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Overgrown, “Old-fashioned” Gardens

For the decade that I’ve worked on my garden I’ve been going for a lush, flower-packed, “old-fashioned” look, popular a century ago when there was a strident Colonial Revival reaction against Victorian gardens. Recently a good friend gave me a copy of a special edition of The Mentor (which had a logo/mission which I just love:  learn one thing every day) published in 1916 with a focus on “Historic Gardens of New England”, and after perusing the pictures inside, I realized that I’ve attained my goal, in a way. The author of the featured article, Mary Harrod Northend, was a native of Salem and consequently asserts that “the old-fashioned garden of New England reached its highest development” in her (my) fair city, though she highlights gardens in Newburyport, Portsmouth, and other New England towns as well.  Besides axial paths, arbors, and sundials, the key characteristic of her chosen gardens are their flowers:  not the exotic varieties preferred by the Victorians, but native (or better-yet, brought over by the colonists) varieties that will attain that perfect, bursting-forth-from-the-border look: peonies, hollyhocks, phlox, dianthus, bachelor buttons.  All contained within box borders, of course.

I’ve got the box borders (which really need trimming now) and the sundial, and some of Northend’s preferred flowers but others (hollyhocks and peonies) would take over my small garden so I’ve chosen other plants–like the meadowsweet on the left–that are still taking over my small garden.

To control the chaos, I’ve been putting in germander for edging; Northend doesn’t mention this great plant (similar to rosemary but hardy here in New England) but the Elizabethans loved it for their knot gardens. I’ve also included a few close-ups of some of my favorite plants, in bloom now:  alstroemeria (set against variegated calamint) and red baneberry (set against astilbe).

In the shade garden in the back is a “plant” over which I’ve clearly lost control:  a monstrous hydrangea shrub, now grown into a tree.  It seems to be tapping into the water pump for the pond right next to it, and is reaching for the sky! Follow the path and you run right into it–unfortunately I can’t seem to get a good picture of just how giant it is.  It’s scary.

And now some of Northend’s 1916 Mentor pictures for comparison:  the first is of the Hoffman house on Chestnut Street in Salem (now currently for sale), which featured a famous garden established by merchant/horticulturalist Charles Hoffman in the late 1830s and maintained for over a century.  The photograph below is centered on the “ancient” Dutchman’s Pipe-draped summer house, no longer there.  There has to be some structure in the center: pergolas, arches and arbors prevailed in the old-fashioned garden.


Coney-Catching

Back to the reign of another long-reigning queen, Elizabeth I.  For my summer graduate course, I’ve been immersed in the pamphlet literature of the 1590s, including those relating the exploits of  London rogues, vagabonds, pickpockets, card-sharks and coney-catchers, to use the language of the day. In the contemporary vernacular, coneys (alternatively spelled conys, connys, connies) were domesticated rabbits (as opposed to wild hares), bred for the table and easy prey. Consequently coney-catchers were those who preyed on similarly-vulnerable human targets in the streets of London:  in today’s language, con-men.

The term seems to have been crafted by playwright, poet and pamphleteer Robert Greene (1560-1592), one of the “university wits” of late Elizabethan London, and an author who definitely wrote more for the public than the court.  Before his untimely death in 1592, Greene waged a war in print on those who had taken advantage of him while he was down and out, in the streets (quite a common state for him due to his profligate lifestyle).  The pamphlets were popular, and the term caught on. Its meaning, fool-taking or-making was easily grasped by everyone, and satirical responses kept the rabbits in print, as did Greene, by publishing under pseudonyms like “Cuthbert Conny-catcher”.

Greene’s conies between the covers.

All of these rabbits (coneys) remind me of those that magicians (conjurers) pull out of a hat:  there must be a connection. The John Derian decoupage tray on my mantle, called “the magician’s apprentice”, is making me think so too.


Watch your Step

We have a little two-story apartment attached to our house, with its own entrance, foundation, and address; it was built on to the main house about a century ago by the doctor that was living here at the time, a time when it was customary for physicians to have home offices rather than the consolidated office-park variety. For quite awhile we’ve had the perfect tenant, who recently informed us that she is leaving:  causing fear and trepidation and then excitement about possible redecoration schemes.  Actually, we quickly found a new tenant, so there won’t be much time to do anything over there, but a few things do need attention in the interim:  first and foremost, the stairs.

