s bodice, late----18th century18th century18th century18th century

White embroidered cotton muslin Embellished with whitework embroidery and miniscule

pintucks, this bodice would have originally been worn with a

matching petticoat.


44.44.44.44. Child’s bodice, midChild’s bodice, midChild’s bodice, midChild’s bodice, mid----18th century18th century18th century18th century

White linen damask This bodice would have been paired with a matching underdress

or petticoat. Like much baby clothing of the period, it is white,

making it easier to clean and bleach in the sun.


45.45.45.45. Child’s miChild’s miChild’s miChild’s mitts, 18th centurytts, 18th centurytts, 18th centurytts, 18th century

White linen Like the ones worn by adult women, these two pairs of mitts

would have helped protect little hands from the cold or sun.


46.46.46.46. Child’s stays, c.1780sChild’s stays, c.1780sChild’s stays, c.1780sChild’s stays, c.1780s----1790s1790s1790s1790s

Linen, baleen Providing support for the outer clothing, and encouraging

proper posture, stays were worn from childhood, especially

among the upper classes. These stays date from a period when

the fashionable overall “shape” was changing, with the waistline

becoming higher.

Collection of Wyck Historic House, Garden, and Farm

47.47.47.47. Infant’s shirt, c.1700Infant’s shirt, c.1700Infant’s shirt, c.1700Infant’s shirt, c.1700----1800180018001800

Fine white linen, cotton gauze ruffle 23

Sized to fit a newborn, this beautifully-sewn shirt would have

been worn under swaddling clothes or a petticoat and gown.

Patterned in Fitting & Proper (#25). Collection of Chester County Historical Society

MMMMASTER ASTER ASTER ASTER BBBBEDCHAMBEREDCHAMBEREDCHAMBEREDCHAMBER 48.48.48.48. Man’s cocked hatMan’s cocked hatMan’s cocked hatMan’s cocked hat

Black wool felt, linen lining, leather sweatband A nice example of an everyday hat of the period, this piece is

believed to have belonged to Colonel Richard Thomas (whose

wife’s shoes are also on exhibit). Pictured in Fitting & Proper (#24).

Collection of Chester County Historical Society

49.49.49.49. Flamestitch pocketbook, 18th centuryFlamestitch pocketbook, 18th centuryFlamestitch pocketbook, 18th centuryFlamestitch pocketbook, 18th century

Wool embroidery yarn on linen canvas Also called “Irish Stitch” or “Bargello,” flamestitch embroidery

was often employed to decorate men’s and women’s

pocketbooks, which were used to hold money, important

papers, and the like.


50.50.50.50. Neck stock, midNeck stock, midNeck stock, midNeck stock, mid----18th century18th century18th century18th century

Fine white linen Made of very lightweight linen and gathered tightly to the tabs on

either end, this stock was one option for men’s neckwear and

would have be fastened with a pronged buckle in the back.

Other stocks might be made of or interlined with stiff horsehair,

or a man might wear a handkerchief or cravat wrapped around

his neck.


51.51.51.51. Knee buckles, second half 18th centuryKnee buckles, second half 18th centuryKnee buckles, second half 18th centuryKnee buckles, second half 18th century

Silver, paste stones Set with paste stones, buckles like these would fasten the knee

bands on a pair of formal breeches and may have matched the

gentleman’s shoe buckles.

24

Collection of Pottsgrove Manor 52.52.52.52. Mules, c.1785Mules, c.1785Mules, c.1785Mules, c.1785----1795179517951795

Leather, wood Worn for both leisure and work, mules were popular among

both sexes in the 18th century. These have the pointed toes

fashionable at the end of the century.


53.53.53.53. Stockings, 18th centuryStockings, 18th centuryStockings, 18th centuryStockings, 18th century

Cream knitted silk Machine-knit stockings, typical of both men’s and women’s

stockings.


54.54.54.54. Breeches, linen, c. 1760Breeches, linen, c. 1760Breeches, linen, c. 1760Breeches, linen, c. 1760----1800180018001800

Off-white linen These breeches were made for a stout man and would have

been every-day wear, with their plain linen fabric. Displayed with

a reproduction shirt.

