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!

Making A Roasted Chicken in the Reflector Oven

The second installment of my daughters chicken and noodles cooking adventure.

Making Chicken & Noodles: Part 1

I've got a great kid! She takes part in my historic obsessions. A couple weeks back she spent the day with me in the kitchen at Stephenson House making chicken and noodles. We roasted a chicken in the reflector oven and made noodles from scratch. Just for fun we recorded the process. Below is the first video we put together showing how to make basic noodles. Enjoy!


Making Noodles in the 1820 Kitchen

The Basic Anatomy of Working Garments of the Federal Period: Men

Garments worn by working class men were made for ease of movement, comfort and durability. Similar to women’s clothing of the Federal Period, there was a wide variety of fabrics used and styles worn. The following garments are 'basic' items found in a working man's wardrobe.

Hand-stitched linen shirt belonging to the 1820 Col. Benjamin Stephenson House.

Shirt:

· Loose fitting

· Made of linen, linsey woolsey or muslin.

· Colors commonly used were woven checks and white.

· The shirt was constructed with a series of squares and rectangles. The body is a large square cut on the fold, sleeves are rectangles cut on the fold, a square gusset connecting the sleeve to the body and a long rectangle also cut on the fold for the collar.

· The sleeves set off the shoulder, known as a ‘drop sleeve’.

· Length of the body could reach to the knee.

· Long shirts often times double as under-drawers by wrapping the tails between the legs.

· WHAT NOT TO DO – Men, regardless of social status, would not have worn this garment without something over it. This was an undergarment.

A Stephenson House interpreter wears a blue checked shirt.

Trousers:

· Long pants worn by men of all social classes.

· Length ranged from above ankle to top of foot.

· The front fall should be narrow not broad.

· Made of jean, corduroy, wool, heavier linen

· Fit could be very baggy through the legs to snuggly fitted down to ankle.

· Working men probably preferred a loose fitting trouser.

· Sailors and laborers are often depicted in period paintings wearing a garment called “slops”. Slops were very loose fitting pants (similar to women’s modern day ‘gauchos’) that could be worn over the top of regular trousers to protect them from soiling.

· High waistline. In men’s trousers, this high waistline was achieved by setting the bottom of the waistband slightly above the navel then extending it up about four inches. Suspenders kept the trousers from sliding down.

· Knee britches were falling out of fashion by this period. Some men continued to wear them with riding boots, under a pair of leggings, hunting or for working in the fields. Older men who felt comfortable in the styles of their youth may have worn them but the style was very old fashioned.

· WHAT NOT TO DO – ‘French’ fly and zipper fly trousers were not worn during this period.

 

Vests and trousers of this period are high-waisted.

Vest:

· Cut high into the arm pit.

· Narrow shoulder

   Worn over the shirt and was consider the lowest state of undress acceptable.

· Double or single breasted.

· Only two pockets on lower front. No chest pocket.

· Tall standing collar very common.

· Cut to reflect the high waisted fashions.

· Made of a linen, heavy printed cotton, wool or silk.

· The back of the vest was generally made of a cheaper material since it wasn’t meant to be seen.

Neckerchief or neck cloth:

· Worn over the shirt collar with the collar folded over it or standing up.

· Typical fabric: linen of various prints and colors.

· Working men probably preferred a simple neckerchief

Shortcoat in the Stephenson House wardrobe. This garment was made from a Kannik's Korner pattern.

Coat, Jacket or Work Smock:

· A coat worn by someone doing hard labor would not have had tails; they would have only gotten in the way.

· Working men preferred a short coat or jacket.

· Coats or shortcoat could be single or double-breasted

· Commonly made of linen, jean or wool with a stand-up or rolled collar.

· A work smock is a very large loose fitting over-shirt often worn over the top of the short coat or vest to protect the other garments from soiling. See picture below.

Group of reenactors portray the men who manned Fort Russell (Edwardsville, Illinois) during the War of 1812. Since the Illinois Militia was not uniformed, the men of the militia would wear their everyday clothing while serving their enlistment obligation.

Making Butter in the 1820 Kitchen

Stephenson House's wooden butter churn

One of the most popular activities in the kitchen at Stephenson House is butter churning. There is something about making butter in an old-fashion wooden churn that pulls everyone into the kitchen (or maybe it's the lure of good smelling treats wafting through the air). Most of our volunteers have helped with this activity and enjoyed the products of their labor. I guarantee fresh churned butter and buttermilk taste 100% better than any store bought brand. It will not have all the preservatives either.

Butter making is defiantly a hands-on activity where everyone can help. We often let visitors get their bicep workout in for the day by lending a hand in the churning process.

