Lucy Takes a Bath: A Night Routine in 1820

  

My family portraying the Stephensons.

     We've been making YouTube videos at the site over the past year. Actually, one of the site's interns had been filming and producing the videos, the rest of us were actors, supplied some of the historical contexts for the early videos, and provided the setting/props. It's was great fun. 

 

     I'm not one for being on camera let alone playing the lady of the house but due to COVID-19, I was drafted from laundress to lady. My husband in real life portrays Col. Stephenson, the man who built the house in 1820-21. He's featured in one of the first videos where we discuss how a gentleman of the early 19th century got dressed. Filming began in December 2020 but due to the pandemic, we couldn't bring in lots of outside reenactors. That's when I was promoted to playing his 1820 wife Lucy Stephenson. Our sixteen-year-old daughter got in on the fun too as Stephenson's oldest daughter Julia. It became a genuine family affair. 

     In my first independent video as Lucy Stephenson, I showed a possible scenario for a lady's nightly routine. Most of my friends have had quite a bit of fun telling me how risque it is since I do undress and take a bath on camera (all done with 1820 modesty in mind, of course...No Nudity! Lucy only undresses to her shift, even to bath). Regardless of the ribbing I've taken, it was a lot of fun to make. I'm amazed at the interest that's out there regarding something as mundane as taking a bath but I suppose it shows an aspect of daily life that many people are curious about. 

Lucy (aka me) in her bath.

     There is a common misconception that people in the early 19th century were filthy and rarely bathed. For some reason, we like to believe that our ancestors were dirty and ignorant when in reality, they were far from either. It's true, a full-bodied bath, where one got into a tub to wash, was not something that was done every day; maybe every couple of weeks. There was a fair amount of work involved in preparing, taking, and emptying a bath before the convenience of indoor plumbing. Most people washed up in some way each day either in the morning, evening, or both. A simple washbasin, water pitcher, bar of soap, and a washcloth/sponge were sufficient to remove the dirt of the day. We'd call this a sponge bath today. Another alternative to the bathtub would have been to visit a local watering hole such as a creek, river, or pond. As modern Americans, we tend to be obsessive about bathing and showering but that just wasn't an option in the early 19th century. Another thing to consider would have been a readily available supply of water. Where did your water come from and how was it stored? Rain barrels? A well?  If you were experiencing a drought, priorities changed. What is more important bathing or water for the household and livestock?  Yes, if you traveled back in time you'd probably be overwhelmed with a plethora of smells we do not have to deal with today but that isn't necessarily an indication of uncleanliness. 

A small bowl, sponge, and pitcher were often used daily to clean the body.

     The tub I used in the video is called a hip bath. It is just one type of tub that was available to our forefathers and mothers. There were much larger tubs where you could be submerged similar to our modern full bathtubs but this small tub was easily portable and didn't require tons of water. Our tub is made of tin and can be lifted easily with one hand. In the photo below, the tub is lined with a linen bathing sheet. This sheet helps to protect your delicate parts and skin from metal that would get quite warm when hot water was added or even rust depending on the type of metal used; ours is tin so it would tend to rust if not dried properly after use. Wooden tubs had a tendency to splinter after repeated use so a bathing sheet was standard equipment on bath night regardless of what type of tub you were using.

The Stephenson House's tin hip bath is lined with a linen bathing sheet.

     Obviously, a hip bath is not going to require a lot of water which was definitely more convenient for whoever was going to be hauling the water, heating it, or emptying the bath. In many ways, it's just a step up from a bowl and pitcher sponge bath. In our video, I have someone helping me bathe which was a common practice for someone of Lucy Stephenson's economic standing. Altogether, we used only three pitchers of water to complete the bath; any more and the tub would have overflowed. Once an adult-sized body sits in the tub there is very little room for excess water. Bathing next to a hearth (with a fire) allowed for kettles of water to be heated and kept warm for use.  Most likely a pitcher of warm water was poured over the seated (or standing in the tub) bather who then soaped up a sponge or cloth for washing their wettened body. Once all areas were cleaned then another pitcher may have been poured over the bather to rinse or the water from the tub reused.

