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Artifact Corner: Episode 20

Hi everyone, and welcome to a particularly interesting artifact corner. One of the members of our board just so happens to be a drone pilot. He decided to use his talents and take some pictures of the museum on a lovely Fall day. This seems like a perfect time to talk about the home itself, which not only houses our collections but is a part of it as well.

The original home was much smaller than what you see today. The original structure, built in 1797 was a single story timber framed building. In 1810, Henry Delord purchased the home and the 3 acres of property from Mrs. James Kent for the sum of $850. Henry Delord and his wife Betsey wanted to expand the structure. In August of 1811 Henry contracted with a master carpenter named David Hawkins. Henry drew up the plans for the home himself, wanting a grand Federal style building. In his contract with Hawkins it states that Hawkins should build “in a workman like manner.”

As construction was happening on the home, Henry stayed on their farm in Peru while Betsey stayed in Plattsburgh to look after the workman. Betsey writes letters to Henry to keep him informed of the progress. Here is a letter she wrote to Henry.

“Dear Hub,
I have been as busy as a bee. Every day I have been to our house. Our men all appear to be doing very nice. The window blinds are all up nice. Got one room lath’d and most another. They will begin today the floors. Miller came and is preparing to go to work. I exhorted him to be vigilant. I spend some time there every day and Hawkins gets some liquor of me every day. I feel quite the woman of business. Adieu, yours ever, B. Delord”

In the late Fall of 1811 the Delord’s had moved into their new home, despite construction still being underway. At this time, Betsey is directing the packing of their possessions at the farm in Peru. She writes to Henry and says, “The loose things have been well secured in the large chest: books, your papers, tea urns, candlesticks, blankets, and have nailed it. In the small box is cordials, empty bottles, the tallow. Tomorrow I shall send tables and chairs, &c.” In April of 1812 Henry made another contract with David Hawkins to build a barn with room for grain, wood, and a carriage. In total Henry paid Hawkins about $500 for his work on the home and barn.

Work on the home continued throughout the next hundred years. As any home owners knows, there is always something breaking and needing repair. In 1830, Betsey writes to her daughter Francis, while she was away at school about more repairs and work being done on the home. Betsey writes, “I thought I would just write and tell you we are going on bravely with our work. Altho we are all dust and lime, we can only occupy the parlor and kitchen, and then we are all covered with dust. We can’t expect to be any thing like settled until the work is completed and that will be some time.” Having lived through construction, these sentiments are all too familiar even 190 years later. Right now we are working on replacing the siding on the home and repainting it. So, construction and repairs continue on the home even to this day. We hope you have enjoyed this unique birds eye view of the museum.

For more of Betsey’s journals, check out Love and Duty, a collection of letters and diaries from three generations of Delord-Webbb women.

Music: Acoustic Breeze by Benjamin Tissot, bensound.com

Thanks so much for stopping by.

Artifact Corner: Episode 19

Hi Everyone and welcome back to artifact corner. Today we will be looking at some stereoscopes or stereoscopic photography. This stereoscope was taken in front of our house in 1864, at the time of William Swetland’s funeral. You can see our beautiful fence in the foreground, along with the family gathering for the funeral. The attire really helps to date this card. The women’s full skirts are very indicative of the earlier part of the 1860’s, because by 1868, 1869 skirt silhouettes were starting to slim down.

Stereoscopic photography was invented by Sir Charles Wheatstone in 1832. He developed the binocular device that allowed you to view these images, making them three dimensional. The viewer allows each eye to see the image separately which creates the three dimensional effect. Stereoscopic photography really hit it’s hay day in the mid 1800’s. In 1856, the London Stereoscopic Company began sending photographers around the world to create cards for over 100,000 different places around the world.

Most middle and upper class homes had a stereoscopic viewer and began collecting cards. This is basically the “virtual reality” of the 1800’s. Some people found that the original viewers were causing headaches. In 1861, Oliver Wendell Holmes and Joseph Bates invited a hand held viewer that allowed the user to adjust the focal distance, thereby avoiding headaches. People flocked to buy this less expensive version of the viewer. In 1873 there was a financial crash that caused many companies to go out of business, leading many stereo card makers to shutter their doors as well. Thanks to this, the popularity of the cards and viewers declined.