Stephenson House purchased its wooden churn from Beaver Buckets several years ago (www.beaverbuckets.com) and it's been in regular use ever since. There are other types of churns available on the market if you want to buy one or you can simply use an old canning jar.



What we use at Stephenson House......

• Wooden churn 
• Heaving Whipping cream (1-2 quarts, depending on how much we  want to make)
• several pitchers of water for washing the butter (or someone to run back and forth to the well)
• butter paddle
• cheese cloth (precut squares that will fit over the top of the bowl used to pour the contents of the churn in. Do this before starting to churn.)
• two large bowls
• bucket 

We purchase heavy whipping cream from a local grocery store to make our butter. It is practically impossible to get anything other than heavy whipping cream to make butter unless you live on a farm with milk cows. Leave the cream sitting on the counter at room temperature overnight so it clabbers. We usually sit it out about 4 p.m. if we plan to use it by late morning the next day.

Once it's clabbered pour it into the churn. Now the workout begins. Take the plunger (the one attached to the churn, not the one in the restroom!) and start churning the cream in a steady up and down motion. Try to keep a rhythm as you churn. The process of churning the cream take anywhere from 10 minutes to three hours. We have found that the weather plays a big part in the success of our butter.

A docent churns butter in the 1820 kitchen. Notice the chunks of cream (soon to be butter) around the plunger opening.

When the cream begins to turn to butter there is a distinct change in how the plunger feels and sounds. The cream begins to separate from the fat, making the plunger harder to push/pull up and down. The opening where the plunger is inserted into the lid will begin to have chunks of butter form around it (see above photo). Remove the plunger and lid to check the contents of the churn at this point. There should be buttermilk and butter in the churn if it's ready. The texture of the butter should feel firm like butter at room temperature. If is to runny then continue churning until it changes. Be Warned....if you over churn the mixture, the butter and buttermilk will turn back to cream.

Our redware bowls, butter paddle and large pitcher.

Now the contents of the churn need to be poured into a large bowl covered with three to four squares of cheese cloth (layered on top of each other and large enough to hang over the sides). We prepare the bowl with the cheese cloth before we start churning so it's ready when the butter is done.

Bowl with four layers of cheese cloth.

Pouring the contents of the churn into our cheesecloth covered bowl. It's always good to have extra hands...here we have several willing helpers. The chunks of butter are very noticeable in this photo.

Scrap out any leftover bits of butter from the churn. Again, extra hands are wonderful...and a really LONG handled spoon.

Everything is in the bowl and ready to be separated.

Now grab all of the side of the cheese cloth and squeeze out the buttermilk.

You can see the buttermilk pouring out of the cheesecloth into the bowl. The butter is wrapped up in the cheese cloth in this photo. It will be put into the large redware bowl next and washed.

Now the butter needs to be washed to remove all the remaining buttermilk or it will spoil. You'll need lots of water for this step. The green bowl contains the buttermilk that we will use for biscuits or whatever cooking need arises.

Use a butter paddle or large spoon to turn the butter over and over in the water.

The water will turn cloudy quickly. Keep pouring it off into a waste container then add fresh water until the water no longer clouds. This will take a while but you'll want to be sure it's clean or it will sour.

Once the butter is clean, you may choose to add salt to help preserve it. We don't add salt at Stephenson House...it never lasts long enough to go bad.

The butter is now ready to use, as well as, the buttermilk. We usually have a large amount of butter at the end of the day. It is a great addition to the table and tastes so much better than anything you can buy in the store. Enjoy!

Now comes the real work....cleaning the churn. Ugh!

Where to Start: Building a Federal Period Wardrobe

Suggested Books on Clothing, Sewing Techniques, Interpretation, Fabrics, and First-hand accounts

The following are highly recommended to anyone just staring to build/construct a Federal Period wardrobe.

1. Fitting and Proper by Sharon Ann Burnston - construction details and patterns included…must be drafted up to scale.

2. Rural Pennsylvania Clothing by Ellen J. Gehret – construction details and patterns included…must be drafted up to scale.

3. The Lady’s Guide to Plain Sewing by a Lady – details period sewing techniques. Available through Kanniks Korner (http://www.kannikskorner.com/).

4. The Lady’s Guide to Plain Sewing II by a Lady - details period sewing techniques. Available through Kanniks Korner (http://www.kannikskorner.com/).

5. The Workman’s Guide to Tailoring: Stitches and Techniques - details period sewing techniques. Available through Kanniks Korner (http://www.kannikskorner.com/).

6. Who Was I? Creating a Living History Persona: A Modest Guide to the How’s and Whys by Cathy Johnson – discusses how to develop a believable and accurate interpretation.

