Antique Air Fresheners

 

QUESTION: Recently, my father died. For as long as I can remember, my father gave a small ceramic fantasy-like cottage pride of place. My mother said he wanted me to have it. There’s a large hole in the back. At first I thought it was a candleholder, but my mother told me that an older woman friend of his send it to him from Haiti, where she had gone on a cruise. The odd thing about this gift was that it took a long time to be delivered and arrived after the woman had died. Can you tell me anything about this little cottage—how old is it, what was it used for?

ANSWER: What your father received is called a pastille burner–-a little device that made rooms more fragrant in the past. By its appearance, it probably came from one of the potteries in Staffordshire, England. 

Times past weren’t always fragrant. While air fresheners come in all shapes and sizes today, back then people used various ways to cover up the noxious odors which permeated the environment. Scent vinaigrettes, pomanders and perfumed handkerchiefs were effective enough while out and about in the streets of a city.

Bronze pastille burner Regency

By the 16th century, a special device had been developed to release a pleasant scent into the air in the home. These devices, called pastille burners, had become quite popular in aristocratic homes during the reign of Queen Elizabeth I. By 1811, most upper class homes had at least one pastille burner, and some of the better ones had  more than one.

The word pastille dates back to the 15th century. It takes its name from the Latin word, pastillus, meaning a small roll or little loaf of bread. Initially, pastilles were tiny lozenges compounded of aromatic herbs blended with a sweetener which people used to freshen their breath. In the mid-16th century, pastille makers produced them to be burned in order to release pleasant scents into the air of an upper class home.

Ceramic pastille burner Wedgwood

But these new pastilles weren’t made commercially until well into the reign of Queen Victoria. Before that, servants made pastilles in the still rooms of the homes of the aristocracy and the gentry using a recipe provided by the lady of the house. These scent pastilles consisted of finely ground charcoal, saltpeter, a binder, and a fragrance. People preferred charcoal made of willow wood because it could be finely powdered and burned evenly without an abundance of smoke. They blended this with saltpeter to ensure the charcoal would continue to burn once it was lit. The binder was most often Gum Arabic or Gum Tragacanth, either of which they added to the powdered charcoal and saltpeter mixture in the amount necessary to create a stiff dough. The addition of either of these gums would ensure the pastilles remained firm once they had dried. 

The makers added the fragrance last, in the form of an essential oil, which had been distilled in the still room at some time prior to the making of the scent pastilles. Among the most popular scents were lavender, rose, jasmine, sandalwood and cedar, though there were a few recipes which included more expensive fragrances, such as myrrh, frankincense and orris.

Pastille cones

After blending the fragrance oil into the pastille dough, servants pressed it into a number of small, conical molds. In most cases, these molds would produce scent pastilles which were about a half inch in diameter and about one and a half inches tall, though there were some which were larger. They then left the scent pastilles  in the molds to dry for at least two days, though for larger pastilles, it took three to four days. Once the scent pastilles were fully dry, the small, hardened cones could be removed from the molds. They would then be ready to use. The fully dry scent pastilles were most often stored in air-tight containers to keep them dry and to help retain their fragrance until needed.

Early bronze pastille burner

Early pastille burner makers used bronze or brass and sometimes silver to make them. But by the second half of the 18th century, potteries began producing them in porcelain, which didn’t get as hot as the metal ones. Also, potters could easily mold porcelain, offering a wide variety of shapes to work with. And the growing palette of glaze colors made it possible to produce very colorful and highly decorative pastille burners.

At first, porcelain manufacturers produced burners in the same shapes as those of the early metal burners. Soon wealthier customers asked for pastille burners to complement the garnitures, or fireplace mantel sets, so as to camouflage the purpose of the burners. Others wanted decorative burners for their bedrooms. By the 1760s, many porcelain manufacturers began producing shapes molded to represent things of every day life, such as fruits and vegetables, animals and flowers. They also took inspiration for their burners from various buildings, from rural churches and cottages to ancient castles. Wealthy landowners commissioned porcelain copies of interesting buildings on their properties.

Building shapes offered open windows, enabling the pastille itself to burn steadily. And one with a chimney allowed a way for the white smoke given off by the pastille as it burned. By the end of the 18th century, rustic buildings such as the cottage orné became a popular as a form for pastille burners. Cottages orné were typically rustic cottages set in an attractive and secluded rural setting.

