Of course the use of period antiques are the best way to furnish your period home, but how do you know if what you are buying is authentic or period correct. Finding a reputable dealer in antiques of the period that you are interested in is the best way to find your way through the intricacies of appraisal and purchase.

Some periods are more affordable than others And certainly much easier to find. The Victorian period is the most prolific as many of these pieces were machine made and mass produced. The arts and crafts period is next having been fabricated in the early 20^th century and there are still many fine pieces to be found. The Colonial and Federal periods are the ones that I feel you will be paying the most for although it is true, one of a kind handmade items will be costly whatever the period. Search the web for appraisers and dealers that have professional affiliation with either of these two organizations.

http://www.isa-appraisers.org

http://www.appraisers.org/ASAHome.aspx

these organizations will give you the names of antique dealers that are reputable and knowledgable.

The following is a short list for what to keep in mind when shopping for antiques.

Although bargains and good deals may be had when buying certain antiques, the first rule of thumb is to be highly suspicious of bargains when shopping for antiques. This is the initial and sometimes the most costly lesson any collector needs to learn. You must not set out to haggle with the dealer.

Step 2

The antique you buy should never be solely for investment purposes. Most antiques have proven to be a solid investment for most antique collectors. In addition, the items have been historically a wonderful hedge against inflation. The thing to remember, however, is the increasing value of the item is dependent on changing preferences within the market.

Step 3

You must be wary of heavily restored antiques. It goes without saying that most antiques need care as well as periodic restoration. However, an antique that has been excessively restored will show no signs of its age and thus cannot be fairly judged in determining the authenticity and antiquity of the piece. It is therefore advisable to stay clear of items that have been overly restored or excessively refinished.

Step 4

Be leery of reproductions or fake representations. Consider the demand of particular items. When demand rises to very high levels, reproductions and fakes are the by-products of such demand.

Step 5

Do not barter over price. Most dealers consider their prices rigid and firm. Today’s dealer marks her prices up according to a fixed percentage in order to secure a profit. Wrangling over price is part of the old business of antiques. Unless you find such a rare situation, it is advised you accept the dealer’s price as established with no room for flexible negotiating.

Step 6

In order to attain the best value, it is highly recommended you learn all that you possibly can about antiques. You may do so by subscribing to periodicals and reading books on the subject. Visit museums and well-regarded antique shops.

Step 7

Manage your range of collections. In other words, it simply is not possible for you to collect antiques in every category. Narrow your focus to a reasonable level. Choose one or two eras and one or two preferred collectibles within an era. If you collect too extensively over too broad a range, it will only prove to take away from the enjoyment you’ll find as an organized collector.

Step 8

Many times you may be journeying about and find a monstrosity of an antique you greatly admire far from the area of your home. Resist the temptation to purchase it, unless you have access to a truck. Moving such an item can be more of a problem than you may have anticipated.

Step 9

It is important to trust your initial instincts. This step, of course, comes with experience as well as persistence.

Step 10

Collect solely for pleasure. Collecting and owning items of rare or great beauty should be your only motive. Men throughout history have collected antiquities. If you choose to be a collector of antiques, do not resist. There are few hobbies more rewarding–even if you must do so on a budget.

I thought since many had written me and asked about the basics of what they needed to “do it themselves” for either drapes or wallpaper and also paint I decided to use the blog for this week to give you this basic information. You can find so many fabric sources on the web, either use one of the ones featured under “Textiles and Trim” or “Window Treatments” on our site www.thehistoricinterior.com or use the company’s products as a guide to find similar fabrics at your local fabric store.

I hope this helps you for whatever project you might have, don’t forget to email me if you need any other advice, I am always happy to help if I can

How much Fabric do I need?

For Throw Pillows:

The general rule of thumb is half a yard for 14 to 18 inch pillows and 1 yard for 19 to 24 inch pillows. If you want to add a ruffle, you will need at least another half yard.