This apartment is absolutely adorable if I do say so myself, but it is small.  Everything is smaller-scaled than normal; it’s not quite a dollhouse, but more of a ship’s cabin.  It works (I think; I’ve never lived there, though there have been times that I wanted to rent out the main house and stay in the apartment) because there are so many built-in shelves and cupboards:  in the basement, on the main floor with its tiny little kitchen and floor-to-ceiling bookcases, along and over the stairway going up to the second floor, and in the two tiny bedrooms and bathroom.  Everywhere there are little cupboards and shelves:  for storing medicine, I wonder?  It does remind me of a ship’s cabin, and when I first outfitted it for a tenant I put a rope bannister along the curving stairs, just for that effect.  Now these same stairs need some kind of runner, as the present one is very well-worn.  Given my nautical ideas, I quickly found some stairs in a beach house decorated by Jonathan Adler that might serve as inspiration, but then I was off on a mission.

Numbers:  Lots of people have numbered their stair risers, which is a cute and easy idea, but it might have the effect of making my little stairway seem even more diminutive:  after all, there are only so many stairs.

Courtesy The Design Files and Lover Mother.

Lots of bookcase/staircases out there:  these were my two favorites, in a private home and a public library.

Courtesy Book Patrol.

I came across lots of decoration, on both treads and risers, including these two Victorian staircases embellished with a simple diamond pattern and one of Orla Kiely’s distinctive prints.

Courtesy Old House Web; photograph by Jake Curtis for Living Etc.

Ultimately I am the most inspired by an old photograph of the staircase in an old (very old) Salem house, the Narbonne house, built in the mid 1670s on Essex Street, where it still stands.  This staircase is pretty similar to my apartment’s (give or take a couple of centuries) and the “yankee runner” would look just right.

The Narbonne House exterior and staircase, HABS, Library of Congress.

APPENDIX:  I was also thinking about stairs this past week while I was preparing some lectures on Elizabethan religion for my summer graduate class.  After the practice of Catholicism was made illegal, “priests’ holes” (or -hides) were carved out in Catholic homes, to hide the priest when the royal searchers came calling.  Harvington Hall manor house has four such holes created by the Jesuit/master builder Nicholas Owen, and one of them is below the stairs in the main hall:  here it is, complete with hiding priest.

Courtesy Curious Britain.



When Hostas Attack

I’m looking forward to getting into my wild garden this weekend for some frenzied weeding and general taming, but I have to admit that I’m a little afraid of the hostas in the shade garden.  These are plants that I inherited so I’ve never been particularly predisposed towards them, but they are so thoroughly rooted that I’ve never considered taking them out.  I don’t even know their varieties, I’m embarrassed to say:  I pay them no mind whatsoever except for a few hours in July or August when I snip off their less-than-impressive flowers.  I have the generic shiny dark green plants (none of those variegated ones that you see everywhere, thank goodness), and then the less common greenish blue variety, which are always large but GIGANTIC this particular year:  these are the ones that are intimidating me at present.

I will admit that the advantages of this particular hosta are its relative resistance to slugs, who seem to prefer the shinier varieties, and its flowers, which are a bit more delicate:  an odd juxtaposition as the leaves are tough. Perhaps the slugs are fearful as I am!  I’ve included a shot of the garden looking west towards Hamilton Hall, so you can see how wild it is at present:  I’ve got my work cut out for me.

 


Chartreuse

Green has long been my favorite color, but more recently I have come to realize that chartreuse is my favorite shade of green. A bit unusual, but true:  my spirit lifts when I see it or wear it (and I just counted 7 chartreuse cardigans in the closet, so apparently I wear it often).  How can you beat a color named for a liqueur, the “elixir of life” made by French Carthusian monks from the early eighteenth century?  Spring is the time for yellowy greens, and there’s quite a bit of chartreuse in the garden, even though the lady’s mantle has yet to bloom. Even the boring yews, hardly my favorite plants, have a chartreuse gloss at this time of year.

Chartreuse in my garden:  yews, creeping jenny (also known as Lysimachia nummularia or moneywort), heuchera, and an artfully-placed bottle.

I’ve been a bit more restrained about using chartreuse in the house; in fact, there is no chartreuse in the house (except for the bottle, when I bring it back inside).  But it might sneak in there; I have assembled an entire folder of chartreuse-colored housewares, as well as some tear sheets of interior chartreuse accents.  It’s a strong color, obviously you have to be careful with it, but at the same time it seems to be somewhat neutral:  is that possible?