During the first decade of the 19th century, dove cotes, gate-keeper’s lodges, dairy houses and intricate, flower-covered summer houses had become popular forms for pastille burners. Other country building types included toll houses, churches, and castles, often covered with vines and colorful flowers. 

Sliding tray pastille holder

There were several ways the pastille could be placed inside the burner. In some, the user could remove the roof of the building, in others, the entire building could be lifted off its base. And in others the user could pull out a flat tray for the pastille out of one side of the building. Burner manufacturers often concealed these small slides as a bow window, an external chimney breast, or the gable wall side of a building.

Removeable chimney pastille holder

Back in the early 19th century, matches hadn’t been invented yet, so people used a spill, a long, thin sliver of wood or a twisted length of scrap paper, usually stored in small vases made especially for them and kept on the mantle near the pastille burner. The user would light the spill from the fire in the room, or by use of a tinderbox, and then hold it to the tip of the pastille cone until it caught fire. A one and one half inch tall pastille cone would usually burn for about 20 minutes, giving off its scent along with a thin white smoke. The scent could linger in the room for another 20 to 30 minutes once the pastille had burned out.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about art glass in the 2022 Summer Edition, with the theme "Splendor in the Glass," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

The Toy That Became a Legend

 

QUESTION: When I was 8 years old, I got an Easy-Bake Oven for Christmas. It was the yellow, boxy Mini-Wave model that looked more like a microwave. I loved baking little hockey-puck sized cakes in it. My brother, who was 5 years old at the time, often played with me. One day he said we should try cooking one of the plastic steaks from Mattel Tuff Stuff Play Food set. He pushed dit into the oven’s slot but soon the plastic steak emitted a horrible odor as it melted inside the oven. And that was the end of my Easy-Bake Oven. It seems Easy-Bake Ovens were around for a long time in one form or another. What can you tell me about them, like who invented them and who produced them?

ANSWER: Easy-Bake Ovens were indeed on the market for a long time. In fact, the toy became a legend in its own time. It was one of the first toys that people went crazy over at Christmas.  

It all began back in November of 1963. That was when the Kenner Products debuted its new toy. By using light bulbs as the heat source, the firm was able to convince parents that the Easy-Bake Oven was safe.  

Working mini ovens have been around since the Victorian Era. From the late 19th century, manufacturers produced child-size ovens made of steel or cast iron which used wood pellets or solid fuel for heat. As electric ovens replaced wood-burning ovens in the 1920s, the toy world did the same. In the 1930s, toy-train maker Lionel produced a line of electric toy ovens. In the 1950s, kids coveted little fiberglass-insulated ovens with brand names like Little Lady, Little Chef, and Suzy Homemaker.

While the Easy-Bake Oven wasn’t the first working toy oven, it was the first to use a light bulb as the heat source. It was also first to become a wildly popular trend—every little girl had to have one.

By the early 1960s, Kenner had become a leading toy manufacturer, with salesmen all over the country. The executives at Kenner wanted to make toys that allowed kids to do the same things as adults. For boys, they produced construction sets and for girls, kitchen and baking sets. Although the firm thought of the Easy-Bake Oven came to be thought of as a girls’ toy, they always looked for ways to market it to boys.

Kenner also encouraged its employees to think outside the box. They believed that anyone could come up with a great idea for a toy. So they held brainstorming sessions where any employee pitch an idea. And that’s how the Easy-Bake Oven was born.

The employee with the bright idea for the oven was salesman Norman Shapiro, who demonstrated toys in the Macy’s store in New York City. He got his inspiration for the oven when he saw a pretzel vendor. But instead of cakes, he oven would bake pretzels. The executives loved his idea, but suggested that instead of a pretzel oven, it should be one that backed cakes and cookies.

But at that time electric toy ovens weren’t considered very safe. so Kenner’s creative team had to come up with a solution to overcome parents’ fears. And that solution was to use incandescent light bulbs as the heating source. By using conventional light bulbs, something kids were around every day, they were able to convince parents the toy was safe—even though it got up to 350 degrees Fahrenheit, a standard baking temperature, inside the oven. At first the designers wanted to name it the Safety-Bake Oven to emphasize the safety aspect. But print and radio advertising regulatory agencies told them they couldn’t because it had not safety track record.