For Upholstery:

CHAIR SEATS: 3/4 yard of 54″ wide fabric is enough to re-cover 2 standard chair seats. So 3 yards will be enough for 8 chair seats. Each 3/4 yard gives you two 27″ by 27″ pieces of fabric to work with. If the repeat is large or a pattern has to be centered, you may need more.

SOFA WING CHAIR TRADITIONAL CLUB CHAIR
3 cushion with arms 5 to 7 yards CHAIR 5 to 6 yards
6 ft sofa 10 yards Upholstered Back
7 ft sofa 11 yards and Seat
8 ft sofa 13 yards 3 yards
add an extra 2-3 yards
if you want a ruffled skirt
or if the back is taller than usual


LOVESEAT CHAISE OTTOMAN
6-7 yards 7-9 yards 2-3 yards

For Curtains and Draperies:

For curtain width, measure window or door plus any additional coverage outside of casing. For fullness the window/door width should be, at minimum, doubled. For extra fullness and a custom look, multiply the width by 2.5 or 3. Add another 2 to 3 feet for hem and to match pattern repeat. (The larger the repeat, the more you need to add.) Divide your final width measurement in half to get the finished width for each panel. If the width per panel is wider than the fabric (usually about 54 in.) you may have to sew two lengths of fabric together to get enough width. For example, if you are making draperies for an 82 in. wide window area, you would need 2 pieces of fabric for each panel, and 4 pieces for the pair.

For length, measure from the top of your rod to the point where you want the panel to end. Add approx. 30 in, to this measurement for the rod pocket, heading, and hemming. To measure for the rod pocket or casing, take the diameter of the rod and add 1 inch. To add for the heading, or the part of the panel that sits above the rod pocket, take the height you want it to be, double that and add an extra half inch for seaming. So if, for example, you want a 1 inch header, you need to add 2.5 inches. For a 4 inch header, you would add 8.5 inches.

For Round Tablecloths with 10″ drop: For Round Tablecloths with 29-30″ drop:

30″ diameter Fabric = 1.5 yards Trim = 4.5 yards 30″ diameter Fabric = 5 yards Trim = 8 yards
36″ diameter Fabric = 3.25 yards Trim = 5 yards 36″ diameter Fabric = 5.5 yards Trim = 8.5 yards
48″ diameter Fabric = 4 yards Trim = 6 yards 48″ diameter Fabric = 6 yards Trim = 9.5 Yards

Estimating How Much Paint to Buy

Before you begin painting your home’s interior walls, ceiling, woodwork, doors, or windows, you need to estimate the amount of paint you’ll use. Estimates require specific calculations for each surface you want to paint.

To estimate the amount of paint you need in order to cover the walls of a room, add together the length of all the walls and then multiply the number by the height of the room, from floor to ceiling. The number you get is the room’s square footage. Is that math class coming back to you now?

Now you have to determine how much of that square footage is paintable surface area. Because you use a different paint on the doors and windows, subtract those areas from the room total. No sweat, just subtract 20 square feet for each door and 15 square feet for each average-sized window in the room. You end up with a number that is close to the actual wall area you have to cover with paint.

In general, you can expect 1 gallon of paint to cover about 350 square feet. You need slightly more than a gallon if the walls are unpainted drywall, which absorbs more of the paint. You also need to consider whether to paint more than one coat. If you’re painting walls that are unfinished, heavily patched, or dark in color, plan on applying two coats of paint

When painting a dark color, pros often add a color tint to the white primer. Tints for both latex or alkyd paints are available at most paint stores. For best results, choose a tint shade that’s closest to the top coat color.

Now for the clincher of the math problem. Divide the paintable wall area by 350 (the square-foot coverage in each gallon can) to find the number of gallons of paint you need for the walls. You can round uneven numbers; if the remainder is less than .5, order a couple of quarts of wall paint to go with the gallons; if the remainder is more than .5, order an extra gallon. Of course, buying in bulk is usually more economical, so you may discover that 3 quarts of paint cost as much as a gallon.