Collection of Chester County Historical Society 55.55.55.55. Man’s shirt, c. 1750Man’s shirt, c. 1750Man’s shirt, c. 1750Man’s shirt, c. 1750----1800180018001800

Off-white linen Made of coarse linen and without any embellishments, this

would have been a typical shirt for a working-class or middle-

class man.

Collection of Chester County Historical Society 56.56.56.56. Man’s waistcoat and Man’s waistcoat and Man’s waistcoat and Man’s waistcoat and jacket, c. 1770sjacket, c. 1770sjacket, c. 1770sjacket, c. 1770s

Jacket: rust-colored linen; Waistcoat: brown linen More of a sleeved waistcoat or jacket than a frock coat, the outer

garment shown here is a rare example of everyday menswear.

The waistcoat, which was not originally associated with the

jacket, is also a perfect example of an average man’s clothing.


57.57.57.57. Man’s shirt, c. 1750Man’s shirt, c. 1750Man’s shirt, c. 1750Man’s shirt, c. 1750----1800180018001800

White linen 25

Made of fine linen and featuring bosom ruffles, a shirt like this

would be worn by a gentleman, or a middle-class man for dressy

occasions.


58.58.58.58. Knitted silk breeches, last quarter 18th centuryKnitted silk breeches, last quarter 18th centuryKnitted silk breeches, last quarter 18th centuryKnitted silk breeches, last quarter 18th century

Off-white silk Referred to also as “stocking” breeches, knitted breeches were

sold in Philadelphia from at least 1750. With their stretchiness,

such breeches increased in popularity as the eighteenth century

drew to a close, when men’s fashions became more fitted.

Collection of Cliveden of the National Trust 59.59.59.59. Breeches, silk satin, c. 1765Breeches, silk satin, c. 1765Breeches, silk satin, c. 1765Breeches, silk satin, c. 1765----1830183018301830

Black silk satin Very similar to another pair in the Chester County collection,

these breeches represent a basic item of men’s clothing. Plain

but of high-quality fabric, they would be appropriate for many

occasions.


60.60.60.60. Embroidered waistcoat, c.Embroidered waistcoat, c.Embroidered waistcoat, c.Embroidered waistcoat, c. 1760s1760s1760s1760s----1770s1770s1770s1770s

Silk, linen, silk embroidery thread Pre-embroidered panels of fabric for waistcoats could be

purchased at shops in Philadelphia. This English example

almost certainly was made from such ready-made pieces. Note

how the buttonholes were cut right through the embroidery.

Private collection of Dr. Clarissa F. Dillon

26

EEEEXHIBIT XHIBIT XHIBIT XHIBIT RRRROOMOOMOOMOOM 61.61.61.61. Drawstring work bag, second half 18th centuryDrawstring work bag, second half 18th centuryDrawstring work bag, second half 18th centuryDrawstring work bag, second half 18th century

Indigo resist-dyed cotton An example of the reuse of textiles, this workbag appears to

have been made from fabric that would have originally been

used in home decorating, possibly bed curtains.


62.62.62.62. Woman’s shortgown, c. 1780Woman’s shortgown, c. 1780Woman’s shortgown, c. 1780Woman’s shortgown, c. 1780----1800180018001800

Off-white corded linen or cotton As a garment used for working wear, shortgowns could receive a

lot of use and abuse. Note on this example the numerous

patches, all neatly sewn, some of the original fabric, others of a

different weave. In the 18th century, the material made up the

biggest cost of a garment, so even the clothing of wealthy

individuals often shows some level of patching to get as much

use out of the fabric as possible.


63.63.63.63. Mitts, second half 18th centuryMitts, second half 18th centuryMitts, second half 18th centuryMitts, second half 18th century

White linen, red embroidery floss Mitts were a common accessory, useful for keeping the arms

warm in drafty houses in the winter, and protecting them from

the sun in the warmer months.


64.64.64.64. Flat beaver hat, c. 1740Flat beaver hat, c. 1740Flat beaver hat, c. 1740Flat beaver hat, c. 1740----1780178017801780

Tan beaver felt, brown wool tape Low-crowned flat hats like this one were a very popular

accessory for women, and could also be braided or woven of

straw or chip (finely-shaved strips of wood), and might be

covered with fabric and trimmed with ribbon. This simple hat is

one of several nearly identical ones in the Chester County

Historical Society’s collection, and has a label inside indicating

that it originally belonged to Esther Sharples (died c.1807).


