His Good Late Majesty: Memorial Jewelry for King Charles I

In Britain in the 1800s, the widow’s grief of Queen Victoria helped spur the creation of mourning jewelry, but in the 1600s, the impetus was the judicial murder of an anointed king.

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A mid-17th Century gold mourning ring for King Charles I with a enameled portrait covered by cut crystal. National Gallery of Victoria, Melbourne; gift of Mrs Stubbs, 1923.

Charles Stuart, later King Charles I,  was born in Fife, Scotland, 19 November, 1600, to then King James VI of Scotland, later James I of a unified Britain, and his wife Queen Anne of Denmark. He was a second son, never meant to rule. Yet, Charles had the role of heir foisted on him at the death of his beloved, handsome, and accomplished older brother, Henry, Prince of Wales, who died unexpectedly in 1612.

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This circa-1700 mourning pendant, sold by the auction house Christie’s in 2016, contains a painted oval portrait of Charles I against a blue ground within black dot decoration, beneath faceted rock crystal. The reverse features a sepia crown and cypher ‘C. R.’ above the date ‘Jan 30 1648/9’ and an image of a skull and crossed bones upon a plinth, under crystal.

Charles was small, sickly, and had a stammer. He was also intellectual, loved and patronized the arts, favored elaborate high Anglican worship in the age of the Puritans, and married a Roman Catholic—the delicate and beautiful Princess Henrietta Maria of France, known as Queen Mary, after whom the U.S. state of Maryland is named. Charles also believed profoundly in the Divine Right of Kings, was willful and stubborn, and refused to make the compromises that could have prevented a civil war, the destruction of the monarchy, and his own death.

As had the life his similarly-natured paternal grandmother, Mary, Queen of Scots, his own earthly days ended in execution by beheading on 30 January, 1649. His final words were “I go from a corruptible to an uncorruptible crown, where no disturbance can be.”

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The inscribed band and reverse image of the National Gallery of Victoria ring, showing the initials C. R. (“Charles Rex”) between a skull, with a crown and laurels floating above.
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A Heart-shaped gold and enamel pendant, circa 1650, containing a miniature of Charles I, an interwoven arrangement of his hair, and a part of the blood-stained linen shirt he wore at his execution. Courtesy National Museums of Scotland.

After his death, loyal adherents of King Charles ordered a small number of memorial rings made incorporating various Stuart motifs, portraits, and locks of the dead king’s hair. Antique jewelry expert JJ Kent, in Jewelry Guide, Volume I, wrote that a ring, “said to be one of the seven given after the King’s death, was possessed by Horace Walpole and sold with the Strawberry Hill collection. It has the King’s head in miniature and behind, a skull; while between the letters C. R. is this motto: ‘Prepared be to follow me.’”

Another of the rings was in the hands of a gentleman who wrote to Notes and Queries in June 1862, more than 200 years after Charles’s death: “I possess one of the rings alluded to [in a previous issue]. The family tradition is that it was given to a maternal ancestor, one of the Finnes family, by King Charles on the eve of his martyrdom. The portrait, in enamel, is set between two small diamonds.”

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A 16th Century mourning piece for Charles I of unknown provenance that includes a skull and the date of the king’s death.

During the Commonwealth and the Restoration, Royalists created hundreds of additional rings, pendants, and other jewelry items memorializing the king. Multiple examples exist today in museums and private collections. Remarkably, new memorial jewelry for Charles was created in 1813, when his body was discovered in the burial vault of Henry VIII and Queen Jane Seymour at Windsor. The coffin was opened in the presence of George, the Prince Regent (later King George IV), and his private physician, Sir Henry Halford, who later wrote a detailed account of what transpired.

“[There was] an internal wooden coffin, very much decayed, and the Body, carefully wrapped up in cerecloth, into the folds of which a quantity of unctuous or greasy matter, mixed with resin, as it seemed, had been melted, so as to exclude, as effectively as possible, the external air. The coffin was full [and] great difficulty was experienced in detaching [the cloth] from the parts which it enveloped….

A pencil sketch by Sir Henry Halford of the head of King Charles I when his coffin was opened in 1813. Courtesy National Portrait Gallery, London.