Silver Chartreuse “bottle ticket”, early 19th century, Victoria & Albert Museum, London; Ranunculus Swirl Shade in chartreuse, Anthropologie; “Chartreuse” by Mary Heilman, 1988 and chartreuse chandelier by Dale Chihuly,1993, both photographed by Larry Qualls; Milanese melanine plates from House Beautiful ; a chartreuse wall and door from Canadian House and Home.

The use of color in fashion requires its own post, one I’m not quite up to, I think.  Given its proximity to gold it must be a color of power, and one that is worn when you want to be in the spotlight:  think of Nicole Kidman’s Oscar dress from more than a decade ago and the First Lady’s outfit from the last inauguration.  Because it’s the absolute perfect shade of chartreuse (in my opinion), I did want to include this Charles James bodice of an evening gown, from 1951.

Charles James chartreuse velvet bodice, 1951 (Brooklyn Museum Costume Collection at the Metropolitan Museum of Art).



Spring Cleaning: a Spotty History

In addition to dusting off my bicycle, I’ve also got to dust my house this spring, thought I must admit that my spring cleaning always gets delayed by the academic calendar:  I don’t really get to it until the semester is over in early May.  By that time, it’s a refreshing break from school, but the two pursuits–scholarship and housekeeping–are not entirely disconnected in my mind and life.  For the past few years, I’ve been slowly working on a book, tentatively titled The Practical Renaissance, about the practical applications of print and information culture in Elizabethan England.  My primary sources are popular “how-to” books which provided instructions for the improvement of health and household, several of which take on the brave new world of hygiene.

Standards of hygiene were obviously very different in the sixteenth century than they are today, but two concerns  really manifest themselves in my sources:  spot removal (and the care of textiles in general) and bugs.  One of the most versatile of my Elizabethan “practical” authors, Leonard Mascall, wrote about tree-grafting, fishing, animal husbandry and horticulture, as well as stain removal in his Profitable boke declaring dyuers approoved remedies to take out spottes and staines in Silkes, Velvets, Linnen and Woollen clothes.  Multiple editions of Mascall’s little book (which was a translation of  an earlier Dutch work) were published after 1583, testifying to its popularity.

Mascall and his fellow dispensers of household knowledge provided soap recipes (containing alum, egg whites, ashes, and various herbs) for “brightening” various fabrics, but one gets the sense that fumigating and perfuming were the main tasks of “cleaning” in Elizabethan households.  There are many recipes for “sweet bags” containing fragrant herbs that would be spread among the linen, a practice that would both “clean” household textiles and prevent their infestation by moths and other pests. Various herbs boiled down in a “perfuming pot” or cast into the fire would mask annoying household odors.  Instructions were also given for the delousing of both beds and bodies, which must have been a constant occupation.

Bed bugs in Hortus Sanitatis, 1536, and a page of very random recipes from John Partridge’s Widdowes Treasure, 1595.

In the seventeenth century, more comprehensive and detailed guides were published in multiple editions, becoming more authoritative in the process.  Two domestic bibles, seldom out of print, were Gervase Markham’s English House-Wife, first published in 1615, and Hannah Woolley’s Compleat Servant-Maid, or the Young Maidens Tutor (1677).  The books are longer but the recipes for cleanliness are still the same:  spot-cleaning of fabrics, sweet bags and sweet waters, perfumes and pomanders, musk balls and soap balls, shake the bedclothes to get the bed bugs out.  Unadulterated water is still a suspicious substance, with good reason.  You can see from the long title of Markham’s work that the seventeenth-century English housewife was supposed to possess a wealth of skills, encompassing everything from healing to distillation to maintaining the dairy.  Writing later in the seventeenth century, from a completely different perspective as both a woman and a former servant herself, Woolley’s very practical guide was geared towards prospective domestic servants who aspired to work in “great houses”.

The last two household compendiums to be published before the Industrial Revolution were Eliza Smith’s Compleat Housewife, or Accomplish’d Gentlewoman’s Companion (1727) and Hannah Glasse’s Servant’s Directory, Improved, or Housekeeper’s Companion (1762), with instructions on how to mix up paints and varnishes, whiten fabric, and, of course, banish bugs and vermin.  Glasse’s work also contains the following directions for cleaning wood floors, a “green” approach that sounds like it might work today:  “Take tansy, mint, and balm; first sweep the room, then strew the herbs on the floor, and with a long hard brush rub them well all over the boards, till you have scrubb’d the floor clean.  When the boards are quite dry, sweep off the greens, and with a dry rubbing brush dry-rub them well, and they will look like mahogany, of a fine brown, and never want any other washing, and give a sweet smell to the room”.  You can see Glasse’s instructions enacted by the curators of the Rhode Island Historical Society on April 21 when they scrub down the John Brown House in eighteenth-century style (and eighteenth-century clothing).