 

        Many viewers asked why I wore a shift to bathe in during the video. Well, firstly I was not going to strip down to my birthday suit to be filmed bathing then have it posted on the internet for all creation to see. I love history but there's not enough money in the world to convince me to do that on camera.  Secondly, and most importantly, it was a common practice in the early 19th century for a lady to wear what was called a bathing dress, bathing gown, or bathing shift to maintain her modesty. Historical images depict women of various social classes bathing all-natural as well as covered, so either is correct. I chose to interpret a more modest Lucy and wear a bathing shift while being assisted by another member of the household.  Once the bath was complete a fresh clean, dry shift was donned before finishing the nightly routine and retiring to bed.

     Before moving on to the rest of Lucy's nightly routine I want to dispel two bathing myths that historic sites often perpetuate. Let me be perfectly clear, the following are myths...lies...untruths, so please stop repeating them. My mini-rant shall begin in five...four...three...two...one...

  Myth #1 -  "Don't throw the baby out with the bathwater" deals with the bathing practices of ancestors.

     Oftentimes historic site docents state this myth as a historical fact when referring to the bathing practices of our forefathers; which often required family members to take turns bathing with the same bathwater being used by each. This was an easy way to conserve water and labor. The theory behind this saying is that by the time the last child bathed the water was so milky and dirty that mothers would throw out their babies because they didn't see them in the tub. Why is it assumed the baby was the last to be bathed? How on earth would a mother who had just finished bathing her child suddenly forget they were in the water? It's so far-fetched it's ridiculous! In truth, this saying is a very well-known German idiom first documented in the print Narrenbeschwörung (Appeal to Fools) by Thomas Murner, 1512. Essentially it means, don’t throw out something valuable with something worthless. There is no documented historical reference to anyone throwing their baby out with the bathwater or of this even being a possibility. 

  Myth #2 - “People only bathed once a year.”

     First of all, YUK! And, no they did not! A daily bath was not as convenient as we find it today but that does not mean they were filthy. To only bathe once a year would have caused all kinds of health problems. Granted, a full-body bath (where everything was submerged in a tub of water) was done less frequently; typically every two weeks or so. Thanks to modern indoor plumbing, bathing or showering on a daily basis is typical for most of us; but preparing a bath in the 1820s would have been a major undertaking. Water had to be hauled up from the well and brought to the kitchen for heating then carried to where the tub was sitting. Once the bath was complete, the tub had to be emptied by hand and the water carried out of the house. The entire process was labor-intensive and time-consuming. It was more common for people to take a “sponge” bath at the end of the day, washing body parts that had been exposed such as the face, neck, and arms.

      Rant finished! Time to move on to skincare and the remainder of Lucy's possible nightly routine.

     When getting ready to film this video I thought very hard about how my modern nighttime routine might be similar to what Lucy may have done before bed. What types of skincare products might she have used to help smooth sun damage or stave off aging? In an effort to gain a better understanding of historical cosmetics available and those commonly used during the early 19th century, I contacted  Alicia Schult of LBCC Historical Apothecary. She thoroughly researches a variety of historical skincare receipts (the period term for recipe) then accurately recreates them to sell in her Etsy shop. Her expertise was invaluable in formulating what Lucy may have used on a regular basis.  Alicia recommended the following nighttime routine based on information from the 1811 publication Mirror of the Graces or the English Lady's Costume, as well as, her extensive research. 

Lucy's dresser shows a variety of skincare items used in the video.

     

     The first item I applied to my skin using a small natural sea sponge was Elder Flower Face Wash. This astringent wash according to Alicia  "helps fight wrinkles, acne, scars, sunburns, evens out and softens your skin." Mirror of the Graces refers to this type of wash on page 221.