“On removing the pall, a plain leaden coffin… bearing an inscription ‘King Charles, 1648,’ in large legible characters, on a scroll of lead encircling it, immediately presented itself to the view. A square opening was then made in the upper part of the lid, of such dimensions as to admit a clear insight into its contents. [The head] was found to be loose, and, without any difficulty, was taken up and held to view…. The back part of the scalp was entirely perfect, and had a remarkably fresh appearance; the pores of the skin being more distinct… and the tendons and ligaments of the neck were of considerable substance and firmness….

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A circa-1650 high-carat gold Royalist’s memorial ring, set with a hand-painted enamel miniature portrait of King Charles I and housed in a box of the period. Courtesy C. J. Antiques.

“…On holding up the head, to examine the place of separation from the body… the fourth cervical vertebra was found to be cut through its substance, transversely, leaving the surfaces of the divided portions perfectly smooth and even, and appearance which could have been produced only by a heavy blow, inflicted with a very sharp instrument, and which furnished the last proof wanting to identify King Charles the First.”

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A locket in the Royal Collection containing the hair of Charles I cut in 1813.

Halford noted that the King’s hair appeared black, but “a portion of it, which has since been cleaned and dried, is of a beautiful dark brown colour. That of the beard was a redder brown.” More hair was then snipped for the new mourning jewelry.

JJ Kent wrote in the Jewelry Guide, “The hair at the back of the head appeared close cut; whereas, at the time of the decollation, the executioner twice adjusted the King’s hair under his cap. No doubt the piety of friends had severed the hair after death, in order to furnish rings and other memorials of the unhappy monarch.” The head was then replaced, the coffin closed and resoldered, and the vault left by all and sealed up. In 1888, it was opened again at the order of another heir to the throne, Prince Bertie, later King Edward VII, to return relics, including a piece of one of Charles’s vertebra and a tooth, which had been removed by Halford 75 years earlier. Ω

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Charles and Henrietta Maria during the happiest years of their lives. Double portrait by Daniel Mytens. Courtesy Royal Collection.

A Treasure Without Meaning to Its Clan

All of this historic context, moreover the genetic material of their ancestress, was not valued by her descendants, who found her mourning brooch too disgusting to keep.

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Memorial brooch for Mary Palmer showing her russet hair with snippets of what might be gold thread that once formed a small design, but which have since become unglued and tarnished. Ann Longmore-Etheridge Collection.

In about 1996, while trawling for hair-work brooches on eBay with a tax return smoldering in my pocket, I found a listing with a ridiculously blurry photo of what looked like—just maybe—a Regency era mourning brooch. The accompanying item description encapsulated the prevailing 20th century attitude toward mourning jewelry. As I recall, it read something very close to “We found this pin that belonged to grandma. It has hair in it! Eww! Get it out of our house!” I obliged for about $40; no other bidders were willing to take the chance with that kind of sales photo. One- by three-quarters-inch in size, this type of small brooch was known as a “lace pin” and used to secure veils, ribbons, pelerines, and other accessories. They were also worn by men as lapel pins.

The 210-hundred-year-old gem that I received was made of 10-karat or higher plain and rose gold with completely intact niello and inset faceted jet cabochons. (Niello is a black metallic alloy of sulfur, copper, silver, and usually lead, used as an inlay on engraved metal.) The brooch was in pristine condition, bearing the inscription “Mary Palmer. Ob. 3 July 1806, aet. 38.” The abbreviation “Ob.” is from the Latin obitus—“a departure,” which has long been a euphemism for death. “Aet.” is from the Latin aetatis—“of age.”

My Mary was probably born in 1768—the year when the Massachusetts Assembly was dissolved for not collecting taxes and Boston citizens balked at quartering British troops. Additionally, John Hancock had refused to give royal customs agents access to his vessel—one of the first acts of physical resistance to British authority; a month later, that same authority would seize Hancock’s ship. In Scotland, the first encyclopedia was published; in London, radical MP and journalist John Wilkes was imprisoned for penning an article that criticized King George III. His arrest kicked off riots that led to the Massacre of St. George’s Fields.

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The reverse inscription of the Mary Palmer brooch.

