As winter starts to bite down south, and the rain and wind and snow starts to increase dramatically, it’s time to start breaking out your winter wardrobe and trying to decide what to wear…or if you don’t have anything to wear…then trying to decide what to buy, so that you can wear it!
In this posting, we’ll be looking at the history behind various coats, overcoats and jackets which have been worn by men throughout history, and which have entered popular fashion as wardrobe must-haves, even in the 21st century. We’ll be looking at where they came from, what features they have, and what to look for if you want to buy one, and what sets them apart from each other.
I won’t be covering this in any particular order, so you might need to scroll around a bit, if you want to find the jacket or coat that you’re really interested to know more about. That said…let’s start!
The Peacoat
The peacoat is one of the most common types of short overcoats that exist on the market today. They’re thick, fluffy, warm, stylish, and they’ve been around for centuries! So…what is a peacoat?
Peacoats were created in the Netherlands in the late 1600s or early 1700s. The original Dutch name was the “Pijjekker” – where ‘Pij’ (pronounced ‘pea’) referred to the thick, water-repellent wool cloth from which the ‘jekker’ (‘jacket’ or ‘coat’), was made. This original Dutch spelling and pronunciation eventually entered the English language as Pea-jacket or, as is more common today – peacoat.
Peacoats were created by the Dutch specifically for seafarers. The coat’s thick, soft woolen fabric kept rain and sea-spray off the body, kept the under-clothes dry, and kept the sailor warm. Because of these properties, the peacoat was adopted by the English for use in the Royal Navy in the 1800s, and later on by the American Navy in the late 1800s-to-early-1900s.
As a result…there’s MILLIONS of military-surplus peacoats out there!
So, what does a peacoat look like?
Traditionally, a peacoat is…of course!…navy blue. You can also find them in black (and some navies did make them in black, because the blue tended to fade over time), or even in grey, but navy blue is the most traditional colour.
A peacoat is a short to medium-length overcoat. The skirt or hem stops at upper-or-mid thigh level, and typically goes no lower. It features double-breasted button closure, usually, with eight buttons.
Today, it’s really common to find peacoats with six button closures…but traditional models always had at least eight, sometimes even ten, buttons. In my opinion – a peacoat that doesn’t have at least eight buttons is not a peacoat – for reasons that I’ll get to in a minute.
Along with the buttons, the peacoat also had a lot of pockets. Most peacoats will have four pockets – two inner liner-pockets, and two outer ‘slash’ or ‘storm’ pockets – diagonal or vertical hand-warmer pockets in the sides of the coat. Some REALLY old versions of the peacoat, dating back to Edwardian, or even Victorian times, had even MORE pockets. These aren’t as common today, but if you hunt around, you can find versions of the peacoat which have SIX pockets – the two inner liner ones, the two slash pockets, and then underneath them – two extra flap-pockets. They’re a nice touch, but they’re not very common today.
Peacoats also have sleeve-cinchers, to tighten the sleeve-holes to stop wind and rain getting inside, and (sometimes), epaulettes on the shoulders. Traditionally, epaulettes were used for affixing rank insignia, so some ‘civilian’ versions may not have them, but if you can get one with epaulettes…hey, they’re cool, OK?
Another distinctive feature of the peacoat is what’s called the ‘Ulster’ collar, which comes from the Ulster district of northern Ireland…where it’s cold…and wet…and windy. The ulster collar is a collar that can be popped up and wrapped around your neck and chest, and buttoned into place!
…you can’t do this if you only have six buttons on your peacoat. They simply don’t reach up high enough.
See what I mean?
It’s because of the ulster collar that peacoats always had at least eight buttons, because you needed them to reach high up enough that you could button the collar across your chest and neck in really inclement, wet, cold or windy weather.
This photograph shows, possibly, the most traditional peacoat style of all – with ten button closure, and the six pockets. Two inside, and four outside. Like I said, they’re hardly ever made today, so if you want one, you’ll either have to hunt really hard, buy it vintage, or get someone to make it for you.
Another variation of the peacoat which is hardly ever seen today (except vintage), is the so-called “bridge coat”. Peacoats were issued to the ordinary seamen. Bridge-coats were issued to the officers. The main difference is that a bridge-coat is knee-length.
Why? Because officers often spent hours standing on the bridge-deck of a ship – which in times past – could be an open deck with no shelter, fully exposed to the elements – so the coats were cut longer to cover more of their bodies. Seamen weren’t given the same cut of coat because they were were required to climb masts and rigging – impossible to do, if you can’t move your knees around because you’re wearing a thick, heavy long coat! So they were given the shorter peacoat instead.
Peacoats are great for when you need a medium-sized, but warm overcoat for bad weather. If they’re made of quality materials, then you don’t have to worry about getting them wet or anything – remember, they were designed to go to sea!
Buying a Peacoat
Finding an original, vintage-style peacoat can be a bit of a challenge today. Your best bet for real vintage styling is to buy an actual military-surplus vintage peacoat. Since they were built for harsh, seafaring environments, they’re very long-lasting. Most modern styled peacoats only have six buttons…which kind of defeats the whole purpose of the peacoat – the reason I like them is because you can button it right up to your chin if you want to – and if you want to be able to do that because it’s rainy or windy or snowing, then the more traditional eight or even ten-button variety, is best.
They should be made of wool fabric (traditionally a style of fabric called “Melton”). The best are 100% wool, but anything that’s majority-wool blend should be fine, too.