The Easy-Bake Oven debuted in November 1963, just in time for the Christmas shopping season. “The first Easy-Bake Oven didn’t look like much of an oven. It was this box that came in turquoise or pale yellow, and a handle on the top. It had a slot that you’d push the pan into, and then a window where you could watch the cake being baked. The cooling chamber on the side had this fake range built over it.”

But its strange appearance didn’t prevent it from becoming the must-have toy of the season. They only had time to manufacture half a million of them before November. The first Easy-Bake Ovens sold out immediately.

Kenner made the Easy-Bake Oven its top advertising priority, placing ads with taglines like just like Mom’s—bake your cake and eat it, too!” in women’s magazines and Archie comics. On television, Easy-Bake commercials appeared not only during Saturday morning cartoons, but also during prime-time programs like “I Love Lucy” and “Hogan’s Heroes.”

Just as quickly as it released the oven, Kenner put out 25 different mixes and mix sets that could be bought separately. Because they were packaged in aluminum foil laminated with polyethylene, the first cake mixes could last two years—a long time for a cake mix.

The Easy-Bake Oven came out in a time when America was in love with technology, particularly appliances and other innovations that made day-to-day chores faster and easier. Engineers at Kenner were constantly attempting to improve the light-bulb cooking technology.

Kenner tempted kids with a variety of cake mixes. Besides cakes and cookies, Easy-Bake mixes eventually offered ways to make your own candy bars, fudge, pecan brittle, pretzels, pizza—and even bubble gum. The company tried all sorts of things—they even came up with a way kids could pop popcorn in the Easy-Bake Oven. But they always went back to cookies and cakes.

In 1967, four years after the Easy-Bake debuted, General Mills acquired Kenner Products, and immediately saw the cross-branding opportunity. The company adapted its Betty Crocker cake mixes for the Easy-Bake Oven: Kids could then make 3.5-inch cakes in popular flavors like Angel Food, Devil’s Food, German Chocolate, Yellow, Butter Pecan, Strawberry, Rainbow Chip, and Lemon.

Twenty years later, Tonka Corporation bought Kenner Products, and then in 1991, Hasbro acquired Tonka. Hasbro also saw the Easy-Bake Oven as a marketing opportunity for other toys, characters, and brands they licensed or partnered with. Instead of making plain mini-cakes, in the early 1990s, kids could also decorate them.

Kids could make a Scooby-Doo-themed cake or a pizza from Pizza Hut. They could make a cake like an Oreo cookie or a McDonald’s apple pie. They even had a My Little Pony mix—basically a chocolate cake, onto which a little baker could place a Little Pony figure on top.

The look of the Easy-Bake oven changed drastically over the years. In the beginning, it was all about the colors that were trendy in the kitchen. In the 1970s, the ovens came in burnt orange, avocado green, and harvest gold. In the late 1970s and 1980s, microwaves became popular, so the Easy-Bake Oven looked more like a microwave. More recent Easy-Bake Ovens have had less to do with the kitchen decor and more to do with what colors and designs kids like, such as pink and purple.

Engineers at Kenner constantly attempted to improve the light-bulb cooking technology. Originally, the Easy-Bake Oven used two 100-Watt incandescent light bulbs, one on top and one on bottom, so it would heat the cake evenly on both sides.. Engineer Charles Cummings figured out how to design the inside of the Easy-Bake Oven so it worked like a convection oven, using only one light bulb. This made the Easy-Bake Oven smaller and easier to produce and ship. In the late 1970s, Kenner introduced the Super Easy-Bake Oven, a larger version that came with two pans, a regular-size Easy-Bake cake pan and a larger one.

Because the Easy-Bake Oven was rated as safe for children 8 and older, Kenner hoped to find a way to market it to kids as young as 4. Also in the 1970s, they produced the Warm-Bake Oven, which used hot water. There was a tray parents could fill with hot water. The young baker then put the cake batter in a sealed container and slid it in the oven, dipping it into the water. The hot water would then cause the dough to rise. The firm even tried  another version—the 3 Minute Cake Baker—that vibrated to help the dough rise. And so the legend continued.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about art glass in the 2022 Summer Edition, with the theme "Splendor in the Glass," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Telling the Age of Glass

 QUESTION: I just started collecting antique glass. Unlike antique ceramics, most glass has no mark, so it’s really difficult to tell not only the maker but if it’s even old or not. How can I tell if a piece of older glass is, in fact, old? 