In 1838, British Shakespearean actor Junius Brutus Booth would name his youngest son John Wilkes Booth in the jailed MP’s honor. By the birth of this future presidential assassin, Mary Palmer had been dead for 32 years. The world on which she closed her eyes had recently seen Napoleonic War hero General Horatio Nelson, 1st Viscount Nelson, repose in state at St. Paul’s, the the surrender of Dutch Cape Colony to the British, explorers Lewis and Clark begin their journey back from the Pacific, the distribution of Noah Webster’s first American dictionary, and the start of Thomas Jefferson’s second term as U.S. president.

All of this historic context, moreover the genetic material of their ancestress, was lost on and to her descendants, who found her memorial brooch too disgusting to keep.

One of the most beautiful trends in memorial jewelry is the reconstitution of a cremains and hair as diamonds.

It can be postulated that the major televised tragedies and wars of the early 21st century have made displays of public and personal grief more acceptable. Or perhaps rising generations are rebelling against the old ways, as they are wont—their elders did not speak of death, therefore they will. In either case, for whatever collective reasons, many years after I purchased the Mary Palmer memorial brooch, I stumbled across the website Memorials.net and read, “Memorial jewelry is, perhaps, the newest, most novel idea in the memorial industry [emphasis mine] and it is becoming more popular every year…. Memorial jewelry is…used to store locks of hair of family members whose bodies have been buried, and memorial jewelry often simply encloses a special picture of a loved-ones. Many pieces of memorial jewelry are also engraved with special memorial quotations.”

Clearly, someone needs a history lesson. However, the acknowledgement of momentum is spot on. For example, the growing preference for cremation has led to jewelry that contains, or is made from, a portion of the deceased’s ashes. Much like the Victorian jeweler Dewdney, today companies and artisans who specialize in memorial jewelry offer it in various styles of precious and semiprecious metals with personalized engraving.

Touching the deaths of children, independent artisans have begun to craft pieces meant for those who have lost infants or experienced stillbirths and miscarriages. One such enterprise, La Belle Dame, explains on its website, “We created our miscarriage and infant loss jewelry to help mothers feel connected to their little ones, to have a tangible something to touch and give them strength when they need it most.”

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Twenty-first century mourning jewelry exemplified by this platinum ring with a blue cremation diamond. This example is by LifeGem®.

One of the most beautiful trends in memorial jewelry is the reconstitution of cremains and hair as diamonds. These are formed by carbon extraction while the ashes and hair are subjected to extreme heat and pressure, replicating the process that occurs naturally in the earth. According to one company, writting in almost the same heavily sentimental language of the Victorians, “The diamonds are available in brilliant and beautiful yellows and blues like a sunset captured in time or a wave upon the ocean.” The gems can be set into rings, pendants, or brooches that memorialize the dead.

Today’s mourners who commission these pieces can be assured they shall be cherished—if not by their own descendants, then by future collectors. And perhaps, in that long-off century, someone will feel a tickle that grows into a powerful urge to discover who the dead once were.

As for Mary Palmer, I cannot tell her story yet. I have identified a number of British and American women with this name born at the right time, but none of these offer a corresponding 3 July, 1806 death date—and at any rate, if Palmer was a married name then none of the Marys born in 1768 are correct. I hope that one day I will locate Mary in extant records and piece together a life that will stand as meaningful to me, if not to those who shared her blood. Ω

In Memory Of

Victoria’s grief drove into high gear the already strong public market for jewelry to be at worn during all stages of mourning.

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A selection of mourning jewelry from my collection. The difference between the Regency and early Victorian pieces (far left and center) and the heavy black later Victorian items is marked.

At the close of the 18th century and the early years of the 19th, memorial pieces with hair were generally small, delicate, and graceful. However, the oncoming Victorian era would turn “the entire ritual of mourning into a public display, and the jewelry changed accordingly, becoming larger, heavier, and more obvious,” wrote the curators of the Springfield, Illinois-based Museum of Funeral Customs in Bejeweled Bereavement: Mourning Jewelry—1765-1920.

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Victoria in mourning. Courtesy British Museum.

In December 1861, Queen Victoria’s beloved consort, Prince Albert of Saxe-Coberg-Gotha, died of what is thought to have been typhoid fever. Married for twenty-one years, their happy union resulted in the birth of nine children. The forty-two-year-old prince’s demise shattered Victoria. For the rest of her life the queen wore mourning, and required many courtiers who served her and who attended court functions to do the same.