The Greatcoat
Another popular style of overcoat is the greatcoat. Originally created for the army, greatcoats are long, heavy, double-breasted, knee-length overcoats. They typically have four pockets (two inside, two outside), and six button closure down the front. Designed to be worn by officers in the field, greatcoats were cut longer so that they would keep their wearers warm during long days and nights out in the open, while on active military campaigns.
You can easily buy army-surplus greatcoats secondhand, and they cost next to nothing. My greatcoat is a dark green, Canadian army surplus from the 1980s and it’s fantastic in cold weather! The wool is thick and VERY heavy, but then, it was designed to deal with a Canadian winter – and it does that very well!
A classic, army greatcoat. As with the peacoat, you may find that yours has epaulettes on the shoulders, again for holding rank-insignia badges.
Buying a Greatcoat
Greatcoats are VERY easy to find. Any decent military-surplus or army-supplies or secondhand store, is likely to have loads of them! Just be prepared for how HEAVY they are! Since they were designed to be worn outdoors for long periods of time, greatcoats are made from very heavy wool fabric, and since they reach down to knee-length or even lower, they might be a bit cumbersome. But they work amazingly for keeping you warm!
The Trenchcoat
Aah, the trenchcoat! Arguably one of the most famous articles of menswear ever created! Rugged, stylish, sophisticated, mysterious, sexy, practical…everything that a man…or an overcoat!…should be!
The exact origins of the trenchcoat are not clear. Two companies claim to be the originator of the trenchcoat – Aquascutum, and Burberry (yes, that Burberry). While it is true that both companies did create, and manufacture rainproof overcoats, exactly who started doing it first, is unclear. Partially because rainproof overcoats actually predate both of these companies!
What is clear, however, is that the classic trenchcoat that we know and love, was being manufactured by at least the 1890s, and first saw military action in the Boer War. However, as a small, colonial war, the Trench didn’t receive much press. That would all change, ten years later, when the Great War began. Although it was designed before the Great War, it was its heavy use in the trenches of that conflict, that gave the new garment its name: The trenchcoat.
By the 1910s, how wars were fought, and the clothes they were fought in, had changed dramatically. Gone were the fancy bright scarlet ‘redcoat’ uniforms of the 1800s, and in came army-brown uniforms and khaki in the 1890s and 1900s. As the British Army prepared to invade France and bolster up their allies in the fight against Germany and Austria, a new type of garment was required for the new fighting conditions.
So, companies like Burberry (the most famous manufacturer) started cranking out a new type of coat.
The trenchcoat is iconic. You know what one is the moment you see it. But what makes a coat a trenchcoat?
To find out – let’s take the most famous trenchcoat of them all, as an example:
Worn by Humprhey Bogart in the 1941 classic “Casablanca”, this is the actual garment used in the film, as sold by Bonham’s auction house.
Trenchcoats were cut long – knee-length at least. They were double-breasted, with, like the peacoat – eight-button closure. They had epaulettes and cuff-adjustors, like the peacoat, and diagonal or vertical storm-pockets, like the peacoat. They had interior liner-pockets, like the peacoat…but that’s where the similarities end.
The trenchcoat was designed as a raincoat which could be worn by army officers on the Western front. The water-table in northeastern France and Belgium, near the German border was notoriously shallow. After digging just four or five feet, you’d hit ground-water…which was terrible news for soldiers who were expected to dig trenches at least six or seven feet deep! Combine this with heavy rain, and the conditions that many soldiers and officers had to fight in were absolutely appalling.
Because of this, the trenchcoat was designed to repel water. To do this, it was made of a waterproof cotton fabric known as Gaberdine (which trenchcoats are still made of today). For warmth, the coats were given interior liners of wool, which were buttoned into place. Since officers had to move quickly through the trenches and across the fields, the coats were made lightweight, to facilitate movement. To deal with the heavy rain, the coats were given cuff-cinches, ulster collars, buttoned back-vents, full-shoulder yokes to keep water off the wearer’s back…and a curious flap of fabric across the right chest, known as a storm-flap.
The exact purpose of the storm-flap has been lost to history, and there are two competing theories. The first is that the flap is a ‘gun-flap’ – it’s where you rest the butt of your rifle while firing, and the flap provided padding against the recoil of the rifle. The other – more likely explanation – is that the flap – which buttons across the collar and top of the coat – prevents rain from running down in between the buttons, and getting your clothes wet!…which is why it’s called a storm-flap.
The storm-flap is always on the right chest – and you can see in the trenchcoat worn by Bogart, just behind the right lapel.
Another of the trenchcoat’s most famous features is the belted back and front. Like with almost everything else on the coat – this was added for purely practical reasons – the belted closure was designed to give officers (and trenchcoats were originally sold only to officers) somewhere to hang things, stuff like whistles, grenades, spare ammunition, and so on. For this reason, brass D-rings were often sewn into the belts to provide dedicated anchoring points, and to stop things from sliding around. Not all trenchies have this feature anymore, but they’re an interesting throwback to the coat’s military history.
Last but not least, the trenchcoat always had a buttoned vent. The ‘vent’ is the split or open flap at the back of the coat or jacket. A hidden buttonhole and button were sewn into the back of the trenchcoat so that you could, if you desired – keep the vent buttoned. Like with almost everything else on this coat – it was designed to keep off rain and snow.
That said – the trenchcoat is not really a cold-winter coat. It’s primarily a raincoat. If your winters aren’t excessively biting, you could quite easily get away with wearing a trenchcoat as a winter overcoat, but for anything involving snow, you’ll probably want something heavier, since the cotton construction (designed to shed rain), won’t be thick enough to deal with sub-zero temperatures, in most cases.