ANSWER: Identifying a piece of older glass is truly a challenge. Because most glass doesn’t have a maker’s mark, about the only way to tell anything about it is by studying its form and decoration. 

Of all the items for sale on the antique market, glass is probably the hardest to identify as being old. In fact, many of the old patterns have found new life in today's households, so much so that manufacturers scramble to fill department store shelves with reproductions. 

Pressed glass frequently is advertised as having been made recently from old– meaning 19th-century molds. However genuine the molds, the resulting glass cannot be compared with the original pieces. Both the glass and its color are somewhat different. The present-day manufacturer who uses 19th-century molds doesn't go to the trouble of mixing a batch of glass according to 19th-century formulas. As a result, his clear glass isn't an exact counterpart of last century's, and the red, green, blue, or other colored glass pieces rarely have the same tints and tones as the originals.

In addition to reproductions, many fakes are being made in pressed glass. One telltale sign of a fake is a slight difference in pattern. During the 1800's, variants of popular patterns became common, but a variant made by a glasshouse other than the one that introduced the pattern shows some alteration in the motifs or their arrangement. A fake, on the other hand, is an attempt to reproduce a pattern of the 1800's without bothering to copy every detail exactly.   

Twentieth-century imitations of the popular Wildflower pattern, for example, have fewer leaves and flowers in each motif. The band of pressed daisies also is narrower. Moon and Star, a pattern that probably wasn't made before the 1880's, can be confused with an inaccurate contemporary version in which the sawtooth-like cutting around the moon is smoother and flatter than in the originals. As a matter of fact, any colored Moon and Star pieces are definitely fakes, for the 19th-century pattern was offered only in clear or clear and frosted glass. Dimensions of pieces also differ, but this is impossible to judge unless you have access to an authenticated 19th-century piece.

Pattern glass was made after 1850 in large sets for the table. Reproductions of even the most popular patterns, however, seldom include the entire set. Goblets are the most widely reproduced pieces, with tumblers, mugs, salts, match-holders, and other small pieces likely in some patterns. Considerable lacy glass with its stippled background, first made by the Boston and Sandwich Glass Company in the 1830's, also is being made now. Lacy glass never was made in a complete table set. Other specific clues for distinguishing between antique pressed glass and this century's copies are discussed in the chapter on pressed glass.

Cup plates, which were generally used until about 1850, and dolphin candlesticks, which were made from the 1830's to the early 1900's, have been so popular that fakes and imitations found a ready market. Dolphin candlesticks made between 1900 and 1910 can hardly be classed as antiques yet, but most of the late ones are much finer work than the more recent fakes and reproductions. Again, some dolphin candlesticks are said to be made from old molds, but the glass isn't the same quality or the color a duplicate of the original.

Dolphin candlesticks were made by many glasshouses, from the Boston and Sandwich Glass Company, which introduced them, to firms in Pennsylvania and the Midwest. The earliest Sandwich glass ones had a single square base. Then came the double square or square stepped base, also made at Sandwich and widely reproduced before World War II in the United States and Europe. Other glasshouses during the 1800's produced candlesticks having the dolphin shaft but with bases and sockets differing from those made at Sandwich. A hexagonal base, for example, introduced by a Pittsburgh glass firm in the 1850's has been reproduced widely too. There is also the petticoat dolphin with a high round base first made in the 1850's or 1860's. All styles were made in clear, opalescent, and some colors, also opaque white and opaque blue. 

Anyone who looks carefully should be able to recognize copies of dolphin candlesticks. Those made within the last 30 years have sharper, clearer details--fins in particular are sharper to the touch. The sockets, whether ribbed or petaled, usually don't flare outward. The glass is of poorer quality and the colors more garish. The proportions aren't so good either, for the dolphin is likely to be larger, and many of the copies are shorter candlestick

In spite of the large number of patterns in which cup plates were made in the 1800's, comparatively few are being reproduced. Since the originals were early pressed glass, the quality of the glass was good enough to give a bell-like ring when the little plate was tapped lightly. Reproductions or 20th-century imitations sound dead or dull.