Victoria’s grief drove into high gear the already strong public market for jewelry to be at worn during all stages of mourning. For example, in the first nine months, the only acceptable jewelry was made of black glass, dyed pressed animal horn, gutta-percha (a latex plastic derived from tropical evergreens), vulcanite and ebonite (rubber treated with sulfur and heat), bog oak (fossilized peat), or carved from jet (a fossilized wood that washes up on west coast Yorkshire beaches, and was extracted from shale seams, particularly around between Robin Hood’s Bay and Boulby). In later stages of mourning, gold or pinchbeck (a composite metal) and hair-work jewelry commemorating the deceased was worn. Many of these items bore the motto “In Memory Of” and featured heavy black enameling.

In the United States, not one woman’s loss, but the losses of millions drove the mourning jewelry industry to its zenith. Between the years 1861-1865, the nation was locked in a horrific civil war that left thousands bereft of their loved ones. Soon after the Confederate surrender at Appomattox, on Good Friday, President Abraham Lincoln was assassinated. The resulting wave of grief may well have been the “high-water mark” of the hair work phenomenon. (“High Water Mark” was a title bestowed upon the a copse of trees on the Gettysburg Battlefield by John B. Bachelder, the first government historian of the Gettysburg battlefield, who realized its significance during the intense fighting now known as Pickett’s Charge.)

The collective grief was dissipated almost fully during the 1870s. By the early 1880s, many young adults had only sketchy memories of war and children had none at all, and in the way of rising generations, they chafed against their elders’ mourning habits. “Young people began to look at their parent’s elaborate rituals with distaste, the fashion industry experienced a backlash of sorts, and [mourning] jewelry was once again smaller and not much on display,” noted the curators of the Museum of Funeral Customs.

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A carved Whitby jet name brooch (left), suitable for mourning and still on its original sales card, featuring a drawing of Whitby Abbey, Yorkshire. Circa 1885-1895. Ann Longmore-Etheridge Collection.

The custom of mourning jewelry had petered out almost entirely before World War I, although sentimental items such as “Mizpah” pins and rings (“Mizpah is an emotional bond between people who are separated either physically or by death. Mizpah jewelery is worn to signify this bond. From Genesis 31:49 of the Bible. ‘And Mizpah; for he said, The Lord watch between me and thee, when we are absent one from another,’”) and celluloid photo buttons and were quite popular, as was name jewelry—including appellations such as “Mother,” “Sweetheart,” “Sister,” and others)—that has never since lost its appeal.

The mid-20th century marked a volte-face in the way the Western world dealt with death. Two world wars yielded staggering fatalities, making a collective psychological withdrawal inevitable. In addition, in peacetime, fewer and fewer people were dying at home; they disappeared into hospitals only to be seen again in their coffins, already embalmed and prettified by strangers. The idea of touching the dead and retaining any biological material from them became repugnant to the majority of the population. Discussing death became culturally distasteful, if not taboo. Even as late as 1993, when I encountered my first glimpse of mourning jewelry, I wouldn’t have spoken of my interest in death and death customs to anyone except my most trusted friends. Ω

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A carved Whitby jet mourning brooch from the 1870s. Ann Longmore-Etheridge Collection.

Sit Down, John: An Adams Image Rediscovered

The historical importance of March 1843 daguerreotype was forgotten until now.

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Newly rediscovered daguerreotype of President John Quincy Adams. Photo courtesy Sotheby’s.

A new image of John Quincy Adams, America’s sixth president, will be presented for sale by the auction house Sotheby’s later this year. The March 1843 daguerreotype, which Quincy Adams gifted to a friend, remained in the recipient’s family through the generations although its historical importance was forgotten. The image was made during a sitting with early photographers Southworth & Hawes that yielded at least two daguerreotypes. A copy of the other now resides in the collection of the New York Metropolitan Museum.

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This daguerreotype copy of a second, cleaner image from the Southworth & Hawes sitting shows the former president as he actually appeared. Daguerreotypes present a mirror image of the subject; daguerreotype copies present the correct frontal view. Although it may appear so, Adams was not photographed in a private home. This set was used in other daguerreotypes taken by Southworth & Hawes. Image courtesy the Metropolitan Museum.