7. Swatches: A Guide to Choosing 21^st Century Fabrics for 18^th Century Clothing by Hallie Larkin

The Best Pattern Companies & Patterns

The following are pattern companies who base or copy their patterns from original garments. These companies also provide lots of research and historical background.

Past Patterns, (www.pastpatterns.com) owner Saundra Altman. This company is highly recommended. Saundra does extensive research on all of her patterns. If she prints it, I guarantee it will be correct.

Kannik’s Korner (http://www.kannikskorner.com/) owners Fritz & Kathleen Kannik. Highly recommended pattern company. The company also researches the garments used to create their patterns.

The period appropriate patterns listed below are based or copied from original garments. There are a lot of poorly written patterns available for purchase but the following are patterns that are authentic and accurate.

Women’s Clothing Patterns

Past Patterns: #030: A "Transition Stay" Fashionable Circa 1796-1806 (www.pastpatterns.com)

Past Patterns: #038: A Partially Boned "Transition Stay" Fashionable Circa 1793-1820 (www.pastpatterns.com)

Past Patterns: #001  1820s-1840s Corded Stay (www.pastpatterns.com)

Past Patterns: #031 Circa 1796-1806 Lewis & Clark Era Front Closing Gown (www.pastpatterns.com)

Kannik’s Korner KK-6603 Woman's Caps and Bonnets c. 1790-1820 (http://www.kannikskorner.com/)

Kannik’s Korner KK-6103Woman's Shift 1790-1820 (http://www.kannikskorner.com/)

Kannik’s Korner  KK-6602Woman's and Girl's Caps 1740-1820  Everyday Headwear (http://www.kannikskorner.com/)

Kannik’s Korner Pattern KK-6901 Woman's Short Cloak Second half of the 18th Century (1750-1800) (http://www.kannikskorner.com/)

Kannik’s Korner KK-6001 Stockings, Pockets & Mitts (http://www.kannikskorner.com/)

Folkwear Patterns #215 Empire Dress (www.folkwear.com) – this is a fairly accurate pattern that is easily made up for working attire or nicer occasions. The ‘train’ would not be appropriate for a fort interpretation.

Period Impressions #460 1809 Day Wear (http://www.burnleyandtrowbridge.com)

Period Impressions Empire Bodiced Underpetticoat (http://www.burnleyandtrowbridge.com)

Period Impression 1809 Spencer Jacket Pattern (http://www.burnleyandtrowbridge.com)

Period Impression 18th Century Caps & Pockets Pattern  (http://www.burnleyandtrowbridge.com)

Period Impressions Empire Shortgown & Petticoat (http://www.burnleyandtrowbridge.com)

Period Impression #464 Bibb Front Muslin Dress 1800-1812 (http://www.burnleyandtrowbridge.com).

Men’s Clothing Patterns

Kannik’s Korner KK-4202 Man’s Waistcoats Single-Breasted Worn by Both Common Working Men and Fashionable Men c. 1790-1815  (http://www.kannikskorner.com/)

Kannik’s Korner KK-4303 Man’s Trousers High-Waisted c. 1790-1810  (http://www.kannikskorner.com/)

Kannik’s Korner KK-4102 Man's Shirt 1790-1830 (http://www.kannikskorner.com/)

Kannik’s Korner KK-4001 Men’s Accessories Common Items used by Men of all Classes
c. 1740-1830 (http://www.kannikskorner.com/)

Kannik’s Korner KK-4551 Man's Double-Breasted Short Jacket 1770-1800 (http://www.kannikskorner.com/)

Past Patterns #041: U.S. Army Roundabout Matching 1812 Specs (www.pastpatterns.com)

Fabric Suppliers

Burnley and Trowbridge Co., http://www.burnleyandtrowbridge.com

Wm. Booth, Draper,  www.wmboothdraper.com/

96^th District Storehouse, http://www.96storehouse.com

Jackman’s Fabrics

JoAnn Fabrics

Things to Avoid Like the Plague!!!!! (Time for me to get on my soapbox)

• French or English Bodices: these are not historical garments by any stretch of the imagination!

• No mob caps…they are not historical!

• Skirts with drawcords…one size should not fit all!

• Polyester and Rayon

• Painter pants, blue jeans or dockers

• Zippers, Velcro, snaps

• Undocumented patterns: if the pattern company does not provide reputable sources (i.e. museum collections, paintings, primary source from the period, collections with provenance, etc.) don’t use it!

• The mind set of “If they would've had it, they would've used it.” They didn't have it and didn't use it!

• Vests with chest pockets. Men’s vest had two pockets not three during this period.

• Ladies, be sure that your bosom is in your bodice...not below it. Get the girls UP and in the correct position. Bodices were high during the Federal Period. Invest in a Federal period corset (preferably) or obtain a support garment that will serve the same purpose (i.e. bodiced petticoat or sports bra). Do Not use a corset from another period....KEEP IT FEDERAL!