27

65.65.65.65. Calash, second half eighteenth centuryCalash, second half eighteenth centuryCalash, second half eighteenth centuryCalash, second half eighteenth century

Copper-colored silk taffeta, cane Calashes were designed to protect the high hairstyles of the latter

half of the eighteenth century without crushing them. This calash

was originally olive green, but the silk has changed color over

time.

Collection of Pottsgrove Manor 66.66.66.66. Fan and case, lateFan and case, lateFan and case, lateFan and case, late----18th century18th century18th century18th century

Leather, paper, ivory/bone With its pastoral painted scene, this fan would have made a

stylish accessory, more for fashion than practicality.

Collection of Pottstown Historical Society 67.67.67.67. Pattens, c. 1700Pattens, c. 1700Pattens, c. 1700Pattens, c. 1700----1780178017801780

Wooden soles, iron platforms, leather and wool straps Worn by women to keep their shoes and hems from getting

soiled, pattens could be as utilitarian as these or could be

covered in fabric that matched the shoes. This pair is shaped

and notched to accommodate a heeled shoe. Pictured in Fitting & Proper (#41). Collection of Chester County Historical Society

68.68.68.68. Pair of woman’s shoes, c. 1770Pair of woman’s shoes, c. 1770Pair of woman’s shoes, c. 1770Pair of woman’s shoes, c. 1770----1780178017801780

Black silk satin, black grosgrain ribbon, leather soles These shoes are straight-lasted—that is, they were made with no

right or left, though once the buckles (now missing) were put on

the latchets (flaps), the wearer would wear them on the same feet

every time. This pair was originally owned by Thomasina

Downing, wife of Colonel Richard Thomas (owner of the

cocked hat on display in this exhibit). Pictured in Fitting & Proper (#36). Collection of Chester County Historical Society

69.69.69.69. Pincushion and Pincushion and Pincushion and Pincushion and scissorsscissorsscissorsscissors----casecasecasecase, , , , 18th century18th century18th century18th century

Silk, linen, wool batting, silk embroidery floss This sewing accessory, with its charming embroidery, would

have been used to hold a small pair of scissors, while the top

28

functions as a pincushion. It may have originally hung from the

waist by a ribbon.

Collection of Pottstown Historical Society 70.70.70.70. Brussels lace, 18th centuryBrussels lace, 18th centuryBrussels lace, 18th centuryBrussels lace, 18th century

Linen thread Fragment of handmade bobbin lace from England. Brussels lace

was known for its delicacy. There is a nearly invisible join on the

back of the piece.

Private collection of Dr. Clarissa F. Dillon 71.71.71.71. Stockings, 18th centuryStockings, 18th centuryStockings, 18th centuryStockings, 18th century

Cream knitted silk Like the other stockings in this exhibit, these were commercially

produced and are typical for the period.

Collection of Pottstown Historical Society 72.72.72.72. Pair of woman’s leather tambourPair of woman’s leather tambourPair of woman’s leather tambourPair of woman’s leather tambour----work shoes, c. 1790swork shoes, c. 1790swork shoes, c. 1790swork shoes, c. 1790s

Leather, polychrome embroidery thread As the 18th century drew to a close, fashionable shoes changed

shape, with the heels becoming lower and smaller, and the toes

becoming more pointed.


73.73.73.73. Pair of Pair of Pair of Pair of needlepointneedlepointneedlepointneedlepoint pockets, c. 1760pockets, c. 1760pockets, c. 1760pockets, c. 1760----1780178017801780

Linen, various bright colors of wool yarn, wool tape Women’s clothing in the 18th century did not typically have

attached pockets. Instead, the pocket or pockets were tied on

under the top petticoat and accessed from slits in the sides of the

petticoat and gown. Despite being hidden beneath the outer

garments, many pockets were embroidered or otherwise

embellished. This pair is unusual for being worked in Bargello,

also known as Irish stitch. Pictured in Fitting & Proper (#30). Collection of Chester County Historical Society

74.74.74.74. WomaWomaWomaWoman’s cap, c. 1775n’s cap, c. 1775n’s cap, c. 1775n’s cap, c. 1775----1825182518251825

Fine white linen This style of cap is very difficult to date, owing to its continued

use, especially among conservative older women. This cap

29

seems particularly plain (though exquisitely sewn), as its “ruffle”

is not gathered to the brim and lower edge of the caul, but

instead whip-stitched on flat.