The Popularity of the Trenchcoat
More than almost any other garment on this list, the trenchcoat is iconic. It conjures up images of warfare, bravery, fighting tooth-and-claw. It also makes you think of the Golden Age of Hollywood, between the 1920s to the 1950s, of private detectives and shady characters, of guys who go around with watches hidden inside their coats, and sinister gangsters hiding shotguns inside the linings!
The coat proved so popular that, even before WWI was even over, Burberry started selling civilian versions of the trenchcoat directly to the public. American soldiers arriving in France in 1918 fell in love with the coat, and brought it back with them stateside, which led to its adoption in Hollywood…and anything big in Hollywood spreads around the world!
Buying a Trenchcoat
The trenchcoat is so iconic that almost every major fashion-house has produced a version of it at one point or another. If you want to be REAL traditional, you can buy one from Burberry, or Aquascutum…but be warned that they are EXTREMELY expensive, and that retail-prices of $1,800 – $2,500+, are not uncommon!
This being the case, it’s probably better to buy one either vintage or secondhand, from a decent vintage clothing store, or to buy a trenchie from another manufacturer – making sure, of course, that they have all the necessary details that make it stand out as a trenchcoat…otherwise, what’s the point?
Trenchcoats come – broadly speaking – in four colours: Black, navy blue, grey, and tan. Tan, camel, or khaki, is the most traditional colour for a trenchcoat, since it was designed to go with the original colour of the British field-dress uniform of the First World War. If something like that is a bit too stand-outy for you, however, then navy blue, or grey variations are also available. There are also black trenchcoats, but black is rather overrated as a trenchcoat colour sometimes.
The Chesterfield Coat
Available in both single and double-breasted varieties, the Chesterfield is a formal, knee-length overcoat, with slash, or flapped pockets, and is characterised by the contrasting, dark velvet collar across the back and sides, and the breast-pocket below the left lapel.
Not all modern Chesterfield coats have the contrasting velvet collars, but if you’re going for the traditional look, then try and find one with such a collar. Despite its current status as a rather formal overcoat style, the Chesterfield was originally considered to be a more casual option! When it was created in the 1800s, it was largely worn as an alternative to a coat that has almost completely fallen out of fashion – The Frock Coat!
I won’t cover frock-coats here as a separate entry, but it was the main type of overcoat worn between the Regency era of the 1810s, up until the Edwardian era, of the 1910s, a span of roughly 100 years.
The frock coat was heavy, and long, reaching knee-length, or even below! It was seen as cumbersome, old-fashioned, and impractical. This was largely due to its flaring, full skirted hem. The excessive fabric used to make it just wasn’t fashionable anymore!
Overall, the Chesterfield was just more practical. It had more pockets, and it had a straighter, less flamboyant cut, which didn’t use so much fabric. It basically did everything that the frock coat did, but with less fabric, and more options!
Buying a Chesterfield
Chesterfield coats are basically the quintessential look, when most people think of an ‘overcoat’ – as such, any decent outfitter or retail store is likely to stock them. Keep in mind that chesterfields are designed to be long-draping, however. A hem that doesn’t reach at least the knee, can’t really be called a chesterfield. On some older chesterfields (like, if you buy vintage), can drop right down to the ankle, although this is rare on most modern coats.
Flight Jackets
A relative newcomer to the menswear scene is the fighter jacket and bomber jacket, which first appeared in the 1910s. These are typically gathered under the overall title of ‘flight jackets’.
The First World War was the first major conflict to see heavy use of aircraft. Early fighter, bomber and reconnaissance aircraft, used by the German Imperial Airforce, and the Royal Flying Corps (RFC, later the RAF), often featured open cockpits. Flying at heights of several thousand meters, windchill, exposure and cold temperatures were a big problem for early aviators.
To stop pilots from dying of exposure, or from getting frostbite, tailors started creating new types of jackets and coats for them, which were specially designed to take into account the peculiarities of this new occupation.
Bomber jackets were typically made of leather. Windproof and extremely durable, leather was unlikely to rip, it would repel water, and since leather doesn’t have any weave – it was the most effective way to block wind.
The only problem is that raw leather is rather uncomfortable against the skin. To combat this, bomber jackets were given soft sheepskin, fur, or wool linings inside. This prevented the pilots and bombers of WWI and WWII from freezing to death while on long-range missions.
Since pilots spent most of their time seated, with their jackets zippered or buttoned shut, bomber jackets were designed with pockets on the outside – usually two breast-pockets, with buttoned flaps to stop things falling out – and two lower flapped pockets, or even just simple slash pockets.
When the first flight-jackets were created, open cockpits were the norm. Because of this, flight-jackets were designed with cinched-in waists, cuffs, and even collars! Elasticated, gathered-in hems and cuffs were common. Wind-flaps or storm-flaps (such as on the relatively-recently-invented trenchcoat!) were also used.
By buttoning over the gaps in a jacket or coat that existed near the collar or around the chest, the storm-flap prevented wind and rain from getting inside a pilot’s uniform. To further improve things, in WWII, flight-jackets were made with zipper, to ensure an even more windproof closure.
Another common accessory used to reduce the wind and cold was the humble white, silk scarf. It’s an iconic part of the uniform of a WWI-era aviator! The scarves were used to keep the neck and chest warm, and to stop wind from blowing down inside your clothes.
The soft, silk fabric also prevented the fur or sheepskin lining of your jacket from scratching, rubbing and chafing your neck – which could happen a lot to WWI pilots, because without RADAR on their aircraft, they were constantly turning their heads left, right, up and down, to scan the skies for enemy aircraft.