Examples:

The following examples walk you through the calculations for determining how much paint you need for a 14-x-20-foot room that’s 8 feet tall and has two doors and two windows.

Ceiling paint estimator

Use the following formula to estimate the amount of ceiling paint you need. Double the result if the ceiling requires two coats.

1. Multiply the length of the ceiling times its width to find its area.

14 × 20 = 280 square feet

2. Divide that number by 350 (the estimated square feet covered per gallon) to figure out how many gallons of paint you need.

280 ÷ 350 = .8

For this example, you want to buy 1 gallon of ceiling paint for a single coat.

Wall paint estimator

Use the following formula to estimate the amount of wall paint you need. Double the result if the walls require two coats.

1. Add together the length of each wall. 14 + 20 + 14 + 20 = 68 feet

2. Multiply the sum by the wall height, to find the total wall area. 68 × 8 = 544 square feet

3. Subtract 20 square feet for each door (20 × 2 = 40) and 15 square feet for each window (15 × 2 = 30) to find the actual amount of wall area you’re painting.

544 – 70 = 474 square feet

4. Divide this figure by the paint coverage (350 square feet per gallon), and the result is the number of gallons to purchase. 474 ÷ 350 = 1.4

For this example, you want to buy 1 gallon and 2 quarts of paint for a single coat.

Woodwork paint estimator

Measure the length of the trim in feet, and multiply that number by 1/2 foot (.5), as a rough size for the width of the trim. Include all the trim around doors and windows, at baseboards, along the ceiling, and for any built-in furniture.

As an example, imagine that you have ceiling molding running around a room that is 14 feet wide and 20 feet long.

1. Determine the total length of molding around the room by adding together the length of all the walls that the molding covers.

Round the numbers off to the nearest foot.

14 + 20 + 14 + 20 = 68 feet

2. Multiply the sum by .5 for an estimated width of the molding.

68 × .5 = 34 square feet

3. Divide this number by 350 to estimate the gallons of paint required to cover the molding.

34 ÷ 350 = .09

The result in this example is much less than a quart, but you may paint other woodwork in the room the same color, so buying a full quart may not be terribly wasteful.

Door and window estimator

Use the same figure for estimating door coverage as you use in your wall-area calculations — 20 square feet = one door. Multiply the number of doors by 20, doubling the answer if you plan to paint both sides. Wall paint estimates allow for 15 square feet for each window. Use about half that window area to figure trim and inside sash — the glass isn’t important to the calculation.

For the room in this example:

1. Multiply the number of doors by 20. 2 × 20 = 40 square feet

2. Multiply the number of windows by 7.5. 2 Windows × 7.5 = 15 square feet

3. Add these numbers together. 40 + 15 = 55

4. Divide the result by 350 (the estimated square feet covered per gallon). 54 ÷ 350 = .16

Often, you end up needing to buy only a quart of paint, which goes a long way on doors and window trim

How much wallpaper do I need?

1. Step 1

Determine the square footage of the room. Measure each wall in the room and multiply the length times the width of each wall to determine the square footage. Subtract the square footage of the windows and doors to determine the actual square footage of the room.

2. Step 2

Determine the square footage of a single roll of wallpaper. The square footage of your wallpaper roll will depend on the width of the roll with varies from designer to style. If you order your wallpaper from a design center, they will be able to tell you how much square footage each roll covers. If you are purchasing stock rolls of wallpaper, the square footage will be on the label of the wall.

3. Step 3

Divide the square footage of the room by the square footage of the wallpaper to determine the number of rolls you need.

4. Step 4

Consider the pattern of the wallpaper. The pattern on your wallpaper roll will determine how much extra wallpaper you need in order to ensure pattern match from panel to panel. A subtle or small pattern means you will need just the normal 10 percent extra wallpaper. A large-scale pattern or bold plaid or other pattern will mean you need another 10 percent of extra wallpaper

1. 5

Remember that wallpaper is always sold by the double roll. This is important when you are ordering wallpaper from a design center. If you determine that you need 11 rolls of wallpaper, you will need to order 12 double rolls.