75.75.75.75. Silk round gown (robe a l’aSilk round gown (robe a l’aSilk round gown (robe a l’aSilk round gown (robe a l’anglaise), c. 1770nglaise), c. 1770nglaise), c. 1770nglaise), c. 1770

Brownish-pink silk taffeta, off-white linen lining Similar in style to the Phebe Massey gown reproduced in the

exhibit, this simple day gown has no known provenance but may

have belonged to a Quaker woman. The center-front closure

points to a date after c.1770, but the style of cuff on the sleeves

is a holdover from an earlier period. Pictured in Fitting & Proper (#2). Displayed with a reproduction fichu. Collection of Chester County Historical Society

76.76.76.76. Tambour work fichu, c. 1780Tambour work fichu, c. 1780Tambour work fichu, c. 1780Tambour work fichu, c. 1780

Fine off-white linen, multicolored embroidery thread The technique of tambour embroidery was introduced to

Europe from India c.1759 and was especially popular from

about 1770-1810. Worked with a fine hook from the back of the

piece, tambour was a much quicker method than the similar-

looking chain stitch which had previously been used.


77.77.77.77. Woman’s shortgown, cWoman’s shortgown, cWoman’s shortgown, cWoman’s shortgown, c. 1780. 1780. 1780. 1780----1800; petticoat, 19th century; 1800; petticoat, 19th century; 1800; petticoat, 19th century; 1800; petticoat, 19th century;

apron, c. 1770apron, c. 1770apron, c. 1770apron, c. 1770----1850185018501850

Shortgown: Dark brown floral printed cotton; Petticoat: off-white linsey-woolsey; Apron: Checked linen While the other shortgown in this exhibit was very obviously

worn, this example looks as if it was never worn, and the fabric

remains rich and unfaded. The petticoat, though its waistband

and button closure mark it as a later piece, is very similar to a

working woman’s petticoat of the 18th century, constructed of

linsey-woolsey, a fabric woven with a linen warp and a woolen

weft. The material for the apron, a typical blue-and-white check,

was spun by Quaker Hannah Carter (b. 1754) and woven by her

brother John Carter (b.1755). The apron is patterned in Fitting & Proper (#33).

30

Shortgown and apron, collection of Chester County Historical Society. Petticoat, private collection of Deborah Peterson.

78.78.78.78. Woman’s shift, c. 1700Woman’s shift, c. 1700Woman’s shift, c. 1700Woman’s shift, c. 1700----1790179017901790

White linen This is an excellent example of the typical female undergarment,

which was worn closest to the body, underneath the stays. Until

c. 1790, when gown sleeves became very tight, shift sleeves were

cut nearly square and were gathered into narrow cuffs. The cuffs

would be held closed with a tape or ribbon tied through the

buttonholes at each end, or sleeve links (consisting of two small

buttons joined together with wire loops) would be worn.


79.79.79.79. Pair of woman’s stays, c. 1760Pair of woman’s stays, c. 1760Pair of woman’s stays, c. 1760Pair of woman’s stays, c. 1760----1780178017801780

Wool, linen lining, baleen Fully boned with baleen (whalebone), these stays provided bust

and back support as well as fashionable shaping. The tabs at the

bottom splay out to allow room for the hips and to help support

the petticoats. Contrary to myth, most women wore stays on a

daily basis with no ill effects.


80.80.80.80. Quilted petticoat, 18th centuryQuilted petticoat, 18th centuryQuilted petticoat, 18th centuryQuilted petticoat, 18th century

Cream silk satin, linen lining Quilted petticoats were extremely popular in the 18th century.