There is a third, badly damaged daguerreotype of Quincy Adams held by the Smithsonian’s National Portrait Gallery. Adams disliked it, noting in his diary that he thought it “hideous” because it was “too close to the original.” More than a hundred years later, in 1970, the daguerreotype was bought for 50 cents in an antique shop. After identification, it was eventually donated it to the nation.

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John Quincy Adams. Courtesy National Portrait Gallery.

Quincy Adams, born 11 July, 1767, was the son of the second U.S. president, John Adams (30 Oct., 1735-4 July, 1826)—a patriot renown as an American Founding Father. His mother, Abigail Smith (22 Nov., 1744–28 Oct., 1818), named her infant after her dying grandfather, Colonel John Quincy (21 July 21, 1689–13 July, 1767), for whom Quincy, Massachusetts, was named. Quincy Adams spent his formative years with his father on diplomatic missions to France and The Netherlands, studying for some time at the University of Leiden. He would travel to Russia and Scandinavia before returning to America to attend Harvard.

Quincy Adams served as a U.S. senator; a Harvard professor; a minister to Russia, the Court of St. James’s, Portugal, and Prussia; and secretary of state under James Monroe before narrowly winning a four-candidate presidential election in 1824. On 4 March, 1825, he took the oath of office, served one term, and was defeated by Andrew Jackson in the bitter election of 1828.

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In his prime: John Quincy Adams, aged 29, painted by John Singleton Copley. Courtesy Boston Museum of Fine Art.

Adams married British-born Louisa Catherine Johnson (12 February, 1775–15 May, 1852) in London in 1797. They had three sons and a daughter named after her mother—the latter of whom was born and died in infancy in St. Petersburg, Russia whilst the Adamses were on diplomatic assignment. One son, George Washington Adams (12 April, 1801–30 April, 1829), became a lawyer and politician. He committed suicide by jumping off a steamship in Long Island Sound in April 1829. Another son, John Adams II (4 July, 1803–23 October, 1834), was private secretary to his father during Quincy Adams’ presidency, then went into business.

John Quincy and Louisa’s youngest son, Charles Francis (18 August, 1807–21 November, 1886), led a distinguished political and diplomatic career, then turned to writing history. Charles’s son Henry Adams (16 February, 1838–27 March, 1918) was a noted historian and husband of photographer Marian “Clover” Hooper, who committed suicide by drinking her own darkroom chemical, potassium cyanide. Both Henry and Clover now lay buried in Washington’s Rock Creek Cemetery beneath sculptor Augustus St. Gauden’s masterpiece, “Grief.”

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The gravesite of John Quincy Adam’s grandson Henry and his wife Clover, taken in the 1970s. Courtesy of the National Archives.

Quincy Adams, whose grandson Henry was about five when he sat for the newly found daguerreotype, suffered a massive cerebral hemorrhage on the floor of the House of Representatives on 21 February, 1848. He was carried to the Speaker’s room and placed in a bed; he died there two days later with his wife and son beside him. Quincy Adams was buried first in Washington’s Congressional Cemetery, but was later moved to Hancock Cemetery in Quincy, Massachusetts, to rest with his ancestors. Ω

Gardeners Bring Cradle Graves Back From The Dead in Philadelphia

“Being a Grave Gardeners lets them contribute to a place that holds both personal and historic resonance.”

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Photo by Michael Bixler.

Through the stone gates of Woodlands Cemetery, a tranquil, verdant oasis thrives in the heart of University City. The Victorian necropolis, the last undeveloped parcel of the estate of botanist and plant collector William Hamilton, was preserved and a repurposed as a rural cemetery in 1840 as the city and University of Pennsylvania pushed westward. Today, The Woodlands is flourishing with the aid of creative placemaking and inventive programming.

The Grave Gardeners program is the most recent brainchild of Woodlands’ executive director Jessica Baumert and her staff. The cemetery is home to hundreds of “cradle graves,” tombs with both headstones and footstones connected by two low walls that create a bathtub-like basin. In the 1800s, family members of the deceased filled the French-style “cradles” with living, blooming coverlets of flowers. Cultivating these gardens on weekend outings to sylvan cemetery grounds like The Woodlands was a way of keeping a loved one’s memory alive. As descendants scattered and their memories of connections to Victorian ancestors faded, the gardens died out. The Woodlands’ Adopt-a-Grave program enlists the help of volunteers to revive these now scruffy patches of dirt and grass, one grave at a time.