When you probably had gloves on to keep your fingers from freezing off, the last thing you wanted to do was to have to remove them every few minutes to scratch an annoying itch on your neck!…the scarf prevented this from happening.
Flight-jackets became immensely popular after WWII, and greasers and bikers in the 1950s and 60s adopted the flight-jackets that their fathers wore during the War as part of their ‘look’, for purely practical purposes – the close-fitting cuts, convenient pockets, leather construction and windproof designs made them the ideal garments for motorcycle-attire!
Buying a Flight-Jacket
Due to their rugged, modern appearance, flight-jackets are still widely available, either at vintage stores, or at modern retailers who produce their own variations on them. That said, flight-jackets have kind of morphed into motorcycle-clothing, so the two may be used interchangeably. Flight-jackets are typically wool or sheepskin-lined, for warmth, and with elasticated or belted waists and cuffs, to hold back the wind.
Partially due to the price of their products, Montblanc tends to be a very polarising manufacturer of writing instruments and accessories. They’re either a company that you love, or a company that you love to hate, or a company that you have a love-hate relationship with.
Personally, I like Montblanc products. I’m not so sure that I LOVE them – certainly not for the retail prices – but I do like them, for the styling and the designs that they come up with for their various products, and their simple elegance, which has stood the test of time. Not for nothing, after all, is Montblanc one of THE most faked brands in the world, right up there with Rolex, and Louis Vuitton – after all, you don’t fake something that isn’t worth faking.
In this posting, I’ll be talking about another addition which I made to my humble Montblanc collection, shortly before all this coronavirus malarkey started going off around the world – and that addition isn’t a pen, it isn’t a watch, or even a piece of jewelry – but rather – an inkwell!
Montblanc has been making inkwells to go with their pens for many years, and if you search Google Images, there’s a surprisingly wide range of Montblanc inkwells out there, made of crystal, glass, brass and, if you can find one to buy – even solid silver! But the one in this posting is the one Montblanc inkwell that I’ve always wanted to own.
I won this particular inkwell at auction shortly after the start of the year, and just a handful of weeks before everything went into lockdown over the coronavirus. I’d been chasing an inkwell like this for years, ever since I’d seen photographs of it online, and I finally had my chance to grab it!
I wanted this inkwell specifically because of its design and styling. I liked the fact that it was big, black and chunky – substantial – heavy – and decidedly executive-looking – like it belonged on the power-desk of some sort of high-ranking CEO or something like that. I also liked the black and gold detailing, which was clearly designed to match the black and gold detailing of Montblanc’s classic flagship pen – the infamous No. 149. The two items – the inkwell, and the pen – were clearly designed to go together – and for that reason alone (among perhaps…a few other reasons!), I just had to have it!
The inkwell is not a standalone piece, however. It was originally sold as part of a four-piece set. The complete set included a paper-knife, a desk-stand for the 149 fountain pen, a rocker-blotter, and finally – the inkwell. All four pieces had the same basic design – black and gold, with clear resin in between to break up the colours.
As for how old the inkwell is, I’m honestly not sure. My research suggests a manufacture-date of the late 80s or early 90s, but that’s all I’ve been able to figure out. I believe that the inkwell (and the matching blotter, pen-stand, etc) all came out at the same time, as a sort of limited-edition thing, specifically designed to tie-in with the styling of the famous Montblanc No. 149, but that’s all I’ve been able to surmise. That being the case, they are relatively scarce.
Cool Inkwell! I Want One!!
Having seen the inkwell, you might be wondering – how much do they go for? The price varies. I’ve seen everything from $550, to $900, to $1,000+, on eBay. I’m glad to say I didn’t pay anywhere NEAR that for my inkwell. Despite that, I was lucky enough to buy the whole set, with the box, and everything that went along with it! As far as I’m aware, they’re no longer sold by Montblanc directly, (and aren’t mentioned anywhere on the company website), so if you decide that you do want one of these inkwells, then you will have to buy one secondhand.
So, if you CAN only buy these beautiful black and gold inkwells secondhand – what should you be looking out for?
Given that the inkwell isn’t nearly as well-known as the fountain pen which uses it, it’s unlikely that you’ll ever see a fake Montblanc inkwell, but even so, it’s nice to know what the inkwell comes with, so that you’ll know whether or not you’ve got the full set.
Originally, it came in a black and white MONTBLANC cardboard box, with foam lining and the obligatory Montblanc user-manual. It also comes with a fascinating little gadget which I’ve never seen before…or since. It’s a little black plastic spout or funnel, with a detachable screw-on ring, which goes over it. After a bit of umming-and-aahing, because its function was not explained in any paperwork that I could find, I realised that this screw-down funnel or spout is designed to screw onto the neck of a Montblanc ink bottle! The contents of the bottle can then be decanted into the inkwell through the spout, thereby minimising the risk of spilling any ink!…Pretty nifty!
The inkwell also comes with a removable, round-bottomed, clear plastic inkwell liner-cup – this is to stop any ink that you put into the inkwell from staining the clear resin midsection of the inkwell – possibly permanently – depending on the ink you like to use! Given that this is the function of this clear plastic liner-cup, it’s probably a good idea to check that your inkwell has this, before you bid on it at auction or buy it online. Otherwise, you could end up with an inkwell full of ink-stains, which would be irritating, to say the least!
