Penny Farthing Bycycles

There are many objects used today that all have their own interesting history behind them. One such object is the bicycle. There is a bicycle in the Farm House Museum, but it doesn’t look like the bicycle we are used to. Today I’m going to talk about what that bicycle is. The origin of bicycles, in general, is actually hard to trace and shrouded in myth. There were multiple adaptions to wheels throughout history and bikes, like other vehicles, have appeared here and there. Early drawings of a bike-like vehicle appear in Leonardo Da Vinci’s notes, but may not have been his work. It wasn’t until the 19^th century that the bike began to appear more. In 1817, Charles Baron von Drais created a front wheel capable of being steered, which had a saddle in between the two wheels. It was called a velocipede, or hobbyhorse, because there were no pedals, as people would propel themselves by pushing their feet off the ground. The velocipede was made entirely of wood and was a bit clumsy. It was popular in both France and England through the 1820s until its popularity dwindled.

It wasn’t until 1863 that pedals were added to the front wheels and stiffer materials, like steel, were added. With these changes, the velocipede was given a new name, bone shaker. This was because going over cobble stone on these bikes would literally shake bones. Bikes began to become popular again, but they were very hard to steer and pedal causing the rider to exert a lot of strength. It was in 1870 that James Starley invented the high wheeler bike, the type of bike in the Farm House. This bike had a high front wheel for a rider to sit over with a small wheel in the back for extra balance. Many people today often wonder why these bikes had such a large front wheel. There were two reasons for the higher wheel. One was that it made the bike go a lot faster with the pedals attached right to the front of the wheel allowing the bike to speed up. The second reason was that this larger wheel also made it easier to ride on older roads as small potholes and rocks could be rolled over easily.

These advantages did make up for the absurd size but it also made it harder to get on. Often people would have a step on the back wheel so they could propel themselves up to the sitting position. Even with these improvements, the high wheeler still had a lot of problems. The center of gravity on a high wheeler is off which led to constant dangers for those who rode it. If the bike ever hit a large bump or got stuck, the rider would fall right over the handlebars and onto the ground. This accident became so common that it was called “taking a header.” The bikes also lacked hand brakes so stopping became very hard to do leading to the possibility of more accidents. While originally called high wheelers, the bike began to be known as a Penny Farthing because the big and small wheels resemble the sizes of the largest and smallest English coins, known as pennies and farthings.

Men mostly used Penny Farthings, as women weren’t able to ride the large bikes in dresses. Women instead would often ride large tricycles to accommodate their clothing as it was seen as more proper. Penny Farthings continued to be popular throughout the 1870s and 1880s, being used in sports and inspiring the creation of bicycle playing cards which are still used today. In 1884, Thomas Stevens became the first man to ride a bicycle across the United States from San Francisco to Boston using the Penny Farthing. All he carried with him was a tent, spare shirt, and socks.

At the Farm House Museum, there is a Penny Farthing upstairs on the third floor. This one isn’t as high as others, but it is definitely unique. The bike is mostly made of metal with a seat that doesn’t look that comfortable. The bike’s pedals are just two long bars with a little step up on the back wheel. The most interesting feature is the wooden wheels, which bikes today don’t have anymore. This makes it a very unique object to the house. It is very possible even that past residents of the house and others on the Iowa State campus might have had one in the 1870s.     

Even with its popularity in the 1870s, the Penny Farthing quickly fell out of fashion in the late 1880s when the Safety Bike was invented. The Safety Bike had a more comfortable seat and the wheels were equal sizes so it was a lot less dangerous. Even though the Penny Farthing lost popularity it still exists through memory as cities like Davis, California have the Penny Farthing in their symbol. And still to this day in Tasmania, Australia the National Penny Farthing Races are held every year. The Penny Farthing has become one of the symbols of the Victorian era and an interesting part of bicycle and Farm House history.   

Chamber Pots

Often times history is romanticized as we try to imagine our ancestors’ life as simpler than our own or we imagine past leaders as larger than life. But people of the past still had to deal with many of the same day-to-day problems as humans today. This would of course include having to use the restroom. 