Some were quilted in simple patterns on glazed wool or plain

silk and wadded with wool batting for warmth. Others, like this

one, were quilted in elaborate designs on silk with no wadding,

as a fashion statement rather than a warm under layer. The

petticoat has been reset on a linen/silk drawstring waistband

(possibly in the 19th century).


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81.81.81.81. Quilted petticoat, 18th centuryQuilted petticoat, 18th centuryQuilted petticoat, 18th centuryQuilted petticoat, 18th century

Blue silk satin, linen lining Like the other petticoat on exhibit, this example has no wadding

and would have been worn with an open robe to show off the

intricate quilting.


82.82.82.82. Satin sackSatin sackSatin sackSatin sack----back gown (robe back gown (robe back gown (robe back gown (robe à la françaiseà la françaiseà la françaiseà la française), c. 1770), c. 1770), c. 1770), c. 1770----1790179017901790

Blue-green silk satin, beige linen and white mohair lining. Reproduction stomacher. The sack-back gown was a popular style for formal dress during

the 3rd quarter of the 18th century and could also be worn for

“undress” wear. Trimmed with self-fabric ruching and flounces,

this piece is a simple but elegant example and is said to have

been worn by Ann Rowan Penrose (1758-1843) to George

Washington’s inaugural ball on May 7, 1789. If the provenance

is correct, the gown would have been rather out-of-date by that

time, when a center-front closure without a stomacher would

have been more typical. This gown shows evidence of alterations

to the bodice in the 19th century, probably worn as a costume to

a “fancy dress” party. Pictured in Fitting & Proper (#3). Collection of Chester County Historical Society

32

GGGGLOSSARY OF LOSSARY OF LOSSARY OF LOSSARY OF TTTTEXTILE EXTILE EXTILE EXTILE TTTTERMSERMSERMSERMS The following terminology is drawn from the account books of the Potts household during their time at Pottsgrove in the 1750s and 1760s. These represent just a fraction of the types of fabric and

other textile goods that were available in Philadelphia in the colonial period. The standard spellings are listed, with the variations found

in the ledgers given in parentheses. BandanaBandanaBandanaBandana—a richly-colored silk handkerchief, with white diamond

spots

Bearskin (“bareskin”)Bearskin (“bareskin”)Bearskin (“bareskin”)Bearskin (“bareskin”)—coarse woolen cloth with a shaggy nap,

manufactured for overcoats; also called dreadnaught and fearnaught

Belladine (“baladine sewing silk”)Belladine (“baladine sewing silk”)Belladine (“baladine sewing silk”)Belladine (“baladine sewing silk”)—a coarse raw silk of a very rough

yet durable quality

Broadcloth (“brood cloth”)Broadcloth (“brood cloth”)Broadcloth (“brood cloth”)Broadcloth (“brood cloth”)—any fabric (commonly wool) woven on

a wide loom, with a closely woven or compact texture and a lustrous

finish

Broad cottonBroad cottonBroad cottonBroad cotton—a closely woven dress-goods fabric of cotton having a

soft, lustrous finish and resembling poplin

BuckramBuckramBuckramBuckram—a kind of coarse cloth made of hemp, stiffened with gum

or paste, and often put into the lining of garments to help keep them

stiff; coarser or thicker than canvas, the raw fabric was often dyed

and printed in bright hues

Calico (“callicoe”)Calico (“callicoe”)Calico (“callicoe”)Calico (“callicoe”)—a type of cotton cloth from India (Calicut, India,

for which it’s named), of various patterns, painted or stained, and

even plain white or unbleached

Calimanco (“calamanco” Calimanco (“calamanco” Calimanco (“calamanco” Calimanco (“calamanco” and “callimancoe”)and “callimancoe”)and “callimancoe”)and “callimancoe”)—a woolen stuff from