Unction de Maintenon

The use of this is to remove freckles. The mode of application is this; - Wash the face at night with elder-water flower, then anoint it with unction. In the morning cleanse your skin from its old adhesion by washing it copiously in rose water.

Recipe: Take of Venice soap an ounce, dissolve it in half an ounce of lemon juice, to which add of oil of bitter almonds  and deliquidated oil of tarter each a quarter ounce. Let the mixture be placed in the sun until it acquires the consistency of ointment. When in this state add three drops of oil of rhodium and keep it for use.   

Pictured are several sea sponges, Elderflower Wash (tall bottle), Virgin's Milk (center), Lily Pomatum (short jar), and Milk of Roses (back right).

        An application of Virgin's Milk followed the elderflower wash and was also applied all over my face and neck with a clean sea sponge. This step was not included in the video but would have been part of many ladies' nightly routines. The receipt used to create this particular Virgin's Milk dates to 1825. It contains Balm of Gilead, (anti-inflammatory, anti-microbial, and analgesic), Storax (promotes healing and overall skin health), and Gum of Benjamin (anti-inflammatory, antiseptic, soothing). Virgins' Milk was used to combat acne, age spots and to keep the skin looking youthful. This item is currently not available through LBCC's Etsy shop but an alternative product would be Milk of Roses; which has similar properties and was very popular in the early 19th century.

Virgin's Milk (page 229, Mirror of the Graces)

The Tincture of Benjoin is obtained by taking a certain quantity of the gum, pouring spirits of wine upon it, and boiling it till it becomes a rich tincture. If you pour a few drops of this tincture into a glass of water, it will produce a mixture which will assume all the appearance of milk, and retain a very agreeable perfume. If the face is washed with this mixture, it will, by calling the purple stream of the blood to the external fibres of the epidermis, produce on the cheeks a beautiful rosy colour; and, if left on the face to dry, it will render it clear and brilliant. It also removes spots, freckles, pimples, erysipelatous eruption, &c. if they have not been of long standing on the skin.

     Lily Pomatum finished the administerings to my face cleansing and skincare routine. This particular receipt was created in 1772 as a wrinkle cream but it had many other benefits including treating dry skin, spider veins, scars, sensitive skin, and burns. It contains Lily oil which smells wonderful. Once applied it makes the skin appear shiny and was left on until morning then washed off. 

     The next step, and probably the most interesting part of reenacting this nightly routine, was to wash my eyes. Yes, you read that correctly, I washed my eyes. This was very much a thing done by ladies of the period. It was believed that bright clear eyes were an indication of good health. I did NOT however use an actual period eyewash since the one listed in Mirror of the Graces (and most receipts at the time) called for camphor as an ingredient. CAMPHOR SHOULD NEVER BE USED IN YOUR EYES!! EVER!!! IT IS POISONOUS! IF IT GETS INTO YOUR EYES OR BLOODSTREAM IT CAN CAUSE BLINDNESS, ILLNESS, OR DEATH. There are references to eyewashes containing blue tint to make the eyes appear brighter. For the video, I simply used an eye cup similar to what they used (and still available today) and a contact lens solution. Honestly, my eyes did feel great afterward so I can understand why they liked washing their eyes. But again, DO NOT USE A PERIOD EYE WASH RECEIPT! 

An excellent Eye-water (page 233, Mirror of the Graces)

Take 6 oz of rectified spirits of wine, dissolve it in one drachm of camphor, and half a pint of elderflower water. Wash the eyes night and morning with this liquid, it clears the vision and strengthens the eyes.

The eye washing cup I purchased online along with the bottle I filled with contact lens solution.