To read this wonderful article in its entirety, click the link below.

Source: Gardeners Bring Cradle Graves Back From The Dead | Hidden City Philadelphia


Thank you to my dear cousin, Elizabeth Harrison, for calling this to my attention.

The Patriot’s In-Law: Eliza Schuyler Kuypers

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Eliza Schuyler Kuypers, Mrs. Ethan Allen, Unmarked albumen carte de visite (CDV), circa 1864. Ann Longmore-Etheridge Collection.

The subject of this CDV is Eliza Schuyler Kuypers, wife of Ethan Alphonso Allen (8 February, 1818-27 November, 1889). Eliza’s husband was the grandson of the American patriot, farmer, philosopher, deist, and writer Ethan Allen (1737-1789) and his second wife Frances Montressor (1770-1834), through their son Ethan Voltaire Allen (1789-1845) and wife Mary Susanna Johnson (26 Sept., 1797-1 Nov., 1818).

Eliza, born in 1820, was the great-granddaughter of Elizabeth Schuyler (1771-1801) and her husband Rev. Gerardus Arentz Kuypers of Curacao, Dutch West Indies, who had been born on the island in December 1766 and later came to Hackensack, New Jersey, then to Rhinebeck, New York, to minister to the Dutch community there. Eliza’s grandfather was their son, also named Gerardus Arentz Kuypers (1787-1833), who was educated at Hackensack, and then studied theology under his father. He was licensed to preach in 1787 and served as a collegiate pastor in Paramus, New Jersey. In 1780, he moved to New York City to preach in the Dutch language. In 1791, he earned a Master of Arts degree from the College of New Jersey, as well as a Doctor of Divinity from Rutgers in 1810. It is noted that he suffered from asthma, but died of “ossification” of the heart 28 June, 1833.

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Eliza’s grandfather, Gerardus A. Kuypers, D.D.

Eliza was daughter of his son, Dr. Samuel S. Kuypers (8 March, 1795-10 January, 1870) and Amelia Ann VanZant (1794-1864). Dr. Kuypers was an alumnus of Rutgers and a member of the Medical Society of the County of New York from 1820 until his death.

In the CDV image above, Eliza is most probably wearing mourning after her mother’s death in the penultimate year of the Civil War. Amelia VanZant Kuyper’s demise was announced in the New York Times of 8 January, 1864, as follows: “On Thursday, Jan. 7…in the 70th year of her age. The relatives and friends of the family are respectfully invited to attend the funeral from her late residence, No. 142 2d-av., on Sunday, Jan. 10, at 3 o’clock p.m. without further invitation.”

Ethan Alphonso came to New York City from Norfolk, Virginia, in 1837 and was a drygoods merchant with Colgate, Abbe & Company at 43 John Street. Eliza Kuypers and Ethan Alphonso wed on 25 January, 1844, at the New York City’s Eighth Street Church—the ceremony presided over by the Reverend Dr. MaCauley. The couple had four children: Ethan Allen (17 June, 1845-28 Dec., 1905); Lieutenant Samuel Kuypers Allen (17 April, 1846-18 February, 1884); Amelia Ann Allen (21 February, 1850-1900), called “Lilly;” and Joanna Allen (12 Dec., 1852-15 March, 1857).

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The interesting reverse of Eliza Allen’s CDV, featuring President Abraham Lincoln, was likely offered to loyal Unionists during the Civil War.

Their son, Samuel Kuypers Allen, married Eleanor Wallace on 20 July, 1875. He lived in Greensboro, North Carolina, served in the Marines during the presidency of Andrew Johnson, Lincoln’s successor, and died childless. Lilly Allen married Reverend Mathew C. Julien on 6 November, 1872. Her husband graduated in 1869 from the College of the City of New York, and became a pastor of the Trinitarian Congregational Church of New Bedford, Massachusetts, in December 1872. Son Ethan married Harriet Ida Perkins (1847-1900) and was a business executive in Jersey City, New Jersey.