In this posting, we’ll be looking at the birth of the ‘Golden Age of Travel’, and exploring how the changes and innovations made to transport and communications during the 19th century, gave birth to the first great age of travel and tourism. We’ll be looking at what tourism and travel was like when it first became available to ordinary people, how the tourist experience differed between then and now, and what we might have lost and gained during the journey.
‘The Golden Age of
Travel’ is defined as the era from the second half of the 1800s up to the
early 1940s, when cheap international travel and the tourist trade really
started taking off, thanks to technological and transport advances made during
the Industrial Revolution. It was an age of wonder and excitement, and was the
first time that ordinary people were able to travel in style, speed, safety,
and comfort. It was also the first time when people could travel strictly for
pleasure at reasonable prices.
The Second World War, and the subsequent geographical,
technological and political changes which it forced, irreversibly changed the tourist
landscape, making the difference in the travel-experience between the first and
second half of the 20th century almost as different as night and
day.
The changes brought about by the War made it impossible to
return to the elegance, excitement, wonder and grandeur of the pre-war travel experience
– it’s something which exists only as a ghost, which lingers in old
photographs, antique luggage, hotel and steamship-tickets and the stamp marks
found in fading passports. So what was it really like? What was travel and tourism
like before and after the War? How did pre-war travel differ from post-war
travel, and how did post-war travel morph into what we know today? In this
issue, we’ll find out together, on our very own tour through history!
So stamp your passport and clip your tickets. Strap down
your trunks and hold onto your Baedekers. We’re about to take a trip back into
history. Our ancestors may not have been jetsetters, but they were
globetrotters, who still managed to explore the world in a haze of smoke, steam
and gasoline. A flag waves, a whistle blows. It’s time now to depart! All
aboard!
Before the Golden Age of Travel
For much of history, travel was slow, boring, painful,
expensive and dangerous. People rarely travelled any great distance unless it
was absolutely necessary, and almost never for pleasure. It was not uncommon
for people to be born, live, and die all within the confines of the communities
of their birth, or within a very few miles thereof. Travel meant days and weeks
on the road. It meant needing money to pay for bed and board, it meant having
to guard yourself against those who would wish you harm in any number of ways. Thieves
and robbers on the public roads also meant that you were restricted in your
travel, largely to daylight hours when it was easier to protect yourself. This
limited your travel-time each day, and made travel even slower. And this if you
were poor. If you were rich, travel was slightly easier, but still not without
considerable risks.
Even if you had the money to allow for travels, and even if
you did travel for pleasure, the journey was still slow, costly and potentially
dangerous. Money had to be paid for coachmen, horses, carriages, food and
lodgings, and servants. And there was the constant danger of being attacked
during your journey. Travelling ‘in style’ told every highwayman along your
route that you were rich, and that attacking and robbing you would likely gain
a highwayman rich rewards for his efforts. This put you in just as much danger
of assault and even death, as someone who had almost no money at all. And the
manner of your travel did not change these odds at all.
For most people, travel meant walking. And walking was
slow. Walking made you vulnerable. Walking along a country road, or through a
town, city or village left you open to all manner of dangers – cutpurses,
footpads, pickpockets, muggers, rapists, beggars, robbers and thieves who would
all do their level best to relieve you of your worldly possessions. But for
most people, this was the only way to travel from A to B – horses were
expensive to keep, feed and maintain. And only the wealthy could afford
carriages. And even those were not as safe as one might think.
Travelling in the relative speed and comfort of a private carriage or stagecoach did not guarantee you protection. Coaches or carriages which ran regular routes, and even private carriages running along busy Highways, risked being held up. Highwaymen created roadblocks to hold up coaches and force them to stop. Once a carriage was stopped, they could rob its passengers of their valuables and money, and even kill them if they wished. Famous highwaymen made names for themselves, like Dick Turpin, who was a notorious outlaw in Georgian-era England.
If you wanted protection on long journeys, you had to
either bring your own weapons and know how to use them, or else pay for armed
coach guards, who protected you with swords and loaded blunderbusses, or later,
shotguns. To this day, sitting in the front passenger-seat of a motor-vehicle
is still called “riding shotgun” – an allusion to the armed coach guard who
would sit next to the driver of a stagecoach, to provide armed protection in
the event of a holdup.
For all these reasons and more, for much of history, most
people did not travel great distances. And if they did, it was rarely for
pleasure, but mostly out of necessity – to escape disease, danger, poverty, a
troubled home life, or to find employment or other business related reasons.
What were the changes that happened in society and technology that allowed
people – ordinary people – to travel for pleasure for the first time in their
lives? And what was it like to travel and go on a vacation during this first
great age of travel? What allowed this to happen?
The Birth of Mass Transport
Widespread travel for pleasure would not be possible
without a corresponding development of means of cost-effective mass transport.
Spurred on by the Industrial Revolution, the second half of the 19th
century, saw efficient, cheap mass-transport becoming a reality, and for the 19th
century, and the first half of the 20th century, efficient, cheap
transport was symbolized by two great new inventions of the age: The
steam-powered locomotive, and the steam-powered, ocean-going passenger-ship –
the ocean liner! Where did these machines come from, and how did they change
the world?
Steam Boats & Steam
Trains
The two vehicles which would allow for the movement of
large numbers of people with ease and economy were both invented in the early
1800s. By the start of the Victorian era, the first passenger ships and
locomotives powered entirely by steam were plying trade around the world.
Locomotives and steamships both originated in England, and it was this steam-powered
transport technology that gave birth to the modern travel industry.