     Once my eyes were nice and clear I moved on to cleaning my teeth. The toothbrush I used was a simple brush that LBCC offers made of bamboo...even the bristles are soft bamboo and a type of nylon. Granted our ancestors didn't use bamboo or nylon but the final product is passable for a period wooden toothbrush with boar bristles, plus it is biodegradable and good for the environment. The toothpowder consisted of ground clove, rose, sage, nutmeg, and lemon. The receipt LBCC uses is documented to be much older than 1820; it actually first appeared in 1653. The basic receipt didn't change much over the years but some ingredients added in the early 19th century were less than healthy for you (of course, LBCC's receipt is safe and uses only healthy ingredients). It's definitely not like modern toothpaste. It's gritter and doesn't get sudsy but my teeth and gums felt clean and refreshed. 

My horn cup, toothbrush, and toothpowder. My mouth felt great after brushing with these.

The final step to recreating Lucy's nightly routine was to curl or set my hair for the morning. Curls surrounding a woman's face were very stylish at the time so it stands to reason Lucy curled her hair at night. One way to achieve these curls or ringlets was to put dampened or pomade-slicked hair into multiple rag curlers to sleep on.  I sectioned off all the hair in front of my ears and braided everything behind. The front section was then separated into four equal parts which were coated with a lovely lemon-scented hair pomade made onsite the day of filming. It helped to condition the hair and set the curls created by the rags overnight. The rest of my hair was braided to keep it tangle-free during the night making styling it in the morning much easier. All of this was covered by a nightcap to keep it in place while sleeping.

Now, Lucy's night routine was complete. It was time to settle into bed with a good book; I was cleaned, moisturized, and curled.  One thing I took from this experience is that not much has changed over the years.  Ladies at the time were just as concerned with appearance, health, and aging, as we are today. We don't wake up looking our best, we have to put in an effort. Some of the things we do for beauty can look rather silly during the process (rag curlers, for instance, are pretty silly looking perched on top of one's head) but the final outcome is quite lovely. At first glace, it appears that many of the routines our female ancestors practiced were quite different than our own but when we take a closer look, we discover, they're very much the same.

Goodnight, Lucy! 

NOTE: I am not affiliated with LBCC nor do I receive a commission from LBCC. All of the products I've tried from the shop are wonderful. And I can attest that my skin felt great! 

Getting Dressed in 1820

Getting dressed for the day in the early 19th century took a bit more time and work than today. There were many more layers, ties, and pins involved. Depending on what type of garment you were putting on, you may even need a helper. A few years back I took a series of photos of my daughter putting on her 1820s garb to show the various steps involved in simply dressing for the day. At the time, she thought getting dressed in period clothes was pretty cool (not so much anymore since she has reached the age of  "Someone I know might see me!"  Gawd, forbid!)

All of the garments pictured are reproductions based on extant clothing in museums and private collections across the country. The dress is an exact copy of one owned by the Missouri Historical Society (MOHS) in St. Louis, MO. 

Note: Before anyone freaks out about me photographing my daughter getting dressed...she was NOT naked under her 1820 garments. She was wearing biker shorts and a camisole. And, she has more 'coverage' in these photos (and 1820s clothes) than modern styles allow.

Layers #1 and #2 - The Shift and Corset

The shift is a very simple undergarment. It is made up of rectangles and squares (usually) with a drawstring at the neck. This garment is closest to the skin; absorbing sweat and providing a protective layer to the outer garments. Unlike outer garments, which were often sewn with the intent of taking them apart at some future point to refashion, the shift was very well made in order for it to hold up to frequent washing.

Her corset (aka stays) is an unboned linen garment that laces up the back. This one is designed for a prepubescent girl. There is no boning to offer support. The only restrictive piece is the wooden busk that runs down the center front. It is very similar to a girls camisole today.

Boned and unboned corsets were worn by children as young as two to offer support for the outer garments. A corset should not be uncomfortable to wear. It's meant to provide a foundation for your outer clothes and support. It should not ride you like a saddle.

Layer #3 - Under Petticoat

This high waisted garment is worn over the previous layers and fastened closed with hooks and eyes, pins, or ties. Some petticoats do not have a bodice attached but are held-up with simple suspenders sewn to the waistband. Ours has a bodice attached and hooks down the center front.  It is similar to a modern-day slip, offering another layer of privacy to sheer garments. In winter the skirt section would typically be made of wool, flannel (different fabric than our modern flannel), or quilted to offer warmth.