A classic example of a fake, imitation, or reproduction that can confuse all but the most knowing is the Butterfly pattern cup plate, first made by the Boston and Sandwich Glass Company in clear and colored glass. The butterfly that gives the pattern its name stands out in the center against a stippled background. Flower sprigs encircle the rim and the edge is scalloped. During the 1930's, Butterfly cup plates were reproduced from a new mold that was not an exact duplicate of the original one. On antique Butterfly cup plates, the stems of the two leaves below each blossom are at least 1/s inch apart, but on this century's, the stems are almost opposite each other. One blossom on the old Butterfly plate has seven petals; all the blossoms on the recent plates have six. It's particularly easy to be fooled by a blue Butterfly cup plate, for this color as made in the 1930's  compares favorably with that of the 1830's.

Imitations of curtain tiebacks and furniture knobs also were made in quantity and sold cheaply  during the 1930's. Old patterns, including some of the Sandwich ones, were copied in both clear   and colored glass. Neither the quality of the glass nor the workmanship are any more comparable  than the colors to those made during the 1800's. The appearance of 19th-century milk glass are quite different. The slightest acquaintance with any piece of antique milk glass should enable a person to distinguish between the old and the contemporary.

Fakes aren't confined to pressed glass. Bottles and flasks, for example, frequently are made in imitation of typically American styles of the 19th Century. A "golden amber" bottle in the shape of a fish, made recently in Italy, "queen of the glass-making industry for generations," is not worth any more than its retail price. Only the amber fish bottles made in this country to hold Dr. Fisch's bitters are antiques. For holiday sale, 19th-century milk glass is still being manufactured in quantity, and many pieces copy or are reminiscent of the forms and decorations used during the late 1800's. However, the character and appearance are different.

To tell the difference between a 19th-century pressed glass goblet and a 20th-century reproduction or fake, a person must be alert to the patterns and pieces that are currently being manufactured. Equally important are a knowledge of the authentic motifs, as well as of their make-up, proportions, and placement to form the patterns, and the ability to judge the quality of stippling and frosting.

Cost prohibits the reproduction of cut glass as it was made throughout the 1800's. Its surface distinctions are the sharpness of the decorative motifs to the touch and the heaviness of the piece. 

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about art glass in the 2022 Summer Edition, with the theme "Splendor in the Glass," online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Time on the Wrist

 

QUESTION: I have an unusual wristwatch that belonged to my great grandfather. According to my father, he wore it while a soldier in World War I. Evidently, it was a special military watch that soldiers used to calculate the distance of mortar fire. What can you tell me about the history of this watch?

ANSWER: You, indeed, have a special watch. Wearing a wristwatch for men actually began after World War I. And it was because of the military the wristwatch is as we know it today.  

The word "watch" came from the Old English word woecce, meaning "watchman" because town watchmen used them to keep track of their shifts at work.

But it was military officers who first wore wristwatches. One chronograph had a scale calibrated to tell the difference in time between the flash of field artillery and the sound of the report. This helped a soldier know how far away the guns were.

However, wristwatches as they look today first appeared in the 1890s. Evolving from pocket watches, makers specifically developed them for women. And because of this, men didn’t wear them, continuing to use pocket watches instead.

Some historians believe that Abraham-Louis Breguet created the world's first wristwatch for Caroline Murat, Queen of Naples, in 1810. And by the 1850s, most watchmakers produced a variety of wristwatches, marketing most of them as bracelets for women.

So when and how did men begin to wear wristwatches?

Military men first began to wear wristwatches towards the end of the 19th century, when the importance of synchronizing maneuvers during war without potentially revealing the plan to the enemy through signaling became important. It was clear that using pocket watches while in the heat of battle or while mounted on a horse wasn’t practical, so officers began to strap the watches to their wrist. 

The Garstin Company of London patented a 'Watch Wristlet' design in 1893, although they had been producing similar designs from the 1880s. Garstin’s owners realized a market for men's wristwatches was opening up. Officers in the British Army began using wristwatches during colonial military campaigns in the 1880s, such as during the Anglo-Burma War of 1885.