Conflicts during the 19th century such as the
Crimean War, the Chinese Opium Wars, the American Civil War, and the Franco-Prussian
War of the 1870s were the conflicts that laid the groundwork for the expansion
and improvement of steam technology. Expansion of railroad networks caused by
the need for rapid troop movements now allowed for swift, efficient movement of
civilian passengers.
Advances in steamship technology for wartime uses now
allowed for faster, safer and more comfortable ocean travel in peacetime. No
more was it about sleeping in hammocks on rocky, creaky, cramped sailing ships
that relied on the wind and weather. Now you could steam across the Atlantic or
the Pacific in a berth, or a cabin of your own, in comfort and style, lulled to
sleep by the throbbing of the powerful steam-pistons deep beneath the ship,
that turned paddle-wheels, and later, screw-propellers, which drove great
vessels across the ocean at speed.
No more was travelling by train a smoky, dusty, sooty
experience, full of coughing and gasping for air in uncomfortable, windswept,
open-topped carriages; now you could travel on a train with enclosed, corridor
carriages with separate day-compartments, or if the journey was an overnight
ride, in the relative comfort of a sleeper-car. If you found yourself hungry or
thirsty, dining-cars and kitchen-cars provided you with food. If you wanted
somewhere to relax, the lounge-car provided you with comfortable seating and
bright lights to read, write, smoke, or chat with friends on the journey.
By the late 1800s, travel was safer, faster, cheaper and
far more comfortable than lurching around inside a horse-drawn carriage with
little suspension. It was also open to a wider range of people. You paid a
ticket according to your means. First Class, Second Class, Third Class, or on
ocean crossings – Steerage. ‘Steerage Class’ on ocean liners got its name from
the fact that third-class passengers were often housed at the back of the ship,
and deep in the hull, in the smallest cabins, the closest to the ship’s
engines, power generators and steerage mechanisms. First- and Second-Class
passengers got cabins on the upper decks, with the bright sea-views, away from
the throb and rumble of the engines.
Motorised Transport
Along with steam-powered transport, the rise of cheap,
personal and public motor-vehicles in the early 1900s also contributed to the
Golden Age of Travel. Vehicles like motorcars, motorcycles and buses freed
people from the restrictions of train and streetcar timetables, allowing them
to make the best and most use of their free time. Planning trips and holidays
around the country or continent became much easier and faster when each person
or family had their own vehicle with which to travel in, which was not
dependent on such variables as horses, timetables or weather, and which was
much faster and more comfortable than previous methods of transport.
Cheap cars for the ordinary middle-class worker such as the
Model T and Model A Fords in the United States, the Austin 7 in England, and
the Volkswagen ‘Beetle’ in Germany meant that more people could go more places,
and weekend drives to explore locations previously impractically far from home
could now be accomplished in a few hours. Trips to the country or to other
cities and towns were now easy and simple. And a car was easier to maintain and
faster to start than a horse and carriage!
The Birth of the Golden Age of Travel
Along with steam-powered transport, the rise of more
personal transport also contributed to the birth of the Golden Age of Travel.
Starting in 1885, you had the world’s first modern bicycles, and increasingly
as the Victorian era came to an end, the rise of the motorcar. Able to take
people places that the railroads could not reach, these two inventions further
improved people’s ability to travel and explore. This led to an increase and
improvement of road networks.
Travelling around the country and going from city to city –
road-trips – became popular. Rest stops, motels and diners popped up around the
United States. The famous “Route 66”
in the United States stretched from Chicago, Illinois all the way to Los
Angeles, California, passing through many cities and states on the way, making
it a popular road-trip and an easy way to visit many famous cities and towns
along your tour of the American interior.
With the infrastructure for safe, speedy, comfortable and cost-effective mass transport now in place, and social changes such as the rise of the five-day working week, it was now possible for people to take time off, and time away from home and work, and to start travelling and go on holiday for the first time in history. The Golden Age of Travel had begun!
Now, it was easy to travel to such places as the
countryside, the beach, the bay, or to take day trips into town to go window shopping,
to buy gifts, necessities for the house, or to explore cities and towns far
from home. It was possible to live far from the city in a new, quiet suburb and
commute into town. Journeys that might once have taken days or weeks could now
be done in hours or minutes. The amount of free time available to people was
beginning to grow. Holidays became popular, with more people getting time off
work. People with time off work and money to spend wanted to go travelling, and
the number of exciting destinations to visit was growing, catering to all
levels of tourist, as were the ways to get there, and places to stay, once you
arrived.
As the 20th century progressed, travel became faster still. With the opening of the Suez (1869) and Panama (1914) Canals, long detours around the horns of Africa and South America were eliminated for all but the largest of ships, slicing days off of voyages to Asia, the Middle East, the Mediterranean and the coastal cities of the United States.
To lure people away from their homes to far flung
destinations, travel agencies, railroad companies and shipping lines produced
vivid, colourful posters advertising luxurious travel to the edges of the world
in fast, sumptuously appointed ocean liners and railroad-carriages, fast
connecting trains and short crossings; anything to part a potential traveler
from his living-room, and the money from his wallet.
Steamships of all sizes now plied the oceans, seas and
rivers of the world. No longer was sailing from England to the Continent
(Europe) a dangerous, costly endeavor. Now, you could buy a ticket. You could
get on a ferry and in steam-powered speed and comfort, take a trip across the
English Channel to France. With rail-links around Europe, cities like Paris,
Berlin, Rome, Milan, Venice and Pompeii became great tourist attractions which
were easily accessible thanks to efficient public transport services from the
port cities of France, Denmark, Germany and Italy. People could travel all over
Europe, America, and Asia, in speed, comfort and safety for the first time in
history. All this was what contributed to the birth of the Golden Age of
Travel.