As with all things, stereoscopic photography is having a bit of a resurgence. In 1922 The London Stereoscopic Company was dissolved. In 2008, Brian May (the guitarist for the band Queen) decided to form a modern day version of The London Stereoscopic Company. They have to this day published nine books of stereoscopic pictures. Some were taken by photographers from the 1850’s and 60’s, while other have been taken by Dr. May himself. He has been a fan of stereoscopic photography from childhood, and has been taking stereoscopic photos for most of his life. They have also created a new viewer that can be stored flat, and with the books, making it easy to store on bookshelves.

We at the museum have hundreds of these cards. Our family clearly appreciated the entertainment and novelty of stereoscopic photography. Imagine how fascinating it would be to see images of far away places in 3D, especially when photography was still so new, and drawings or portraits had previously been the only way to see distant lands. We hope you enjoyed this glimpse into Victorian entertainment. Thanks so much for stopping by.

Music: Acoustic Breeze by Benjamin Tissot, www.bensound.com

Artifact Corner: Episode 18

Hi Everyone and welcome back to Artifact Corner. Today we will be looking at some Roman oil lamps, and the story behind how they came to be in our museum. These oil lamps were purchased when Frances Henrietta Delord Webb was on her honeymoon following her marriage to Henry Webb.

Frances Henrietta and Henry Webb were married on August 13, 1832, in the Gold Parlor room. Following their marriage, they traveled to Connecticut to visit Henry Webb’s family, and he could introduce Frances to his sisters. After their visit to CT, they set off for a year long honeymoon in Europe. Before they got married, Frances received word that her Aunt Julia, her father’s sister in France, had passed away. Frances was the heir to the family’s estate in France. In order to claim her inheritance, it was required that she go to Nimes to collect it. Another relative of hers was attempting to claim the inheritance, stating that Frances didn’t even exist. So, following their marriage, it was time for Frances to head to Europe and straighten things out.

Sailing to Europe in the early 1800’s was an ordeal. The average trip took four to six weeks to cross the Atlantic, but if the weather was bad, it could take up to 14 weeks! Henry and Francis left New York harbor on September 1st on a ship called the Rhone, and arrived in France on October 1st. Frances writes to her mother about the trip stating, “Sad to relate that until a day past, I have been seasick.” They cleared up the confusion over her inheritance, and traveled south from France to Italy.

It was during their time in Italy that Henry and Frances likely acquired these two lamps. Oil lamps were ubiquitous in ancient Rome. Every household had lamps, regardless of their income level. These are clay oil lamps. You can clearly see that these have been used, thanks to the blackening around the wick hole. Unlike modern oil lamps that use a type of paraffin, the most common oil used was olive oil. Oil lamps were so popular because they threw off more light than a candle and made tasks in dwindling light far easier.

Henry and Frances returned to the United States in August of 1833, after having spent almost a year abroad. Sadly, their happy union was to be short lived. After returning back from their honeymoon, Frances discovered she was pregnant. She gave birth to a healthy baby girl on February 11, 1834. Sadly, it was clear shortly thereafter that she was quite ill following the birth. She passed away from childbed fever on March 15th at the age of just 20 years old. Her daughter, also named Frances, was her sole heir, and inherited all of the pieces from her parents honeymoon. That is how we come to have these roman oil lamps in our small museum in Plattsburgh. Thanks so much for stopping by.