Flanders, glossy on the surface, and woven with a satin twill and

checkered or brocaded in the warp, so that the pattern shows on

one side only

33

Cambric (“cambrich” and “cambrick”)Cambric (“cambrich” and “cambrick”)Cambric (“cambrich” and “cambrick”)Cambric (“cambrich” and “cambrick”)—a kind of fine white linen in

plain weave often used for handkerchiefs; Pottsgrove ledgers show

the purchase of both regular and coarse cambric

Camlet (“camblet” and “camblete”)Camlet (“camblet” and “camblete”)Camlet (“camblet” and “camblete”)Camlet (“camblet” and “camblete”)—a name originally applied to

some beautiful and costly eastern fabric, a mixture of silk and goat

or camel’s hair, hot-pressed to produce a smooth finish

Check (“cheke”)Check (“cheke”)Check (“cheke”)Check (“cheke”)—material decorated with a pattern of checks or

squares, done either by weaving or printing; Pottsgrove ledgers show

that cotton, superfine cotton, linen, and wide checks were purchased

ChintzChintzChintzChintz—a painted or printed cotton fabric from India, glazed or

unglazed, used especially for draperies, but also clothing

Cotton ginghamCotton ginghamCotton ginghamCotton gingham—a cloth of pure cotton woven with dyed yarns,

usually creating a striped or checked pattern, tough in texture

Cotton romal (“lomaCotton romal (“lomaCotton romal (“lomaCotton romal (“lomals”)ls”)ls”)ls”)—cotton version of a romal: a type of silk

handkerchief imported from India; may also be colorful

headdresses worn by slaves

DamaskDamaskDamaskDamask—a reversible fabric of linen, silk, cotton, or wool, woven

with patterns

Duffel (“duffield”)Duffel (“duffield”)Duffel (“duffield”)Duffel (“duffield”)—a coarse woolen cloth with a thick, shaggy nap,

used often for overcoats

Durance or durant (“durante”)Durance or durant (“durante”)Durance or durant (“durante”)Durance or durant (“durante”)—a glazed woolen fabric or plain

weave

Fine linenFine linenFine linenFine linen—possibly lawn or cambric; superior or high quality fabric

woven from flax yarns

FlannelFlannelFlannelFlannel—a soft, warm, light fabric, thickly napped on one side, made

of wool in the 18th century

HandkerchiefHandkerchiefHandkerchiefHandkerchief—a piece of material up to 30 inches or so, usually

square; the term was used in the 18th century for cloths used not

34

only for wiping the face and nose, but also those worn over the

shoulders or around the neck and as headscarves, and those used to

wrap items for carrying; Pottsgrove ledgers show the purchase of

both cotton handkerchiefs and silk handkerchiefs

Harateen (“harrette”)Harateen (“harrette”)Harateen (“harrette”)Harateen (“harrette”)—a Norwich worsted fabric with a wavy

patterned finish, often used for furniture, often incorrectly identified

as linen

HollandHollandHollandHolland—a linen fabric from the province of Holland in the

Netherlands; when unbleached, called brown Holland; later, a

generic name for linen cloth of fine quality

Indian blanketsIndian blanketsIndian blanketsIndian blankets—white woolen cloth, typically used for bed covers,

petticoats, and heavy outer garments, but with a colored design

specifically woven into it for the Indian trade

Irish linenIrish linenIrish linenIrish linen—a fine, high-count linen handmade in Ireland and used

for tablecloths, handkerchiefs, and garment trimmings

Kersey (“kersay”)Kersey (“kersay”)Kersey (“kersay”)Kersey (“kersay”)—a kind of coarse narrow cloth, woven from long

wool, usually ribbed, and good for keeping out the wet and cold

LawnLawnLawnLawn—a sheer linen or cotton fabric, either plain or printed,

resembling cambric but thinner and finer, used for shirts,

handkerchiefs, ruffles, and aprons

Linen (“linnen”)Linen (“linnen”)Linen (“linnen”)Linen (“linnen”)—a hard-wearing fabric woven from the spun fibers

of flax, used for clothes, sheets, tablecloths, etc.