We are so pleased to announce the addition of a wonderful company to our Featured Artisan’s page. Heritage Lace has been around for awhile providing beautiful lace products for the home for over 50 years. I love companies that are based in long standing traditions of community and customer service and this is one of them.
Our site has a wide timeline for historic interiors from 1680-1930 and as such has only a handful of artisans and companies that have products that can span all the periods from Early American Colonial to Art Deco. Heritage Lace does this and beautifully too. These products could certainly be used for a Historic House Museum in any number of sites around the country and because of their affordability they are great for product placement in Museum gift shops. I really liked that so many of their products were under $50.00 and that they are 90% made in the USA is also important to me.
I have always said that a simple lace panel will give you a beautiful inexpensive look that will dress your window and give you the time to decide how or if you want to do a more formal treatment.
The nice thing about Heritage Lace is that even if you decided that you didn’t want to or could afford to add more to the window you wouldn’t need to, it is really that pretty a product.
Please take a moment and visit them on our Featured Artisans page or go directly to their website,
www.heritagelace.com but make sure you block off some time for your visit, I warn you once you get on it is hard to get off, you just want to see everything!

This Saturday I will be speaking at the annual Historic Home Show and Designer Craftsman show in King of Prussia, Pa. The show runs from Thurs. Jan28th-Sunday the 31st. A wonderful collection of exhibitors from Architects and Designers to period appropriate building materials, hand-crafted decorative accessories and antiques can be found there this weekend.
My topic title is “Living with History, making your historic house a home”. I am very excited about the opportunity to share with so many my philosophies of design and living. I feel that no matter what your means your house can be a warm and inviting home that your friends and family love to visit. As you have read before in this blog I have learned to make the best of wretched floors, roughly plastered walls and limited space.
My 25 plus years of design experience has taught me that even though you are itching to transform your house quickly into your vision of design and style, the best way to have a truly rich multi-layered “look” is to take your time and slowly get to know your house and its many quirks and delights waiting for you around every corner.
Your historic house has no doubt seen many periods and usually more than one owner or two in its lifetime and you are in the great position to keep some of the adaptations to its structure that have come before you and to discard others giving you the ability to make your own mark upon it in your own time.
Remember, whether your house was built in 1720, 1856, or 1930 you have the opportunity to tell the next generations to come how we of the 21st century restored and interpreted our houses and how we hopefully passed on the best of the past history of the house to them.
.
www.goodrichpromotions.com
www.heritagelace.com
www.vintageprintgallery.com
www.newenglandcopper.com
www.wooleytymes.com
www.aslpewter.com
www.acropolis.com

Refinishing your floors in your historic home may not be an option at first. You may have more important renovations to take care of and certainly floors are the last to be redone as you would not want to have to redo them yet again if a careless contractor spilled paint or scratched them. My problem was that our floors in our Dutch Colonial had never been restored since the house had been built in 1930.

I was faced with the problem of floors that were stained, scratched and worn with the traffic of a family of two children and a backyard pool. What to do? If we had invested in having them redone, the constant stream of football players, little brownies and small wet feet would surely undo the effort and yet as a designer I needed to come up with something other than just throwing a pretty rug down.

My solution was to start with a small (4×6) area painted by a friend directly onto the floor in the front entrance hall. It has lasted for 12 years now and I feel it has just the right mix of vivid color and the contrast of the worn floor beneath.

Next was the kitchen and I found a local artist to paint a historic stencil design on it with a heavy polyurethene coating over it that has handled all the kitchen traffic and activity easily.

Our little family room also got a great simple “border rug” from the same artist and it has held up great for many summers as the steady stream of wet feet made their way from the pool to the bathroom.