Artifact Corner: Episode 17

Happy Halloween! Hi everyone, and welcome back to our second Halloween edition of artifact corner. Today we are back at Riverside cemetery, and we will be taking a look at how cemeteries and gravestones have evolved over the last 200 plus years. So let’s jump right in. Early Colonial cemeteries grew up around settlement. Early headstones were typically smaller in size and made of softer, more easily harvested stones. Sandstone, slate, and eventually marble were very popular because they are easy to quarry, and to move to a location. This picture is of a stone in the Pine Grove Cemetery in Hampton, NH. This stone belongs to Susanna Smith, who died in 1680. You can see the stone, despite being 340 years old, is still quite legible. The stone is quite small, and lacking decoration. Large “flashy” headstones were not common. This is not to say that they did not have motifs on headstones. A common motif was a winged death head. This symbolized deaths grip on man, and its inevitability. During this time, gravestone carving was not a full time position, simply because there was not enough demand. Across America, most gravestones were carved by regular stone masons. In the 18th Century, headstones become more elaborated and decorative. The winged deaths head of the 1600’s is replaced by a bit friendlier motif of the winged angel. Views on death and the afterlife had softened, and the angel was representative of the eternal life that was awaiting the deceased. In the later 1700’s and early 1800’s we see beautiful willow trees, a symbol of sorrow for the departed, and intricate scroll work along the edges of the stones. The stones also get taller in the period. The shorter more demure stones of the 1600’s are replaced with stones that could be in excess of 5 feet tall. The 1800’s have multiple phases of headstone design. This Century was one of numerous major shifts in technology, attire, and even the design of headstones. In the early 1800’s the style was similar to the late 18th Century. We still see willow trees, we see urns, and scroll details. In all ages, there are some outliers. This is Col. Melancton Smith’s headstone, and he has a lot going on here. He was buried with Masonic rights, he also was buried with military honors by his regiment, and he decided to make sure everyone knew all of that by his headstone. As the century progressed, stone styles changed pretty often. The lettering became more uniform. In the middle to late 19th Century people began to adorn their graves with large statues, often of angels or mourners. These beautifully carved monuments adorn many cemeteries and are truly works of art. Frank and Fannie Hall (Fannie is the granddaughter of Henry Delord) were buried here at the beginning of the 20th Century. Their headstone reflects the style of the times. The lettering is raised, and there is a shield surrounding both of their names. It is a simple, yet very well carved stone. Stones continued to change and adapt to the styles of the day. We have so enjoyed this little peak into Riverside Cemetery, and hope you’ve enjoyed it as well. Have a safe and fun Halloween, and thanks so much for stopping by.

 

Music:

Acoustic Breeze by Benjamin Tissot, www.bensound.com
A Really Dark Alley by Loyalty Freak Music

Artifact Corner: Episode 16

Hi everyone, and welcome to a special Halloween edition of our series Artifact Corner. This week and next week we will be exploring a very special place in Plattsburgh that has a connection to our museum. We will be checking out Riverside cemetery, which is the final resting place of the founding member of our family’s museum, Henry Delord.

Riverside cemetery is the final resting place of many of Plattsburgh’s most prominent founding members, and soldiers involved in the Battle of Plattsburgh. Plattsburgh was founded in 1784 when Zephaniah Platt of Poughkeepsie, NY, and two of his brothers received a state grant for 33,000 acres of land along the Saranac River. The next year, Charles Platt and a group of settlers began construction of homes. Three years later, New York State created Clinton County. In 1815, Plattsburgh was officially made a village, but it wasn’t until 1902 that Plattsburgh became a city.

So, let’s take a closer look at cemeteries. Why do we bury people after they have passed? The practice of burying people dates back as far as the middle Paleolithic period. In the Stone Age, it was common practice to bury the dead and place a large stone over the grave to mark the spot. In the Middle Ages, in Europe, the marker on the burial site was entirely dependent on your wealth. The average person would have a wooden marker, with maybe a few words carved into it. If you were wealthy you would likely have a stone marker in a prominent spot. If you were very wealthy you would have a heavily decorated headstone, or possibly a likeness of yourself atop a stone tomb.

In the 18th and early 19th Centuries most people would have a stone burial marker with their name, birth date, and the date they passed. A wealthy citizen’s stone could also contain decorative carving and sometimes a quote or poem. When we look at Henry Delord’s headstone, you can see that the decoration and lettering has deteriorated over the last 200 years. The stone says “In Memory of Henry Delord, born at Nismes France, July 15th 1764, Died March 29th 1825, Age 61 years.” There is a further inscription at the bottom that has since been obscured by soil. There appears to be some decoration at the top of the stone, and there may have been more fine detailed work when the stone was first placed, that has since been worn away. It’s difficult to tell.

Next week we will be taking a look at the difference between Colonial, Federalist, and Victorian Era decorations for head stones. If you are a fan of cemeteries, like we are, lets us know in the comments below. Thanks so much for stopping by and we’ll see you next week.