The title page of Hannah Woolley’s Compleat Housewife and a popular mid-18th-century print of “The Housewife”:  She claims you Praise, who keeps all sweet and clean:  for Tidy Housewife is no Title mean”.  Mezzotint after Gerrit Dou by Richard Purcell for Henry Parker, 1759-66.  British Museum.

Of course, in the nineteenth century, everything changes:  there is a revolution of soap…and detergent, disinfectants, and bug spray.  The housewife (or her maid) still has to do the work, but she doesn’t have to make the products anymore.  Given their domain over the household, housewives add a new role to ther varied tasks:  that of targeted consumers of the myriad of cleaning products on an ever-expanding market, all promising cleaner homes, in the spring time and all year round.

British advertisements for household soap from the 1870s and 1880s from the British Library; John Henry Vanderpoel poster for Armour’s Laundry Soap, 1890s, New York Public Library Digital Gallery.

“Spring Cleaning” acquires a metaphorical meaning in the modern era, first and foremost when applied to gender politics as in the two images below from just before World War I, and later more generally.  Finally, a scene of futuristic domestic liberation from Popular Mechanics in 1950.

Women’s Work (cleaning up the house) and Men’s Work (cleaning up the city) as a Suffragette confronts her husband in a Puck cartoon from 1912, Women’s Suffrage sweeping away the evils of prostitution, drinking and gambling in a 1914 cartoon, and the housewife of tomorrow (2000) doing her spring cleaning, 1950.  All, Library of Congress.


Double Parlors

We’re repainting our double parlor, finally.  For years friends have been telling me to go darker, to highlight the serious moldings in these rooms. It’s painted a very subtle blush pink now, but it just looks like a rather shabby off-white in the pictures below. And it looks cold. Clearly it’s time to paint: I’ve taken down all the pictures and removed all the moveable stuff, now out with the rugs, the couches and the mirrors–Moneypenny will stay on the radiator for as long as she possibly can. We haven’t quite decided on the exact color yet:  I really like Rundlett Peach from California Paints Historic Colors of America, while my husband is leaning toward something a bit more something with a bit more orange, or perhaps a warm grey (is there such a thing?) or something “buffy”. We tried a rather vibrant persimmon last year and realized we could not live with quite that much color in these rooms. Any suggestions would be welcome; there’s a lot of prep work to do so we have a few days to decide. The double parlor is really one large room separated by pocket doors which we rarely close; while it is a large area it is always rather dark, as our house is north-facing.  The matching grey marble mantles are the other consideration; obviously we want a color that complements them. Here’s a few pictures of the space now.

There are “fake doors” in both the front and rear parlors for symmetry, which is very Greek Revival.

After painting, lighting.  I’ve never really liked the fixture in the rear parlor, and what you are seeing above is a cap where a gas fixture once was so we need some wiring in the front parlor.

It’s fun to turn your house (and your cat) into a pencil sketch!

While looking around for some inspiration and colors for my double parlor, I kept coming across images of the Greek Revival house in Brooklyn Heights where Truman Capote lived when he wrote In Cold Blood and Breakfast at Tiffany’s. No doubt Google was directing me there because I was searching for “Greek Revival Double Parlors” and this house is a Greek Revival with several parlors (I don’t think they are contiguous) but also because this house has recently been in the news for setting the sales record for a single-family home in Brooklyn: $12 million (though the asking price was $18 million–sign of the times). The house looks stunning even though it has a bit of an ’80s ambiance (1980s not 1880s, though neither is good); it has a lovely enclosed garden in back and the colors of its parlors are close to what I want for mine, although I think I need a warmer, slightly rosier color than that pictured below. I must admit that I like my softer grey mantles better.

I think both Federal and Greek Revival houses are quite adaptable to a range of furnishings. You can go very period if you like, or in a more contemporary direction, or mix it up (my preference), and it all seems to work in these spare, classical spaces. I love looking in my Richard Jenrette books, but that kind of grandeur is unattainable. House museums like the Merchants House in New York City are fun to visit, but I wouldn’t want to live there. On the other hand, the parlor in cosmetics scion Aerin Lauder’s Greek Revival country house in the Hamptons is a bit too modern for me (although that orange might be just what my husband wants).