Unfortunately, when we took these pictures the bodiced petticoat was not to be found in the wardrobe so I was not able to include a photo of my daughter wearing it.


Layer #4 - The Betsy/Tucker

A Betsy (aka Tucker) fills in the neckline of the dress. It's the 19th-century version of a 'dickie'. The garment usually has a drawstring that ties under the bust then pins, ties, or buttons closed at the neck.  The two pictured below pin closed under the neckline ruffle. The fabric for the one my daughter is wearing is a very lightweight, sheer cotton while the other is batiste.

Layer #5 - The Dress

The dress is an apron front style. The bodice pins closed at the center front with an apron-like front skirt panel pinning to the bodice. This style of dress would have allowed the wearer to easily dress. The trickiest part for the wearer is placing the pins properly.  Our dress is an exact copy of one in the collection at the Missouri Historical Society in St. Louis, Mo. It is made of printed cotton similar to the original.

The center front of the bodice pins closed. There was no evidence of any other type of closure on the original dress. The wooden busk of the corset (sitting directly below the dresses center front) allows for some support, as well as protection from wayward pins. Honestly, we've had little trouble with pins poking the wearer if care is taken in their placement, with or without a corset busk.

Pinning the center front.

Once the bodice center front is closed, the apron panel is pinned onto the bodice at each side, matching the apron with the gathers of the back skirt panels. There is a small band at the top of the apron panel that gives it a finished appearance.

Placing a pin on the apron panel side.

Layer #6 - Stockings & Shoes

My daughter's final items are her stockings and shoes. Here she is wearing cotton clocked stockings but they could be made of silk or wool too. "Clocked" refers to the decorative embroidered design at the ankle/side calf. Garters tied below the knee to hold the stockings up.

Centering the clocked design on the side of her calf.

The shoes she is wearing are leather Jazz lace-ups. Reproduction shoes can be very expensive. This modern dance shoe is passable for period footwear when you're on a budget. They are comfortable to wear but will wear very quickly if worn on tough terrain.

All Dressed! 

Now she is ready for a day of historical adventure at Stephenson House. 

NOTE: These are the basic layers worn by girls and women during the early 19th century. Not discussed here but definitely part of the wardrobe are cloaks, coats, bonnets, hats, and mitts.

Picking out her next outfit....just like her father. 😏

Making Fire with Flint & Steel

A great demonstration that never fails to impress visitors at the Stephenson House, is creating fire using flint and steel. Kids and adults are equally impressed. Small children often think it's magic (and how cool is that?). It will take some practice to get the technique perfected but it's totally worth it, plus you never know when you might need such a useful skill (like, as a contestant on Survivor or when lighting a flaming arrow to shoot at an attacking horde). Here is a step-by-step guide to making a fire using flint and steel. 

The basic items needed:

• a piece of steel - procured from a blacksmith or mercantile. Be sure your steel is properly hardened or it will not make a spark.
• charcloth - made of linen or cotton fabric  Check that your fabric does not contain modern components like polyester. 
• flint - have a piece big enough to hold easily between your thumb and first finger.
• tinder - old rope such as jute or hemp that can be cut into 3" sections, separated and shredded. 
• tin box - used to make charcloth and keep supplies dry when stored.
• kindling and wood - when building a fire in a hearth start out with small sticks and wood pieces. Don't use larger pieces until you have a good fire base.
• more dried tinder -  dried leaves, old paper, pine cones, etc. to help build the fire.

Additional items you might find useful but are not necessary in order to do this demonstration.

• fat wood matches - small slivers of fat wood to act as a simple match once you have a flame.
• candle - to light with a fat wood match.

Small kindling stacked log cabin style between two andirons.  Inside the 'log cabin' are dried leaves.