Think “outside the box” when you have a design issue and very little money. Refinishing the floors at a later date, whether they had been touched by an artists brush or not, would have cost the same in time and money and not been nearly as special.

It has been 13 years since we moved into our house here in Fredericksburg, Virginia. We loved the house early on even before the addition of a new kitchen with a fireplace and a backyard pool. Built in 1930, the Dutch Colonial has had many reincarnations since the first family lived within.

I was not so jazzed about the house at first, it faced a parking lot , the only one on our otherwise quiet street. It was in semi-restored state, the previous owners had decided to start from the top down so even though the attic had been wonderfully converted into two charming bedrooms complete with eaves and built-in bookshelves, the rooms on the first floor however were in a sad state. No kitchen to speak of and roughly plastered walls ( I laughed to myself a couple of years later as more than one client paid a great deal money for craftsmen to replicate an effect that I was so eager to get rid of) the floors in very bad shape and a really hideous living room fireplace mantel.

Through the years we have slowly made it our own, from our “Aubergine” ( designer-speak for purple) painted dining room to the new mantle in the living room, the house has slowly become something that feels “right”. Having married a public servant, all projects had to be done on long slow schedules, and my patience and design vision sometimes did not fall in step with the reality of our meager purse-strings.

However, this wonderfully quirky house had become our home and with two children we have had many wonderful memories here. Some of our best times in this home have been during the Christmas season and we have been honored to have been on the local Historic Homes Christmas tour as our home is one block from the famous “Sunken Road “ of Civil War fame. I have long been teased by friends and family for the 15 plus boxes of decorations in the basement. However, once they have been brought upstairs on the first Saturday after Thanksgiving , the tissue papers are unwrapped, boxes emptied and as everyone sees beloved decorations that have been a part of our Christmas memories for the past 29 years the grumbling soon stops .

As the decorating progresses and ideas flow,( I must confess usually after I get my hands on the newest issue of “Southern Living Christmas”), the house takes on the glow and shimmer that only Christmas reflected by candlelight can achieve. I usually take a moment at some point during the month of dinner parties, cookie baking and manic gift wrapping, and walk quietly through and savor the beauty of this wonderful house that has been such a blessed home.

Remember, your house should take many layers of memories and life in order to create the perfect home for you and your family. Patience truly does rule the day when decorating your home whether it is a historic home or your first apartment. Hopefully life is long and the story of your family and your own traditions need time to develop and take hold within the walls of your home .Whether you are the first family to live there or one of many families that have hung stockings from your home’s mantle, your story is but one more chapter in your homes history.

Sharing the season with friends and family is what this time of year is all about. Many of us know someone that have neither friends or family or are alone because of distance and /or circumstance. Those of us who are lucky to own a historic home can do much to make those who are alone or needy have a Happy Holiday and Merry Christmas.
Most of us who have a historic home have decorated it to the hilt. Sponsor a tour of the first floor of your home for the local Senior ‘s home or organization, especially if you do not have a local Historic Homes tour. Provide treats relevant to the homes history and give the Seniors an opportunity to add to your understanding of your home’s place in the history of the town by asking them if they knew or had memories of the families that lived in the home when they were young.
I f you have a home that is not suitable for a tour, then bake treats, again from your houses history and give them either to your local Meals on Wheels or the Seniors home. Seniors are not only the ones at this time that are in need. Many of the needy with small children or teens need support also.
You can combine a history lesson with your outreach when you give to the local toy drive a historic toy with a handwritten explanation accompanying it. Children have not changed that much over the centuries and something small, especially that they can easily carry with them, will always be a good choice. Teenagers are another issue. Those of us who have had our own teens know that even though they hate being different than their peers, they are also striving to be different. Give a young girl a small gift of needles, yarn and a simple instruction booklet. Tuck a modern tube of lip gloss in your gift so if you have a child that truly is not interested in any type of craft, your gift is not a complete bust. Teenage boys are no less challenging. I suggest a leather journal complete with pens and a small book of historic quotes that focus on success and personal growth. I think that one of our greatest gifts we can give a child is the expectation of excellence. By showing them the world that came before they can see their place in the world to come.