Thousands of years ago when people lived in smaller communities they would have needed a place to relieve themselves. In the past people might have gone to a nearby forest or field. But what if it was raining outside or it was nighttime? In many sparsely populated regions like central Asia and Africa, they generally would have kept going out to the field. But in other places that began to become more densely populated, many cultures created toilets. Much of these toilets consisted of a hole in the floor, which people could squat over. It is believed that the style of a sit-down toilet may have been popularized later due to the change in clothing styles. Some forms of leggings and trousers would have made it easier to use a sit down toilet when wearing them. Archeology has shown that people in the Indus Valley around 2500 BC had latrines that were hand flushed and would empty into street drains. On the island of Crete some latrines would have wooden seats. Romans built great sewer systems, which kept latrine areas relatively clean by ancient standards. In medieval Europe, the toilets in castles were called a garderobe and were simply a vertical shaft that led outside with a stone seat at the top. In 1598, Sir John Harrison invented the flushing lavatory yet his ideas were mostly forgotten until the 1800s.

With all these changes in toilet design, another mode of using the restroom emerged, chamber pots. The chamber pot had been around since ancient times but became popularized in the 17^th century. This invention was very beneficial as it was a lot easier to use than going outside all the time, especially if it was raining or snowing. If you needed to go, you would just pull the chamber pot out and use it. Later on, the contents could be dumped out easily enough. Early chamber pots were made of clay or metal and would be placed under a piece of furniture like a bench, stool or bed. Often the shape was simply a round container, but some would be oval or rectangular. In France, they were called bourdaloue after the 17^th century catholic priest Louis Bourdaloue. He was known to give long sermons causing ladies to bring chamber pots under their dresses so that they could use them discreetly without getting up. Other nicknames include a jerry, a Jordan, a gazunder, a potty or a piss pot. The word chamber pot may have come from the French term “pot de chambre,” with “chambre” meaning bedroom, which is where it was often found.

During Victorian times most houses would have chamber pots to use. Some would have outhouses, but if it were the dead of winter most people would prefer the chamber pot. Some houses had a close stool, a special chair invented to ease the use of a chamber pot. It would look like an ordinary chair but if someone lifted the seat it would reveal a hole where a chamber pot could be placed. The emptying of the chamber pot would be the responsibility of many different people. In more elite houses, often servants or slaves would empty the pot into the nearest pit, water source, or field. Sometimes the job would fall onto the youngest member of the family. In cities, many would toss the contents out the nearest window. In Edinburgh, Scotland residents would shout “Gardy-loo” which meant, “mind the water” before tossing it. Others would just shout out the window so people down below would know. By 1724, New York City residents were ordered to walk to the nearest water source to dispose of the chamber pot’s contents. Sometimes the build up of excrement would create cesspools in the streets and under houses. In certain cities like London, it would be the job of the night soil man to have to clean out the cesspools and dispose of the contents in the river. This would make for a very gross job with some night soil men extracting nitrate from the pits to use for gunpowder. This build up of excrement would get so bad that it led to disease epidemics, like the spread of cholera.

In an attempt to ignore the gross interior, many Victorians would buy decorated chamber pots to make them look nicer in the house. Often though they weren’t meant to be seen unless needed. In old English records it was often noted that getting injured or dying due to a chamber pot wasn’t an uncommon thing. Multiple reports during the Victorian era told of people falling or slipping on their chamber pot causing them to get a life threatening injury. In many Victorian cases of domestic abuse or a robbery, a chamber pot would be used as a weapon.

Residents who lived in the Farm House most likely had chamber pots since the outhouse was in the backyard and the Farm House didn’t get indoor plumbing until the 1940’s. The Farm House Museum itself has five chamber pots, all located upstairs under the beds. Most are white except for one, which is pink. They all have different floral designs on them, which were put there to distract from the contents inside. All of the pots also have lids, which was meant to hide what was inside as well. Florence Nightingale, the famous nurse, even noted, “The use of any chamber utensil without a lid should be utterly abolished, whether among sick or well.” She was concerned about bad air causing disease, but the bad smell wouldn’t have been good either. Chamber pots may represent the grosser side of history, but it is something that peoples of the past had to deal with every day, and this is shown in the Farm House Museum.  