During the Boer War, the importance of coordinating troop movements and synchronizing attacks against the highly mobile Boer insurgents increased. Subsequently, British officers began using wristwatches. The company Mappin & Webb began production of their successful “campaign watch” for soldiers during the campaign at the Sudan in 1898 and ramped up production for the Boer War a few years later.

These early models were essentially standard pocket watches fitted to a leather strap, but by the first decade of the 20th century, manufacturers began producing purpose-built wristwatches. The Swiss company, Dimier Frères & Cie patented a wristwatch design with the now standard wire strap lugs in 1903. 

Omega advertisements mentioned that soldiers used its wristwatches in the Anglo-Boer War not only to highlight their excellent quality but also to break through the wristwatches-are-for-women barrier.

When World War I broke out in 1914, air warfare was in its infant stages, thus creating  a heightened need for military watches. Military fighter pilots also found wristwatches to be as needed in the air as on the ground. With the increased sophistication of battle techniques, wristwatches for fighter pilots and ground soldiers became essential items. At that time, Hamilton first supplied its flagship military watch Khaki to the American army.

In the chaos of the trenches during the heat of battle, it was impossible for soldiers to rifle through their pockets for a watch. European soldiers began outfitting their watches with unbreakable glass to survive the trenches and radium to illuminate the display at night. Civilians saw the wristwatch’s practical benefits over the pocket watch and began wearing them. 

World War I dramatically shifted public perceptions on the propriety of the man's wristwatch and opened up a mass market in the post-war era. The creeping barrage artillery tactic, developed during the War, required precise synchronization between the artillery gunners and the infantry advancing behind the barrage. Manufacturers produced service watches specially designed for the rigors of trench warfare, with luminous dials and unbreakable glass. The British War Department began issuing wristwatches to combatants from 1917.

By the end of World War I, almost all enlisted men wore a wristwatch. After the War, the fashion of men wearing wristwatches soon caught on. In 1923, John Harwood invented the first successful automatic winding system. And by 1930, the ratio of wrist- to pocket watches was 50 to 1. Wristwatch ads boasted wristwatches “for men with the promise that a watch could make a man more soldier-like, more martial, more masculine.”

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the "The World of Art Nouveau" in the 2022 Spring Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

The Personal Side of the Civil War

 

QUESTION:  Recently I discovered a well-worn copy of the Bible dated 1861 while going through an old trunk left to me by my father. He said it belonged to his father and his father before that. What’s intriguing about this Bible is the inscription inside: “Presented to John Harrington of Carlisle, Pennsylvania, to take with him to the field of battle, June 1, 1861.” Can you tell me why my great grandfather would have had such a Bible and why it has been handed down all these years?

ANSWER: In the 19th century, Bibles often bound families together. Back then, each person may have had their own personal copy. But this Bible, I suspect, was special, for it belonged to a Union soldier who fought in the Civil War. It’s something he carried with him into battle and which he kept his entire life, passing it down to future generations, after one of the most traumatic experiences of his life. 

The Civil War continues to fascinate generation after generation. And with this fascination comes a desire to own a piece of the war, to hold on to a bit of its history. Unfortunately, most people visit Civil War battlefields and memorials and never really get to know the soldiers—the people—who fought in that war. Like all wars casualties are just numbers. But there’s a better way to learn about the war—collecting personal items that belonged to the soldiers, themselves.

Ironically, many collections of Civil War memorabilia often begin with the purchase of a 25-cent minie ball, picked up as an inexpensive souvenir after touring a battlefield. Other people  become collectors after participating in re-enactments, as they replace reproduction articles with the real thing. Still others, perhaps like yourself, become collectors because descendants have passed down items that they carried into battle.

Collections of Civil War memorabilia can be broken into three general categories. Most collectors focus on weapons. Others specialize in collecting military uniforms, as well as associated items such as buttons, patches, badges, buckles, and hats. 

And some collect the personal effects of those who left their homes and fought their neighbors on the battlefields of their own country. It’s often these homely objects that intensify the human side of that horrific war. Collecting what soldiers carried with them to war provides an intimate glimpse into their lives. 