Two years after the death of her mother, on 25 February 1866, Eliza Allen died in Hyères, Var, Provence-Alpes-Côte d’Azur, France, “after a long but nobly borne illness,” noted the Times. Her body was returned to the United States for burial in New York City’s Marble Cemetery, where her Kuypers relations are also interred. The Times notice read: “The remains of Mrs. Ethan A. Allen, having arrived from Europe, the funeral will take place from the residence of her father, Dr. Samuel S. Kaypers, No. 142 2d-av., on Sunday next, May 20, at 2 o’clock. The friends of the family are respectfully invited to attend.”

The widowed Ethan Alphonso never remarried and died in New York City 27 November, 1889. He is buried, not with his wife, but in an unmarked grave in Green-Wood Cemetery, Brooklyn, New York. Ω


Quotes by Ethan Allen

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Ethan Allen is best known for his role in the capture of Fort Ticonderoga, 10 May, 1775. Courtesy North Wind Picture Archives.

On patriotism: “Ever since I arrived to a state of manhood, I have felt a sincere passion for liberty. The history of nations doomed to perpetual slavery, in consequence of yielding up to tyrants their natural born liberties, I read with a sort of philosophical horror; so that the first systematical and bloody attempt at Lexington, to enslave America, thoroughly electrified my mind, and fully determined me to take part with my country.”

On alien life: “It is altogether reasonable to conclude that the heavenly bodies, alias worlds, which move or are situate within the circle of our knowledge, as well all others throughout immensity, are each and every one of them possessed or inhabited by some intelligent agents or other, however different their sensations or manners of receiving or communicating their ideas may be from ours, or however different from each other.”

On the nature of God: “The idea of a God we infer from our experimental dependence on something superior to ourselves in wisdom, power and goodness, which we call God; our senses discover to us the works of God which we call nature, and which is a manifest demonstration of his invisible essence. Thus it is from the works of nature that we deduce the knowledge of a God, and not because we have, or can have any immediate knowledge of, or revelation from him.”

On reason: “Those who invalidate reason ought seriously to consider whether they argue against reason with or without reason.”

Quotes about Ethan Allen

“Without the loss of a single life, with a casual and even comic air wholly incommensurate with the importance of the event, Ethan Allen’s expedition reduced three key British strongpoints—Ticonderoga, Crown Point, and St. Johns in the north (for the latter was impotent so long as the Americans controlled the lake)—and obtained for the American cause what was, for its time and place, an immense booty.”—Kenneth S. Davis, 1963

“There is an original something in him that commands admiration; and his long captivity and sufferings have only served to increase if possible, his enthusiastic zeal. He appears very desirous of rendering his services to the States, and of being employed; and at the same time he does not discover any ambition for high rank.”—George Washington, May 1778

“General Ethan Allen of Vermont died and went to Hell this day.”—Reverend Doctor Ezra Stiles, president of Yale College, diary entry, 12 February, 1789

Fashion Fix

“The woolen dress in this portrait has been finished with self puffing to emphasize the waist taper, the shoulder caps, and the sleeve cuffs.”

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Dennis Waters, who conserved this 1/6th-plate daguerreotype in 1994, helpfully left a note on the reverse that says, “Pemberton & Co, Conn. Very rare plate mark. C. 1850.” Ann Longmore-Etheridge Collection.

This circa-1851 daguerreotype, now in my collection, was published on page 126 of Joan Severa’s seminal work on nineteenth century fashion, My Likeness Taken. Of it she wrote, “The woolen dress in this portrait has been finished with self puffing to emphasize the waist taper, the shoulder caps, and the sleeve cuffs. The fitted and darted bodice has the shorter waist point of the [1850s], and the skirt is taken into the waistline by small knife pleats. It is interesting to speculate on the color of the dress, as it is not black. Cherry red is a possibility, but soft brown is more likely.

“A standing band of whitework, with lappets crossed, is worn at the neck, and fine, close undersleeves extend the somewhat shortened sleeves. The netted mitts cover the fingers to the first finger joint, a new style for the year.

“The hair is done in long curls hanging behind the ears on either side.”

The figure at bottom left of this April 1851 fashion plate wears a similar dress and can help us visualize the full length gown worn by the daguerreotype’s subject. Ω

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