Music:
Acoustic Breeze by Benjamin Tissot, www.bensound.com

A Really Dark Alley by Loyalty Freak Music

Artifact Corner: Episode 15

Hi everyone, and welcome back to another Artifact Corner. Today we will be looking at some bookmarks from the early 1900’s. Both of the bookmarks are made of tin or aluminum, heart shaped and have a stamped floral decoration along the rim. The heart is cut in the center in order to slip it over the top of the page of the book you were reading. In the center, we see two different pictures. The first is of the 25th president William McKinley. The second is of our 26th president, Theodore Roosevelt. Here we are lucky that the Roosevelt bookmark still retains it’s blue tassel.
President William McKinley took office on March 4th, 1897. He served as president until he was died on September 14, 1901. On September 6th, 1901, McKinley had been attending the Pan American exposition in Buffalo, NY. While he was greeting the crowd, a man with a handkerchief was waiting on line to shake the presidents hand. When he reached McKinley, he dropped the handkerchief and revealed that he was holding a gun. He shot the president twice in the abdomen. Initially it seemed like the president would recover from his wounds, so much so, that his vice president, Teddy Roosevelt went away on a vacation to hike Mount Marcy.
Sadly, just eight days after being shot, McKinley died of gangrene that had developed in his wounds. Roosevelt was rushed to Buffalo, and became the 26th president of the United States on September 14th, 1901, at 3:30 pm. He would become the youngest president in US history at just 42 years old, and remains our youngest president to this day.
Campaign propaganda is nothing new. We can trace the origins of political propaganda back as far as our first president. Vendors all throughout the east coast of our country sold actual buttons with the letters GW on them, for people wishing to celebrate the inauguration of George Washington. The campaign in 1896 when McKinley was running for president was the first use of what we would now recognize today a traditional campaign button, seen here. Campaign propaganda didn’t stop at buttons. We see hats, and various other items that become memorabilia.
These bookmarks are an example of a very long tradition in our country of promoting political candidates. These pieces are well over a hundred years old, but still in very fine condition. We are so lucky to have these snap shots of our nations history, and are glad we are able to share them with you. Thanks so much for stopping by.

Music: Acoustic Breeze by Benjamin Tissot
www.bensound.com

Artifact Corner: Episode 14

Hi Everyone, and welcome back to Artifact Corner. Today we will be looking at two portraits. The first is of Henry Webb, who was married to Francis Henrietta Delord. The second is of his brother, John Webb. Both of these portraits were painted by the same man, Henry Inman. Henry Inman’s name is not as well known today, in comparison to say a Rembrandt or a Da Vinci. But, in the early part of the 1800’s, Henry Inman was one of the most popular and celebrated artists of his day.

So, let’s explore this amazing artist. This is a portrait of Inman painted by Jacob Hart Lazarus in the late 1830’s. Henry Inman was born in Utica, NY in 1801. His father was born in England and emigrated to the United States, and set up a brewery in Utica. In 1812 his family moved to NYC for Henry to serve as an apprentice for seven years, under the artist John Wesley Jarvis. Jarvis was a portrait artist as well, and you can see his influence over Inman. Their styles are very similar.

In 1821, he finished his apprenticeship, and settled into working in NYC. In 1822 he married a woman named Jane O’Brien and took on two pupils. During this period he also started painting landscapes, like the one we see here. He was also instrumental in forming the National Academy of Design, and he became the organizations vice president in 1826.

For the next two decades Inman’s life was spent teaching, painting commissioned portraits, and egan working with a lithographer doing prints for publication. He was involved in land speculation, and unfortunately lost a good deal of his wealth. His health was never good, he had chronic asthma, and in the early 1840’s his condition began to deteriorate. He was invited to go to England to paint some commissioned portraits. He spent a little over a year working in England, and returned back to America in late 1845. He spent two months in a sick bed, before succumbing to his chronic asthma. Inman was given a lengthy funeral procession through the streets of Manhattan, a testament to his popularity.

Inman’s work lives on in many museums. His works are featured at the Metropolitan Museum of Art, the National Portrait Gallery in Washington D.C., the Boston Museum of Fine Arts, and many more. We have five paintings done by Henry Inman, in large part thanks to the Webb family. Henry Inman and John Webb were friends, and thanks to that, we have these incredible portraits in our collections. Thanks so much for stopping by.