Richard Jenrette’s great book, followed up by More Adventures with Old Houses, which focuses on Edgewater, his amazing Greek Revival estate on the Hudson River, the front parlor of the Merchant’s House Museum in NYC, and Aerin Lauder’s Hamptons living room photographed for Elle Decor.

I think the warmer, traditional yet updated look that appeals to me the most is well represented by the double parlor of an 1838 Nantucket house designed by Thomas Jayne Design Studio for clients “who were committed to adapting to the historic architecture of their home rather than altering it to fit contemporary tastes”.  A lovely attitude and a lovely room.


Scarlet Letters

A is for…adultery, or Athenaeum?  I was at a meeting of the trustees of the Salem Athenaeum the other night at which we were discussing a new logo for this venerable library.  The design which we were considering featured a very prominent red capital letter A, and all I could think of was The Scarlet Letter.  My concern was that we were tying ourselves too exclusively to Hawthorne, but our discussion quickly revealed that my fellow trustees just didn’t connect the A to the book (or adultery); it was a literary Rorschach test, and all they saw was a letter, not a Scarlet Letter.

Scarlet letters were etched in my mind, so I went in search of some more; I thought it would be interesting to see how an assortment of book illustrators took this simple letter and ran with it.  Surely the illustrations for The Scarlet Letter—most especially the cover—would be a lot more interesting than those for The House of the Seven Gables or any other Hawthorne title.  I was not disappointed, and it was a red letter afternoon.

My very favorite Scarlet Letter cover is that of the Vintage Classics edition published by Random House UK in 2008; it is simple, clever and textured.  Below that cover is the Ruben Toledo illustration for a Penguin edition from the following year.  I like the relatively recent (1994) Dover Thrift Edition as well; this one got me wondering about a field of A’s so I made my own “fabric” via Spoonflower with a cropped image of a seventeenth-century commonplace book.

Earlier editions of The Scarlet Letter are a bit less overt with their A’s.  The first edition was published in 1850, and an illustrated edition was not published until a generation later, with a discreet A on the title pages.  Rather than a badge of shame, the A of the 1878 James R. Osgood edition looks rather heraldic, while those of the editions of 1905 (Grosset & Dunlap), 1920 (Methuen Press, London), 1931 (Cheshire House), and 1941 (my spoonflowered version of the Limited Editions Club cover) look a bit more creative, and also reflect their eras.

I’m afraid to even look for the A in my version of The Scarlet Letter, one of the 22 volumes in the Houghton Mifflin/Riverside Press Complete Writings of Nathaniel Hawthorne (1900), because I fear it might fall apart if I do so!  I found the complete set in a box in a Maine antique shop several years ago and bought it very cheaply because of the books’ deteriorated condition; they had been in a basement for many years, and their leather bindings were (and still are) cracked and their pages mildewed.  I’d like to restore them, but that goal is pretty low on my priority list for now, so I’ve tied them up with ribbons and put them on the bookshelf.  The cloth covers and endpapers are still very beautiful, as you can see.

Hester Prynne bears badges of various designs in the various editions of The Scarlet Letter, but let’s face it, the A has to be pretty prominent.  One of the earliest and most illustrious illustrators, George Henry Boughton, gives the demure Hester a large A patch in 1881, but it is not scarlet. Hugh Thomson’s more romantic Hester, from 1920, wears her scarlet A with nurse-like calm, as does Lillian Gish in the film version from a few years later.

There’s a lot of places that I could go from here because The Scarlet Letter has become so allegorical and the striking scarlet A so…….adaptable, for lack of a better word:  political cartoons (anti-American!), the Atheists‘ Speak Out campaign, Emma Stone in Easy A.  But I think I’ll stick to the scarlet letter, and end with another textual image, from the New Orleans artist Scott Campbell.


Patriotic Publishing: Britain in Pictures

I had very little time last weekend but still found myself rearranging bookshelves, a typical procrastination tactic.  Yet more time disappeared when I started opening up the slim volumes of the Britain in Pictures series, published by Collins (the forerunner of HarperCollins) in the 1940s when Great Britain was facing the imminent threat of German invasion.  Over 100 volumes were issued from 1941, each one covering a basic and essential aspect of British civilization, ostensibly in case it disappeared.  The volumes feature a colorful cover with standardized type, lots of illustrations to record the institutions, places and customs that were threatened with annihilation, and equally illustrious authors:  Cecil Beaton on English Photographers, Edith Sitwell on English Women, John Betjeman on English Cities & Small Towns, and (the most amazing pairing of all), George Orwell on The English People.