One of our most talented and celebrated artisans is Tom Hooper of ASL Pewter in Louisiana, Missouri. His work is very beautiful and can be found in homes of any historic period from Early Colonial to Arts and Crafts. Assisted by his lovely wife, Pat, the Hoopers have carved out a niche for themselves that is to be envied by anyone in the historic artisan field they make their own molds and use them for casting pieces unique to ASL Foundry. They have also acquired and use a collection of historic and antique bronze, aluminum and steel molds. Using traditional lathe work, they create their own plates and goblets. That process includes cutting their own wooden forms to each desired shape. The result is an inclusive line of wholly innovative and exceptional pewterware that is functional as well as decorative.

The Hoopers emphasize that all of their pewter is 100% lead-free, so it can be used with food without worry.
By using a variety of marketing venues from print ads to showing at many of the historic home shows, their company is largely regarded as one of the best, if not the best of the practicing American Pewtersmiths.

The prices for their work is very reasonable and I love the heavy, smooth beauty of their pieces. They are often featured in the magazine, “Early American Life” and has been featured in that publication’s “Directory of Historic Artisans”. This Christmas take a moment to explore their site for the perfect affordable gift for that person “who has everything”. Chances are they don’t have a piece from this very special artisan.

www.aslpewter.com
ASL Pewter
123 South Third St.
Louisiana, Mo. 63353

Home
573-754-3435
(fax) 573-754-3461
1-866-3Pewter
(1-866-373-9837)
sales@aslpewter.com

A Historic Civil War Thanksgiving
With the 1864 proclamation by President Abraham Lincoln making a day in late November as a day of national thanksgiving, he gave the nation a unique holiday found only in America. One that is based on a nation that though in bitter conflict wanted to celebrate the blessings of the gift of America that most felt was a gift from God.
We are a nation that is hemmed in prayer and hospitality. This day which is so truly American is one that gives us a glimpse of the true American spirit. One that is , no matter what side a soldier of the war found himself on, celebrated the same, taking a brief moment in time to bow his head and give thanks for the gift from God that is America.

Following is a wonderful article by James S. Robbins on the origins of the first Civil War Thanksgiving.

Giving Thanks in Wartime
November 24, 2004, 8:51 a.m. James S. Robbins/The National Review

The Soldiers’ and Sailors’ Thanksgiving of 1864.
When we sit down to our Thanksgiving meals this year, we should take some time to remember the men and women in uniform who are unable to spend the holiday with their own families. We might also remember that Thanksgiving became a national holiday in time of war, and largely due to an effort 140 years ago to ensure that our soldiers and sailors in the field enjoyed some of the comforts of home.