Packing for a New Age
As the 19th century progressed into the 20th
century, travel became cheaper still. After the hell of the First World War,
the United States of America tightened its once open door policy on
immigration. No longer were shiploads of poor European refugees allowed to be
dumped on Ellis Island for large-scale processing. The ending of this policy in
1924, and the subsequent introduction of immigration quotas (which allowed only
a set number of people from different countries or backgrounds to migrate each
year to specific countries) meant that steamship companies, which had once made
thousands of pounds and dollars a year in the immigrant trade, suddenly had
their main passenger base swept out from under them!
In the new, optimistic age of the “Roaring” 1920s, a
solution had to be found! The answer was ‘Tourist
Class’. Ships no longer transported human cargo from A to B. They now
transported fare-paying passengers, or ‘tourists’
in comfort, from their home ports to destinations far and wide around the
world, for a reasonable price. Cheap tickets were snapped up by eager
holidaymakers with free time on their hands, and international, ocean going
travel began!
Travelling by ocean liner to cities and countries all over
the world often meant long sea-voyages! Very long! London to Paris might take half
a day by steamer and rail. London to New York might take a week or more.
Melbourne to Singapore might take three or four days. But it was for the
mammoth, long-haul voyages, such as those from Naples to Shanghai (eight weeks
by steamer!) for which a whole new kind of luggage was required!
These days, we have check-in luggage and carry-on luggage,
and it’s all weighed and measured and assessed and tagged. You can only have
10kg carry-on and 40kg check-in and if you want more you have to pay for more,
and you have to repack, redistribute and reorganize everything over and over
again, so that the plane doesn’t crash into the ocean and sometimes you wonder
whether going on holiday is even worth it?
Packing for a long voyage during the Golden Age of Travel
was just as challenging, although those challenges were of a rather different
nature. One benefit of travelling by steamship was that there weren’t really
any luggage weight restrictions. So long as it fit in the hold, or in your
cabin or suite on board ship, you were fine. But even for short holidays, you
often brought mountains of luggage. Remember that you did not go on ‘holiday’
or ‘vacation’, you went on ‘tour’ –
hence ‘tourist’.
You expected to be away from home for days and weeks at a
time – and that might be just the ocean voyage, before you even reached your
destination! And having spent days and weeks at sea, you weren’t going to spend
just a couple of weeks at your destination and then sail for days and weeks,
all the way back home again! You expected to be away for a long, long time. A
month or more, at least! So the kind of luggage that our grandparents and
great-grandparents brought with them on their epic journeys was significantly
different from what we would pack and carry today. So, exactly what kind of luggage
would you expect to bring on a long ocean voyage?
The Steamer Trunk
The mainstay of luggage for most of the 20th century, and indeed, for most of history, was the trunk – large, wooden boxes into which everything you might require for a long voyage was packed. Considering that an ocean voyage to any destination could take anywhere from a few days to a few months, such large personal storage space was deemed necessary to fit in all the clothing, accessories and other related travel paraphernalia that might be required for a long time spent at sea.
Trunks were designed to be tough. They had to withstand being hoisted by cranes, roped up in nets, and being stacked up, lashed down, and rocked around at sea. They had to put up with rough train rides, carriage journeys, motor trips, being dragged around and shunted from place to place by porters, bellhops and stewards. To protect against damage, they were reinforced with wooden ribs and braces. This was to prevent cracking and warping from the weight of extra luggage stacked on top.
Rivets and studs were hammered into corners and joints to
strengthen them. Exposed wooden parts of trunks were varnished to prevent
wood-rot, or were lined on their exteriors with leather or canvas to provide a
weatherproof finish. Corners were again reinforced with brass plates which were
again, riveted on, to prevent damage from abrasion and rough handling. Catches,
locks and clasps were made of brass. This made the trunks all pretty and
attractive, but it also came with an added bonus – unlike steel, brass does not
rust, so provided further protection against the moisture and corrosion of
seawater.
The Suitcase
These days, most people pack their clothes and belongings into roll-on cabin-baggage when they go travelling. The days of the actual ‘suitcase’ are steadily disappearing. But there was a time when people who went on holiday carried suitcases, and these cases actually contained the suits which provided them with their names.
A typical suitcase of the Golden Age of Travel, from the
late 1800s through the early 20th century was made of leather or
canvas. It came with two lockable clasps to hold it shut, and depending on the
style, may or may not have come with additional leather belts that were
strapped over the suitcase. These belts provided a failsafe mechanism if the
clasps were broken, but the belts (which wrapped around the entire suitcase)
could also be removed from the belt loops around the suitcase and linked
together. They could then be used to strap the suitcase on top of other
suitcases or luggage, to keep them together, or to secure them to the roof or
luggage-rack of a motorcar or horse-carriage during transport, if other storage
space was not available.
The Gladstone Bag
Sturdy, of large capacity, secure and easy to carry,
Gladstone bags were the backpacks of their day. Everyone who travelled anywhere
on a regular basis was likely to have at least one of these, and like
backpacks, the humble Gladstone was used to carry as wide a range of items as
you could possibly imagine.
The Gladstone was invented by a London bag-maker in the 1800s and named after globetrotting British prime-minister William Ewart Gladstone. It was immediately popular because of its large capacity, and secure, gate-mouth opening. Reinforced with a metal frame, the bag could be opened, and remain open while it was packed. This made it ideal as an overnight-bag into which anything could be packed with haste.