Lliain blandLliain blandLliain blandLliain bland—Welsh name for a type of plain linen cloth

MohairMohairMohairMohair—cloth made from the long, soft, silky hair of an Angora

goat’s outer coat, imported by the Turkey Company; one of the

oldest textile fabrics

Naps (“knapp”)Naps (“knapp”)Naps (“knapp”)Naps (“knapp”)—a heavy woolen material with napped surface

35

Osnaburg (“oznabrigg” and “Osnaburg (“oznabrigg” and “Osnaburg (“oznabrigg” and “Osnaburg (“oznabrigg” and “ābriggsbriggsbriggsbriggs””””))))—a kind of coarse unbleached

linen originally made at Osnabrück, used for making rough, hard-

wearing clothing, or for furnishings, sacks, tents, and clothing given

to servants or slaves

PlainsPlainsPlainsPlains—a plainly-woven, rough, or hard-wearing cloth; a kind of

flannel

Printed cottonPrinted cottonPrinted cottonPrinted cotton—patterns created by dyes applied to finished

material, typically from France or Germany. If English printed

cotton, the material came from either the East India Company

imports or simple single-colored patterns from British craftsmen

Sagathy (“saggathy”)Sagathy (“saggathy”)Sagathy (“saggathy”)Sagathy (“saggathy”)—a slight woolen stuff of twill weave, similar to

serge, sometimes mixed with silk

ShalloonShalloonShalloonShalloon—a cheap worsted twill; closely woven woolen material

chiefly used for linings, finished by either hot pressing or left

unglazed

TaffetTaffetTaffetTaffeta (“taffaty”)a (“taffaty”)a (“taffaty”)a (“taffaty”)—a crisp, smooth woven fabric made from silk; a

"high end" fabric, suitable for use in ball gowns, wedding dresses,

and in interiors for curtains or wall coverings

ThicksetThicksetThicksetThickset—a kind of cotton fustian or velvet made either plain or

flowered

TowTowTowTow clothclothclothcloth—a coarse, heavy linen made from the fiber of flax, hemp,

or jute prepared for spinning and used for clothing

VelvetVelvetVelvetVelvet—a type of tufted fabric, typically made from silk (poorer

quality from cotton, linen, mohair, or wool), in which the cut

threads are very evenly distributed with a short dense pile, giving it a

distinct feel, while its “wrong” side is smooth and shows the weave

used

Worsted (“worstete” and “worstet”)Worsted (“worstete” and “worstet”)Worsted (“worstete” and “worstet”)Worsted (“worstete” and “worstet”)—a woolen fabric, or stuff made

from well-twisted yarn spun from long-staple wool combed to lay the

36

fibers parallel, named for the village of Worstead near Norwich;

Pottsgrove ledgers show the purchase of various worsted material,

such as worsted damask and worsted mohair

Definitions adapted from the glossary of the Mount Vernon Glassford & Henderson Transcription Project and from Florence M. Montgomery’s Textiles In America, 1650-1870.

37

SSSSELECTED ELECTED ELECTED ELECTED BBBBIBLIOGRAPHYIBLIOGRAPHYIBLIOGRAPHYIBLIOGRAPHY

Arnold, Janet. Patterns of Fashion 1: Englishwomen's Dresses & Their Construction c. 1660-1860. Costume & Fashion Press/Quite Specific Media, 1977.

Baumgarten, Linda. What Clothes Reveal: The Language of Clothing in Colonial and Federal America. Williamsburg, Virginia: The Colonial Williamsburg Foundation, 2002.*

Baumgarten, Linda and John Watson with Florine Carr. Costume Close-Up: Clothing Construction and Pattern, 1750-1790. Williamsburg, Virginia: The Colonial Williamsburg

Foundation, 1999.*

Bradford, Nancy. Costume in Detail: Women’s Dress 1730-1930. Revised edition. Boston, Massachusetts: Plays, Inc., 1983.

Burnston, Sharon Ann. Fitting & Proper: 18th Century Clothing from the Collection of the Chester County Historical Society. Texarkana, Texas: Scurlock Publishing Company, 1998.*

Fontanel, Beatrice. Support and Seduction: A History of Corsets and Bras. New York: Harry N. Abrams, Inc., 1997.

Hart, Avril and Susan North. Fashion in Detail from the 17th and 18th Centuries. New York: Rizzoli International Publications, Inc., 1998.

Haulman, Kate. The Politics of Fashion in Eighteenth-Century America. The University of North Carolina Press, 2011.

Hersh, Tandy and Charles. Cloth and Costume, 1750-1800. Carlisle, Pennsylvania: Cumberland County Historical

Society, 1995.