Thanksgiving originated in Massachusetts and on the eve of the Civil War was still not observed nationally. In the 1850s, Thanksgiving was celebrated in about ten states in New England and the midwest. It was a time both of feasting and of charity, acknowledging the blessings of plenty while remembering those who had little. “Eat the fat, and drink the sweet,” counseled a New York Times editorial in 1851, “and send portions to those for whom nothing is prepared.” When war broke out the observance became more widespread, and in 1861 the number of states celebrating Thanksgiving doubled. Troops took their traditions with them to the front, and the soldiers of Massachusetts regiments in particular held grand feasts in their field commands. Massachusetts Governor John A. Andrew decreed such a celebration during the first November of the war, hoping that “military duties may not be inconsistent with their observation, in some fitting manner, of the day annually set apart for the renewal and enlivening of the domestic affections.”
President Lincoln declared a number of thanksgivings, for example in April 1862, and July 1863 after Gettysburg. Two months later Lady’s Book magazine editor Sarah Hale wrote a letter to Lincoln urging him to proclaim a national day of Thanksgiving reflecting the traditional holiday. Lincoln soon issued a declaration asking that the blessings bestowed upon the country “be solemnly, reverently, and gratefully acknowledged as with one heart and one voice by the whole American people” and inviting Americans at home and abroad “to set apart and observe the last Thursday of November next as a day of thanksgiving and praise to our beneficent Father who dwelleth in the heavens.” This was the first general Thanksgiving observance, but the following year the holiday became the occasion for a national show of unity and support.
In October 1864, the president again decreed that the last Thursday of November be set aside to offer up prayers “for a return of the inestimable blessings of peace, union, and harmony throughout the land which it has pleased Him to assign as a dwelling-place for ourselves and for our posterity throughout all generations.” Shortly thereafter, on October 27, a citizen of New York City known first only by the initials GWB (belonging to noted editor George W. Blunt), used the occasion of the holiday to propose a great national endeavor. Blunt suggested that “something be done for the Army and Navy” for Thanksgiving, “not only to aid them in keeping the day properly, but to show them they are remembered at home.” He proposed to send the troops “poultry and pies, or puddings, all cooked, ready for use.” He estimated it would take 50,000 turkeys and a like number of pies to feed the 220,000 men of the Army and Navy in Virginia then besieging Richmond. “This seems to be a big undertaking,” he wrote, “but I do not see any difficulty in carrying it out.” The food could be prepared and boxed up by those who could afford it, and shipped from New York a few days in advance, in time to be distributed the day before. If the idea has merit, he wrote, “I am ready to do my best with others to put it through.”
A committee was set up to organize the effort, their goal being that on Thanksgiving Day there would be no soldier or sailor in the eastern theater “who does not receive tangible evidence that those for whom he is periling his life remember him.” They felt it was particularly important to reach men who had no families back home. Blunt served as the committee’s executive director, and the treasurer was Theodore Roosevelt, father of the future president (then six years old). “Will not all who feel that we have a country worth defending and preserving,” the committee wrote in the Times, “do something to show those who are fighting our battles that they are remembered and honored?” The appeal was reprinted in many papers and the proposal caught on immediately. Contributions began to come in from all over the country. Within three weeks, with little publicity and no direct solicitation, the committee had collected $50,000 (almost $600,000 in today’s dollars). The Times reprinted some of the letters sent accompanying the contributions. One contributor, signing “Little Mac” in homage to recently defeated Democratic presidential candidate and former Union General George McClellan, noted in verse,
Although I voted a Democrat,
But it has nothing to do with that.
It only shows a man can be
A Democrat and love sweet liberty.
Public stores were made available for the turkeys and “other good things for the soldiers and sailors on the James.” Goods were to be cooked, wrapped in white paper, packed in straw in boxes or barrels, and marked “Our Defenders, City Point.” Private transport companies volunteered to ship the materials by rail and steamship. The food drive was emulated in other cities. Ladies of Jersey City contributed $1,500 for the purchase of cigars and tobacco for the troops. The citizens of Orange, New Jersey, sent bags of tomatoes for sauces. There was a proposal to send 1,000 barrels of apples to soldiers, and the Army Apple Fund was born. The governor of Ohio suggested that the Saturday following Thanksgiving be devoted to helping the families of servicemen, especially those suffering privations by the absence of their men. It was called “a day of gladness for the wives and children of our brave defenders,” and is an idea that still has merit.