Begin by stacking small pieces of dry kindling 'log cabin' style in your hearth. I use small wood branches from the yard and/or very thinly chopped pieces from a small log. In the photo above, I've used both types. Don't start off with big logs because you'll never get a fire going (not unless you've brought a whole lot of lighter fluid or a flame thrower and I definitely don't recommend either option). Be sure your wood is seasoned and very dry. Green or wet wood will not work. Once you've created the 'log cabin' then fill the center opening and spaces between the sticks with dried leaves, grasses, old paper, pine cones, etc.  Use what you have on hand. Here I've only used dried leaves.

Gather a stack of smaller logs to use once your base fire is going strong. Put them close to where you are working so they are within easy reach in order to feed the fire.

Now the fun begins! There are four main ingredients needed to make what I call a 'nest-o-flame'; flint, steel, charcloth, and rope tinder.

Find a good-sized piece of flint. It should be big enough to hold between your thumb and first finger with a portion extending past both. Flint is a hard sedimentary form of the mineral quartz. It comes in a variety of colors ranging from pink to black. It's important the piece you'll be using has a sharp edge to strike the steel against.

Several different colors of flint. Flint has a 'milky' quality to its color that makes it easy to pick out of a pile of rock.

Take some old jute rope that is no longer good for anything (Use only untreated, natural fiber rope). Cut it into 3" lengths so its easy to unravel. Begin shredding the sections until you have a small bundle of strings that resemble a bird's nest. See the photo below. This nest is the tinder used to get a flame started.

We have a large supply of old jute rope at the site. Rope is usually made up of several strands twisted together. Cut the rope into 3" sections for easy shredding. You'll want to shred enough to make a small bird's nest slightly bigger than the one pictured above.

Charcloth will be used to catch the spark. 

To make charcloth: cut cotton or linen fabric into small pieces and fill your tin box. The tin box needs to have a hole in the top (or a small one drilled through both the lid side and box lip then matched up). Place the lid on the box. On a day you have a fire burning in the hearth, put the tin box into the hot coals. A flame about 2"-3" high will shoot out of the hole in the lid. Once that flame stops you'll have charcloth. Use fire tongs to remove the box from the fire and let it cool. DO NOT PICK-UP THE TIN BOX WITH YOUR HANDS UNTIL IT COOLS! (Seems obvious, but there's always someone....)

The next ingredient needed is charcloth. This item is what will 'catch' the spark from the flint and steel striking together, ultimately igniting the nest. (See above instructions on how to make charcloth) There are a couple different methods used when catching a spark. What will be shown in this tutorial is the way I was taught many years ago and it's worked pretty well.

Charcloth is laid on top of the flint.

Place a piece of charcloth on top of your flint. The edge of the charcloth should be close to the sharp edge of the flint but not over it. Hold the steel in your dominant hand (the hand you write with) and the flint/charcloth in the other hand. Keep the flint/charcloth horizontal with the floor (see photo below), keeping your thumb and fingers away from the striking edge. You will be striking/skimming the sharp edge of the flint with the flat edge of the steel. It's important to slide the steel down the sharp edge of the flint in a striking motion; fast and hard but barely skimming the flint edge. This will be the hardest part of the demonstration to master. 

I am holding the steel in my dominant hand and the flint in the other. All of my fingers are positioned away from the edges. You will cut your knuckles if they make contact with the sharp edge of the flint. 

Charcloth laid on top of the flint. Strike the flint by skimming the steel down the sharp edge of the flint.

When the steel strikes the flint in the correct way you will have sparks fly from the contact point. The charcloth is used to catch these sparks. It may take several strikes before a spark lands on the charcloth. Once a spark 'catches', the charcloth will begin to glow red hot. Place the charcloth on the 'nest' and gently fold the nest over it. It's important that you don't fold the nest too tight or you will suffocate the spark. Keep the nest loose but cover the spark and start blowing on the area where the spark is glowing. Rotate the nest if necessary and keep blowing. If all goes well, the nest will catch fire. Be ready for the ignition of the flame because you'll have to move fast to avoid burning your hand.