Victorian Hair Art

In this blog post we are going to explore the curious presence of human hair art in the Farm House Museum. I am not talking about dust bunnies lurking in dark corners, but actual museum objects that contain human hair. Currently in the library, there is a human hair wreath sitting in a small 6 x10 inch frame. The flower hair wreath consists of a single center stem with side branches leading to flowers and blossoms. It is made completely of human hair, braided and curled to form dainty shapes. The object was donated to the museum from Gertrude Cookingham Smith who stated that the hair belonged to her past family members. To understand why this piece exists we must look back to the traditions of Victorian times. Victorians were known to have an obsession with hair.

Today many people consider “hair art” to be rather creepy, but during Victorian times it was very popular. Hair grooming was highly emphasized, as the idea was to transform the chaotic and wild growth of hair into a well-trimmed and decorative design. This insistence on a fashionable design led to many women using false hair to create more designs for their hair. Fake hair became so popular that shiploads of the commodity were imported to England and hair became one of the most popular topics in fashion magazines of the time. The University Museums’ permanent collection contains over 150 fashion prints from French magazines that illustrate not only the importance of clothing and hats but also the importance of hair styling befitting of high fashion of the Victorian Era. Besides fake hair, Victorians loved to collect and keep all the hair they acquired. Many women would collect their own hair that they cut or brushed out into special jars. Often once the container became full, they would send it away to a hair designer to be made into some useful attachment or jewelry.

Hair jewelry became particularly popular during the Victorian Era, especially in association with death. Hair jewelry was most often made from the hair of a deceased loved one. These objects were often a keepsake and seen as a token of remembrance for the person who passed away. Hair could be fashioned into a necklace, bracelet, ring, pair of earrings, a picture or woven into a certain pattern like the flower design seen in the Farm House. Victorians would also wear these hair jewelry pieces as a way of remembering their loved ones during specified mourning periods. An example of a mourning broch is in the permanent collection, although there is likely little to no hair present. The broach is a brass design with a small glass window in the center. Victorians would put the hair of their deceased loved ones inside the glass window for everyone to see. They would then wear the broach around in remembrance.

The idea of hair jewelry became so popular that woman began to take their own hair and make

designs out of it. Hair could be made as a gift, which Queen Victoria popularized when she reportedly presented Empress Eugene of France with a bracelet of her own hair. Soldiers during the Civil War would leave a lock of their hair with their loved ones as a way of remembering them. Due to rising consumerism woman loved to make hair folk crafts and hair wreaths of all kinds to fit the current fashion of the day. All hairwork was created by hand whether by a professional artisan or skilled amateur. Hair art manuals were actually publish specifically for female readership so they could learn the techniques for making hair designs. Hair art became so fashionable that elaborate hair works were shown at the Great Exhibition of 1851. At the Paris Exposition of 1855 a full-length life-size portrait of Queen Victoria made entirely of human hair was displayed. But what actually caused the Victorians to become so obsessed with hair?

Much of this obsession is revealed in the literature of the time. In A Tale of Two Cities, Charles Dickens wrote about Lucie Manette and how she was recognized as an angel due to her golden halo of hair which was able to “recall the dead to life” and to “warm and lighten” those around her. Dante Rossetti wrote of a golden haired woman in Lady Lilith who achieved transcendent vitality due to her magic hair. Victorian writers were clearly fascinated by reading woman’s hair and interpreting its meaning. Previously, writers would not go into such detail to describe the texture, color, style and dimensions of the woman’s hair. Preservation of hair tokens and hair memorials was seen as dignified and important. Victorians saw hair as a window into someone’s personality and essence. Obsession with hair is seen as a staple of Victorian culture and there are thousands of examples of hair art today. Even today, the hair jewelry and wreaths of the Victorian Era are highly desirable as collectibles. The hair art at the Farm House Museum reflects the Victorian culture of the time and can teach those who come to the Farm House about the past fashion, rituals, and folk crafts.  As a bonus, most people are creeped out as well!  

                                                          Further Reading

• Bell, C. Jeanenne. Collector’s Encyclopedia of Hairwork Jewelry. (1998).
• Campbell, Mark. Kliot, Jules and Caethe (eds). Art of Hairwork: Hair Braiding and Jewelry of Sentiment. (1996) {This republication of Mark Campbell’s book also includes important supplemental material from Godey’s Lady’s Book}
• Sheumaker, Helen. Love Entwined: The Curious History of Hairwork in America. (2007).

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