Much to my shame, I have to admit that I first bought a few of these books when I was looking for PINK and RED books to decorate the bookcases in my double parlor:  you will notice the preponderance of pink below.  This is a mortifying admission, as an English historian, as an Anglophile, as a reader.  I just loved the way these books looked, never mind the content.  But after they went on the shelf, I started (occasionally) pulling them off and reading them, and then I wanted more, never mind the cover color.  They are written in the most accessible way, almost blog-like, and definitely with the mission of capturing the essence of every single topic, whether it is British fashion, clubs or trade unions.  So now I have quite a few titles, most of which I bought from a used book store in Concord, Massachusetts owned by a woman who always seemed to be able to get more.  No longer; I notice they are fetching higher and higher prices on Ebay and AbeBooks, and there is even a book on collecting them:  Michael Carney’s Britain in Pictures:  A History and Bibliography (1995).

The categories of the series are on the back of each volume, encouraging collection in the 1940s and today:  Art and Craftsmanship, including both the visual and performing arts, History and Achievement (lots of military topics, like the book above, but also books on mountaineering and polar exploration), Social Life and Character (including my three favorite books, British Rebels and Reformers by Harry Roberts, Life among the English by Rose Macaulay, and The English at Table by John Hampson), Natural History, Education and Religion, Literature and Belles LettresTopographical History, Science, Medicine and Engineering, and Country Life and Sport (lots of lords and ladies made contributions here).  The back cover of one of the first books to be published also describes the rationale for the entire series:  The English have never been good at describing themselves or their ways, either for their own benefit or for the benefit of others.  It is, therefore, not surprising that no comprehensive series of books, at a popular price, illustrating, in print and picture, the life, art, institutions and achievements of the British people has ever been issued, either for British or for foreign readers.  At this time, when it has become essential for citizens throughout the Empire to take stock of themselves and their ideas and to express them to others, it is desirable to fill this gap.

A few observations about the series title:  Britain in Pictures.  You can tell from the quote above that while the goal was to capture British civilization, an English bias would emerge.  The majority of the titles focus on English life, although there are volumes on Wales, Scotland, Ireland and Commonwealth countries.  All of these books are illustrated histories in every sense of the word:  images were culled from libraries and museums but also commissioned from contemporary artists. The past and the present come together in these little British books, just in time.

Random illustrations from British Historians by E.L. Woodward, The English at Table by John Hampson, British Clubs by Bernard Darwin, and British Garden Flowers by George M. Taylor.


Stag Party

In addition to my chair duties, I am teaching one course this semester, a survey of English history from the Roman era through the Tudors.  This is a long period, and in order to add more depth to a course that is more characterized by breadth I’m going to bring quite a few illuminated manuscripts (digitally) into the classroom for my students to view and analyze.  While I was reacquainting myself with some of my favorites this past weekend (via the extraordinary resource that is the British Library’s digital catalog of illuminated manuscripts), I seemed to be seeing lots of deer in the margins, and stags in particular:  stags alone, stags as prey, stags with satyrs, stags with serpents (which they can apparently drive out of the ground) and stags parading with other animals. Stags appear not only in medieval bestiaries (encyclopedias of animals) but also in herbals (encyclopedias of plants) because the hardened cartilage of their hearts–os de cor de cervi–was used in medical preparations.

A selection of stags from the British Library Department of Manuscripts:  Arundel, Egerton, and Royal Mss., circa 1280-1490.

The image of the stag persists into the modern era in visual and material culture more as a symbol of majesty and the (receding) forest than a feature of everyday life.  There is the statuesque, noble stag, the leaping stag, and of course, the stag head–a hunting motif that has gained a more general popularity in the last decade or so.  I prefer my deer with their bodies attached, so here are a few favorite images from the collection of the Victoria & Albert Museum:  leaping deer on a  Meissen plate from the late 18th century, and Foxton furnishing fabric and a Susie Cooper figurine, both from the 1930s.  Cooper (1902-1995), the dominant ceramics designer of the twentieth century, loved the leaping deer motif so much that she used it as her company logo and trademark.

I use a lot of deer for my Christmas decorating, and as I’ve had neither the time or the inclination to do my typical January purge, there’s still quite a few stags around the house.  And I’ve had my eye on the Nico Masemula stag at Anthropologie for the last couple of months, now fortunately (for my wallet) sold out.


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