Sparks from striking the flint with the steel. Note: I do not have any charcloth in this photo but it was a good image of the sparks.

Once the charcloth catches a spark it will begin to glow red hot. Place it on the nest.

Loosely fold the nest over the charcloth.

The nest with the burning charcloth wrapped inside.

Blow on the nest. You may need to rotate and re-wrap the nest to encourage it to catch fire.

Success! I have FIRE!!!!!

If you have prepped a hearth as discussed above then put your 'nest-o-flame' into the center of the log cabin and tinder. The tinder will catch fire. Add more tinder if necessary until the kindling starts to burn. Once the kindling is burning, add the smaller split pieces of wood, a few at a time. Don't throw everything on it at once or you may put it out.

Once the nest catches fire, place it in the prepped kindling and tinder.

Larger pieces of kindling are added as the base layer begins to burn.

If everything has gone according to plan, you will have a nice fire burning in the hearth. Keep in mind this demonstration can cause injury (you are playing with fire). At some point, you will cut your knuckles, singe a fingertip (or ten) and burn a little hair (who really needs eyebrows anyway?). Please do not attempt this demonstration without the appropriate items and area listed (not a good idea to do this in a room without a working fireplace...again stating the obvious). I would recommend having a bucket of water or a fire extinguisher on hand...just in case.

**Want to see more? Check out this "Making Fire, Part 1: Flint& Steel" video I filmed at the 1820 Col. Benjamin Stephenson House. There is even a bonus less on making charcloth.

How To Use Wooden Butter Molds

Many visitors coming to the site are fascinated by the process of making butter. Most have never seen it done or given it much thought before seeing our docents demonstrate the process. Another aspect of making butter that intrigues visitors is using butter molds. Here is a simple lesson on how to mold butter with a wooden mold.

Here are two wooden butter molds we have in our 1820 kitchen. The large round mold has a decorative strawberry pattern carved into the top of the mold plunger. The smaller rectangular mold is a basic 1/2 lb mold (give or take an ounce).

Inside view of both butter molds.

Since both molds are made of wood it is important to condition them properly before using them. This step requires a good oil coating for the molds. The oil will condition the wood, provides a layer of protection when soaked in water (next step) and will help release the butter from the mold (last step). I use olive oil to coat our molds because it is what we have at the house but I've seen references where mineral oil is used. Try to get good coverage over the entire surface of the mold; inside and out. Take the plunger out of the mold and oil it too.

Once you've thoroughly oiled the molds, soak them in ice water for 30 minutes. Some people will follow a good ice soak with 30 minutes in the refrigerator (we don't). This step will help to keep the butter from sticking when it's time to release it from the mold (last step).

The strawberry mold is ready to fill with butter.

Filling the strawberry mold.

Remove mold from the ice bath and fill with butter. Once filled, level-off the bottom.

Level off the bottom.

Filling the 1/2 lb mold.

1/2 lb mold leveled off.

Now its time to chill the filled molds for 1-2 hours. The butter will harden making it easier to release it from the mold. 

When the molds are good and cold run the tip of a small knife around the edge of the mold; between the butter and mold. Push the plunger down (or up, depending on how you are holding the mold), releasing the body of the molded butter. The butter will still be attached to the plunger but some gentle persuasion will release it. Try using the tip of your knife to go around the outside edges or simply use your hand to 'pop' it off the plunger. 

Plunger had been pushed through releasing the butter from the body of the mold.

The butter 'popped' off the mold easily.

Releasing the butter from the strawberry mold.

The strawberry mold tends to hold on to the butter. You can see in the above photo that I had to use my knife a bit more aggressively in order for the butter to release.  This mold also tends to be more difficult to remove the plunger from the butter (probably) due to the craved design. Despite the problems removing the butter, it came out lovely.

Strawberry design mold.

Both butters are ready for use.

That's all there is to molding butter. Easy Peasy!