38

Huesken, Sue and Karen Mullian. Had On and Took With Her: Clothing in Female Runaway Servant Advertisements from “The Pennsylvania Evening Post” as Published by Benjamin Towne between 1775-1784. Palmyra, NJ: Sk Shortgown Research, 2003.

Koda, Harold and Andrew Bolton. Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century. New York: Metropolitan Museum of Art, 2006.

Marsh, Gail. Eighteenth-Century Embroidery Techniques. East Sussex: Guild of Master Craftsman Publications, 2006.*

Merrimack Valley Textile Museum. All Sorts of Good Sufficient Cloth: Linen-Making in New England, 1640-1860. North Andover, MA 1980.

Montgomery, Florence M. Textiles in America, 1650-1870. New York: W.W. Norton & Company, 2007.

Queen, Sally A. Textiles for Colonial Clothing: A Workbook of Swatches and Information. Arlington, VA: Q Graphics Production Company, 2000.

Rushton, Pauline. 18th Century Costume in the National Museums and Galleries of Merseyside. The Board of Trustees of the National Museums and Galleries on Merseyside: England,

1999.

Saunders, Richard H. and Ellen G. Miles. American Colonial Portraits, 1700-1776. Washington, D.C.: Smithsonian Institution Press, 1987.

Staples, Kathleen A. and Madelyn C. Shaw. Clothing Through American History: The British Colonial Era. Santa Barbara, California: Greenwood, 2013.

39

Styles, John. The Dress of the People: Everyday Fashion in Eighteenth-Century England. New Haven: Yale University Press, 2007.

Styles, John. Threads of Feeling: The London Foundling Hospital's Textile Tokens 1740-1770. London: The Foundling Museum, 2010.

Takeda, Sharon Sadako and Kaye Durland Spilker. Fashioning Fashion: European Dress in Detail, 1700-1915. New York: Delmonico Books, 2010.

Waterfield, Giles and Ann French. Below Stairs: 400 Years of Servants’ Portraits. London: National Portrait Gallery, 2003.

Waugh, Norah. Corsets and Crinolines. New York: Routledge, 1990.

Waugh, Norah. The Cut of Men’s Clothes, 1600-1900. Theatre Arts Books, 1987.

Waugh, Norah. The Cut of Women’s Clothes, 1600-1930. New York: Routledge, 1968.

* Books marked with an asterisk are available for purchase in the Pottsgrove Manor Museum Shop

Thanks to the institutions and individuals Thanks to the institutions and individuals Thanks to the institutions and individuals Thanks to the institutions and individuals

who lent original pieces for this exhibit:who lent original pieces for this exhibit:who lent original pieces for this exhibit:who lent original pieces for this exhibit:

Chester County Historical Society

Pottstown Historical Society

The National Society of The Colonial Dames of America in the

Commonwealth of Pennsylvania at STENTON

Landis Valley Museum,

Pennsylvania Historical and Museum Commission

Wyck Historic House, Garden, and Farm

Cliveden of the National Trust for Historic Preservation

Dr. Clarissa F. Dillon

Deborah Peterson

Thanks to the individuals Thanks to the individuals Thanks to the individuals Thanks to the individuals

who lent reproduction pieces for this exhibit:who lent reproduction pieces for this exhibit:who lent reproduction pieces for this exhibit:who lent reproduction pieces for this exhibit:

Laura and Ryan Adie

Deborah Peterson

Amy Reis

Lynn and John Symborski

Connie Unangst

Reproduction materials and accessories purchased from:Reproduction materials and accessories purchased from:Reproduction materials and accessories purchased from:Reproduction materials and accessories purchased from:

American Duchess

Burnley and Trowbridge

William Booth, Draper

And special thanks to all of our friends and volunteers And special thanks to all of our friends and volunteers And special thanks to all of our friends and volunteers And special thanks to all of our friends and volunteers

who hewho hewho hewho helped make this exhibit possible, including:lped make this exhibit possible, including:lped make this exhibit possible, including:lped make this exhibit possible, including:

Ryan Adie, Barbara Hultslander, Mary Vickerman,

Danielle Wenk, & LeighAnne Yacovelli

f ffirst ---f-fffloor bbbedchamber 1. 11.. lady wearing a

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