As the day neared, the foodstuffs were collected and shipped out. Steamers took meals to sailors and Marines in the blockade forces, and in the ports and fortifications along the eastern seaboard. Trains headed south to predetermined distribution points. Blunt believed the effect of the outpouring of public support would inspire the troops to “hit the rebels a harder lick than ever.” Meanwhile Jefferson Davis also declared a Thanksgiving day, for November 16, 1864, a day “specially devoted to the worship of Almighty God,” that the people of the Confederacy would join together in prayer that God would, inter alia, “restore peace to our beloved country, healing its bleeding wounds and securing to us the continued enjoyment of our right of self-government and independence.” But when the day arrived, Atlanta was in flames, Sherman started his march to the sea, and Lee’s men huddled in their trenches around Richmond. Confederate War Department clerk J. B. Jones dryly noted in his diary that the Confederate Thanksgiving was “like Sunday, with an occasional report of cannon down the river.”
November 24 dawned cold, bright, and brilliant on the eastern seaboard. General George G. Meade reported to Secretary of War Edwin Stanton, “Nothing new or important this morning except the arrival of deserters, who report the occupation of Macon by Sherman.” Sherman’s Army continued its march, sadly unable to be reached with the Thanksgiving turkeys, but not having time to pause. In Virginia and North Carolina, Union troops were “relieved from all duty not essential to the safety of the command.” Turkey feasts were enjoyed by Union troops in camps, on the siege lines, and in the rear areas. Seventeen thousand meals were served in Washington, DC, to troops defending the city and convalescing in hospitals. A large banquet was held in Alexandria, Virginia, followed by a grand ball. In Baltimore, the Union Ladies’ Committee distributed meals to Union soldiers and rebel prisoners alike. At Camp Parole, in Annapolis, roast turkey had been the primary topic of conversation for days. That morning “every face wore a joyous aspect, in anticipation of the good things in preparation for the dinner.” Orderlies set long tables of turkey, pies, bread, butter, tea and cider. Fourteen hundred men sat down, Federal soldiers and paroled Confederates, men from every state in the Union, probably the first such all-American Thanksgiving meal ever.
Shipments sent to the Shenandoah Valley were coordinated with the city of Philadelphia. When transportation arrangements broke down at the last minute, Reverend George F. Noyes personally undertook the mission to get the food delivered. “The want of proper appliances compelled most of the men to broil or stew their turkeys,” he wrote, “but everyone seemed fully satisfied, and appreciated the significance of this sympathetic thank-offering from the loyal North. One soldier said to me, ‘It isn’t the turkey, but the idea that we care for,’ and he thus struck the key-note of the whole festival.” Fearing shortages, General Sheridan ordered the food first be distributed to enlisted men, but some officers had made independent arrangements for their units guaranteeing there was plenty for all. “Joy and festivity were the order of the day,” a correspondent wrote, “and you may depend upon it that our brave fellows in the field knew how to do justice to the occasion.” Near New Town, Virginia, the officers and men of the Ninetieth New York regiment sat down to a feast of turkeys, chickens, cakes and fruits, “more evidence that we are not forgotten, nor can we ever forget those who, while they are enjoying all the comforts of home and plenty, still think of, and by their noble deeds testify that they remember the soldiers.”
The Soldiers’ and Sailors’ Thanksgiving united the country in the spirit of giving, gratitude, and patriotism. It showed the troops at the front that the country was behind them, and solidified Thanksgiving as a national observance. So please take a minute to remember those who are giving so much for us, or better yet find a way to let them know that you care — www.americasupportsyou.mil is a good place to start. Let’s give our service people all the support we can, so they will be able to say, in the words of a Union soldier, “When we are asked, ‘Do they think of us at home?’ our own hearts can willingly and gladly respond, ‘They do.’”
* * *
!

Anyone who is interested in historic interiors or the social history of the Colonial period should take a moment and find a copy of Early American Life. I just got a chance to sit down with the new edition of this magazine. What a treat this publication is from articles on hearth cooking to their Directory of Artisans. The latest edition has information on Rockinghorse collectibles, a colonial wedding, Washington crossing the Deleware, two different house interiors, and twelfth night celebrations in the colonies.
How many readers are left after reading this magazine from cover to cover inspired and energized to either start or finish that project they had been thinking about. Or maybe they had always loved theorum painting and now they know where to go not only to purchase these beautiful pieces but to also learn how to practice this art.
This small publication is one to be savored by the fire, tea in hand. I do suggest however tempting, not to try and read by candlelight, you are not going to want to miss one bit of this treasure.