A Basic Anatomy of Working Garments of the Federal Period: Women

Garments worn by working people were made for comfort and durability. A female doing physical labor such as working in the fields, laundry, cooking in the kitchen,  gardening, would have worn garments that allowed for ease of movement. One combination of clothing worn by working women was a  shift, corset, shortgown, petticoat and apron. 

Shift:

· Loose fitting garment worn next to the skin as underwear.

· Short sleeves.

· This item was washed more frequently than outer garments.

· Made of lightweight linen or muslin for summer and heavier linen, and  flannel (which is light weight wool, not our modern flannel) or linsey woolsey for winter wear.

· Drawcord at neckline.

· Length ranged from knee to mid-shin.

· WHAT NOT TO DO – Women, regardless of social status, would not have worn this garment without something over it such as a shortgown or dress. This was considered an undergarment and no respectable woman wore it exposed.

· No ruffles by this period. Avoid pre-made shifts that have large ruffles at the neck that ‘swallows’ the throat and ruffles at the sleeve ends. A shift with short sleeves will be more comfortable under a shortgown or dress and is more appropriate than the shifts sold by most historical clothing companies.

· The Woman’s Shift, 1790-1820 pattern from Kannik’s Korner is the historically recommended shift.

Full length corsets worn by two historical interpreters at the 1820 Col. Benjamin Stephenson House

Corset:

· Essential to the fit of the outer garments and maintaining a Federal Period silhouette.

· Fitted to individual wearer. This item cannot be purchased ready made.

· Lightly boned half-corset, fully boned half-corset, or full length corset with boning or cording for support.

· Full length corset has a wooden busk down the center front.

· Half-corsets usually laced up the front. Full length corsets laced up the back.

· Traditionally made of nankeen (a canvas-like fabric).

· White or off-white during the Federal Period.

· Provided back support while maintaining the high-waisted silhouette.

· Type of corset worn depends on body type and what is comfortable.

· WHAT NOT TO DO – If you are going to have a corset made, make sure the pattern is for 1800-1820. This is very important to remember! Victorian or Rev War corsets will not give the proper silhouette…they are completely different. Corsets were made for each individual body and garment being worn...they are not universal to all periods. It must be fitted to you!

Shortgown, petticoat, apron and turban.

 Shortgown:

· Made of linen, light weight wool or printed cotton.

· Loose fitting.

· Cut on the fold as one piece. Lower peplum and lower sleeve were often pieced.

· No inset sleeves.

· High waisted with or without a drawcord.

· Length  ranged from a few inches below bust line to mid thigh.

· Pinned closed at neckline.

· WHAT NOT TO DO – Shortgowns with inset sleeves are not appropriate for the Federal Period. This style tends to be more 1760s. Also, no French or English bodices! These garments are not historical but unfortunately remain popular among many reenactors.

Petticoat:

· Made of linen or light weight wool.

· Fitted waistband with ties at back to close garment.

· High waisted with sewn suspenders to keep it under the bust line.

· Length ranged from mid-shin to ankle bone.

· Petticoats, as a rule, did not have pockets built-in. Some petticoats had slits in the sides with a pocket worn on a cord around the waist underneath the garment.

Apron:

· Usually made of checked fabrics (small checks) or white.

· Full bodied, bib-front or simple waist tied.

· Made of linen, muslin or wool.

· Tied at back with small cording.

· Protected petticoat and shortgown from soiling.

· Useful in hauling wood, picking up hot pots, wiping a child’s face, cleaning off a table, etc.

Reproduction day caps in the Stephenson House wardrobe. 

Day Caps:

· Head covering worn by women of all social stations.

· Ranged from very simple construction to very ornate.

· Made of fine linen such as ‘lawn’ or handkerchief, batiste or fine muslin.

· An alternative for a working interpretation would be a simple kerchief or turban.

· Kept hair clean when working in dusty or dirty areas.

· Older ladies tended to wear day caps regularly.

· Covers modern hair styles and bad hair days

· Fashionable accessory as well as a practical garment.

· WHAT NOT TO DO – the stereotypical ‘mob’ cap. This is a cap cut in a large circle with a drawstring at the crown. WRONG, WRONG, WRONG! This is not a period cap under any circumstances.

Stephenson House interpreter wearing a large neckerchief on the outside of her dress and tucked into her apron waistband.

Neckerchief or Modesty Cloth:

· Large triangle shaped cloth used to fill in the neckline.

· Colors: white, checked or printed.

· Lightweight cotton, muslin, linen.

· Worn on inside of shortgown or outside over shoulders.