Music: Acoustic Breeze by Benjamin Tissot

www.bensound.com

Artifact Corner: Episode 13

Hi everyone and welcome back to Artifact Corner. Today we will be looking at a sword belonging to Frank Hall. Frank Hall was married to Fannie Delord Webb and they were the last family members to live in our home. Frank served as a chaplain in the 16th New York State Infantry Regiment in the American Civil War. See the unit roster here, at the New York State Military Museum. Even though Frank was not a combatant in the conflict, he still had the accouterments of all of the officers. This sword is a beautiful piece. The grip of the sword is wire wrapped, and the hilt and guard of the sword are brass and have some lovely pierced filigree. The pierce work has oak leaf scrolls and acanthus leaves. The blade is made from high carbon steel and has an acid etched detail of an eagle on one side, and the letters US on the other side. This sword was made by the Ames Manufacturing Company based out of Chicopee Massachusetts. In the beginning of the Civil War, Ames was granted a contract with the US government for officers swords. This sword is one of only 575 that Ames made for them. Ames was one of the biggest manufactures for the Union. They made side arms, swords, light artillery and heavy ordinance. The Ames Manufacturing Company was founded in 1832 and continued making metal works until 1898. Ames is the most highly prized sword company amongst collectors today. Some of Ames’ swords are now in major museums. Their work was and is highly regarded, and you can see the quality of this piece 150 plus years later. We are so fortunate to have this sword in our collections. It’s beautiful and rare. Thanks so much for stopping by!

Music: Acoustic Breeze by Benjamin Tissot
www.bensound.com

Imagining the Common Soldier’s Experience

As the final part of our Battle of Plattsburgh celebration for 2020, we bring a presentation by Cherilyn Gilligan, an archeologist from the Lake Champlain Maritime Museum. This research was part of an American Battlefield Protection Program grant won by the city of Plattsburgh. Cherilyn presented this live at the 2019 Battle of Plattsburgh event, hosted at the Kent Delord House Museum, and has provided a digital version for our 2020 season.

For the full transcript of this video, please look here.

Artifact Corner: Battle of Plattsburgh Edition – Episode 6

Hi Everyone, and welcome back to our Battle of Plattsburgh Edition of Artifact Corner. Today we will be looking at a piece of copper sheeting, that has seen some serious damage. This piece is British, and has been hit by a cannon ball. As you can see there are a bunch of arrows covering this piece. These are called broad arrows.
The first use of a broad arrow was believed to be under King Edward III in the 1330’s. It was used by the King to establish his ownership over an item. In 1544 the broad arrow was officially used by the Office of Ordinance, and in 1597 it became the Board of Ordinance. In the 18th and early 19th Century, the broad arrow was used to mark everything from cannon balls to trees.
The British Navy valued the Eastern White Pine Trees in our area. They grow very tall and very straight, and are perfect for the masts of tall ships. The Navy therefore wanted as many Eastern White Pine trees as they could get, and would have trees marked with the Broad Arrow.
The other defining feature of this copper plate is the damage it sustained during the Battle of Plattsburgh. You can clearly see the impression of the ball’s shape, as it slammed into this piece of copper. Copper is a softer metal. Unworked copper is inherently soft, but if it is worked cold, it hardens. You can see the copper was curved by a crafts person. They likely did this cold, and therefore, this piece would have been work hardened. The cannon ball crushed through this easily.
An eight pound cannon ball can travel more than 1,000 feet per second and exert 124,335 foot pounds of force when striking an object. A cannon ball could go through over three feet of oak. Clearly a piece of copper sheet was no match for such force.
This remarkable artifact is an example of just how damaging cannon balls could be. Special thanks to the Lake Champlain Maritime Museum for allowing us access to their collections. This series could not have been possible without their generosity. You can learn more about them at LCMM.org. Thanks so much for stopping by.

Special thanks to the Lake Champlain Maritime Museum for access to the LCAA collection and their collaboration in making this video possible. Visit them at www.lcmm.org.

Music: Acoustic Breeze by Benjamin Tissot
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