Volunteers, assembled in a short period of time, comprised most of the armies of both of the Union and the Confederacy. Men—or more often boys in their teens—reported for duty with hastily gathered supplies, and there was little uniformity about what they brought from home. Although each state was expected to supply its fighting forces with necessities, it was often the mothers, wives, sisters, a and girlfriends who were responsible for the materials that the soldiers actually brought with them when they reported for duty. As a result, there was a great variety of items included in the soldiers' personal effects. 

Each soldier had a  “soldier's trunk” which was large enough to hold a his extra clothing, personal items, a gum blanket and shelter half, or “dog” tent with a rolled-up blanket or overcoat strapped on top. Union Soldiers were also issued a haversack made of painted canvas and with a removable cotton liner to carry food.

With little idea of how the war would eventually be fought, new recruits generally overpacked, and soon found it necessary to shed their excess personal belongings as the war stretched on. These early recruits often reported with items intended to create a home away from home. Consequently, silver knives and forks, pincushions, and even embroidered booties found their way into camp. The soldiers didn’t anticipate years of war—early recruits signed up for only a few months—and the ensuing movements resulted in the abandonment of these niceties.

Identifying Civil War personal effects has been made easier for collectors because most of the soldiers marked their belongings with their names and regiments.

In addition to the items which soldiers brought from home, camp visitors gave soldiers gifts of food, towels and soap, blankets, hammocks, tobacco and pipes, and pills. Soldiers traded their watches for some of these items. And even though the typical soldier would have appreciated more useful items, God-fearing visitors often distributed  religious tracts. Some gave soldiers sewing kits called "housewives," with which they spent idle hours mending and repairing their clothing. The soldiers played various games, including a primitive form of baseball, as well as poker and cribbage, chess and checkers, dominoes and marbles, and even bet on dice.

As the war stretched on and soldiers found themselves depleting their personal supplies brought from home, they turned to sutlers to replenish their need. Both Union and Confederate governors granted special permits to these civilian merchants. They accompanied the armies with horse-drawn wagons and sold, often at a great profit, the personal items a soldier would find in his pockets or haversack.

Articles owned by soldiers on either side differed little. Instead, social class and military rank were what determined the kinds of items the men carried,, Wealthier men, especially those with higher military ranks, were more likely to carry finer things, more things, and things not absolutely essential to day-to-day existence. On the other hand, many of the ordinary soldiers were poor men, often farmers, or recent immigrants from Ireland or Germany. Their possessions were far more modest.

One accessory common to most soldiers was a wallet, usually of folded leather, lined in linen and held together with a leather strap. Soldiers carried their money—generally not much, as a private's pay was typically $9 a month—and photographs of those at home in their wallets. Leather wallets in very good condition sell for about $65.

Another item that most soldiers carried into battle was a copy of the Bible. These  pocket-sized books are often found in poor condition today because of the amount of use they received. Inscriptions increase their value.  A typical Civil War Bible sells for about $75.

And they wrote. Soldiers of the Civil War kept extensive diaries, and maintained regular correspondence with friends and loved ones at home. Many of the envelopes they used are of particular note with patriotic scenes depicted on them, as are the many writing implements and accessories. Ordinary soldiers wrote on paper with wooden lead pencils, which they purchased from sutlers for a few cents or received as gifts.

Officers, however, often included writing sets in their holdings. Many carried bottles of ink—glass bottles covered in materials like leather to prevent breakage—and pens which, being made of a breakable material, rested in brass tube-like protective cases. Today, uncut Civil War-issued pencils can be had for $5 to $10, and fancy pens in brass cases bring $45.

Pens weren’t the only things transported in protective cases. Whiskey flasks were often covered in leather and encased in silver or pewter. Collapsible tin or pewter cups rested in little tin cases with snap-on lids. Other personally-supplied mess pieces commonly found include combination knife-fork-spoon utensils and plates.

On a more personal level were the items that soldiers carried in leather toilet kits tucked inside their haversacks. Toiletry items such as toothbrushes, tooth-cleaning powder (little more than baking soda), hand soap and shaving soap, brushes, and  mirrors were often packed in these kits. In many a soldier's pack was at least one straight razor with a bone or ivory handle, even though beards were in style.

Each article tells a story, has a message, is worthwhile keeping. The Civil War is about people. Those who fought it are no longer here to tell us about it. So the next best thing is to collect the items they carried. 

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