Once packed, the bag was closed, locked, and then simply
carried away. No consideration had to be given to how the bag’s contents might
shift upon movement, since it did not have to be tipped onto its side to grasp
the handle, unlike a suitcase.
This was likely the reason why this style of bag was so
popular with physicians, who commonly carried sharp, dangerous and breakable
objects in their medical-kits, which were likely to be broken if they shifted
unexpectedly inside a backpack or other type of luggage. The gate-mouth opening
also meant that a doctor’s hands were free to dive in and out of the bag to
retrieve whatever instruments and medicines might be required in an emergency,
without having to constantly pull the bag open over and over again.
The Portmanteau
‘Portmanteau’ is a French loanword for a type of luggage which has all but disappeared from travel in the 21st century. You never see these things anymore unless they’re in museums or in period movies and TV-shows.
Literally meaning “Coat-Carrier” (‘porte’ as in ‘portable’, and ‘manteau’ meaning ‘coat’), or also called a ‘wardrobe trunk’, this style of trunk was used for carrying your more expensive clothes – your best dresses, favourite suits, your dinner suit or your white tie and tails. It was stood on one end, and then opened up, looking for all intents and purposes, like a portable closet, complete with hanger-rack and separate drawers and compartments for shoes, shirts, trousers, socks, underwear and space for coats, trousers and jackets so that they wouldn’t get crushed during long journeys.
Portable
Word-Processing – Vintage Style
Then, just as now, our globetrotting forebears often wished
to keep some sort of record of their travels, or wished to inform others of
their travels. Or had a need to communicate and write to others during their
travels.
If we had to do this today, we’d bring along an iPad or a
laptop computer and seek out the nearest establishment boasting free WIFI. And
in their own way, our grandparents and great-grandparents had their own methods
for keeping in touch and connected with others.
The Writing Slope
The reservoir pen which could be carried around in your pocket, and used anytime, anyplace, anywhere, at a second’s notice, is a relatively recent invention. If you went travelling any time before 1900 and you needed to write while away from your desk, chances are that you probably had one of these things packed in amongst your trunks, boxes and cases:
Writing-slopes were the laptop computers of their day. They
carried everything that you required for on-the-move communications: Ink, pens,
paper, stamps, sealing-wax, seals, spare nibs, matches, envelopes, pencils,
paper-knife, eraser, paper-folder, and storage for money, letters, important
documents and valuables. The writing box or writing-slope shown here is typical
of the more expensive, up-market writing-slopes of the 1800s. It comes complete
with desk accessories in elephant-tusk ivory, inset matchbox and inkwell, and an
automatic deadlock security system (and the original key!).
Half-closing the writing-box exposes three,
flat ivory panels, or an ‘Aide Memoir’. Here, simple notes and reminders could
be scrawled on the ivory slates in graphite pencil. They could be erased using
a moist cloth, and the ivory could be reused.
Writing boxes were common travelling companions of the
educated globetrotter or travelling businessman of the 19th century.
They died out at the turn of the century when they were replaced by fountain
pens, and by yet another common piece of luggage which might be brought with
you on a long voyage during the early 20th century.
The Portable Typewriter
Invented in the 1870s, early typewriters were bulky, heavy things. Weighing up to 15-20kg (about 30lbs+), they were impractical as portable writing machines. As travel increased towards the end of the 19th century, and as typewriters became better designed and more commonplace, a market was realized: Portable typewriters would surely prove popular with the travelling public, if only such a machine could be produced!
The first portable, laptop typewriters came out in the first decade of the 1900s, but their golden age started in the 1920s. Portable typewriters were manufactured by Remington, Royal, Underwood, Corona and countless other typewriter companies. They were snapped up by reporters, authors, journalists, travel writers and businessmen who often had to travel as part of their jobs, and needed to be able to correspond swiftly and neatly while on the road.
This Underwood Standard Portable from the second half of
the 1920s was typical of the portable typewriters carried around the world by
tourists and writers during the Golden Age of Travel. Newspaper reports, story drafts,
letters home, business reports and magazine articles were all typed up on
machines like this and sent home across the seas by untold thousands of
writers, eager tourists, journalists and businessmen during the early 20th
century.
Oddments and
Accessories
Along with large pieces of luggage like suitcases,
Gladstone bags, trunks and portmanteaus, our globetrotting predecessors also
brought with them all manner of smaller boxes, bags and cases for holding
almost everything you could imagine. Shoeshine kits, collar-boxes, handbags,
hatboxes, stud-and-link boxes, and toiletry cases carrying everything from
straight-razors to talcum-powder.
Such large amounts of such small luggage were often packed inside trunks and suitcases, to separate and organize one’s belongings on long trips, but also to keep the items most commonly used closer to hand. Until the 1930s, men’s shirts came in general ‘one-size fits all’ style with longer sleeves, and without attached collars and cuffs (called ‘tunic shirts’). The separate collars and cuffs were stored in collar-boxes. The studs and links to attach these to the shirts were stored in jewellery cases.
As it would be impossible to store all of one’s belongings
into a ship’s cabin or berth, or on a railroad-carriage, only the trunks and
cases carrying the most essential items were stored close-at-hand. Clothes and
other belongings that would not be required until the ship or train reached its
destination would be stored in the hold, or in the luggage vans coupled to the
backs of trains.
Classic Luggage
Stickers
Hotel chains as we know them today did not exist in the
early 20th century. Every hotel in town was owned and operated
separately, and competition between them was fierce. Every hotel had to be
grand, classy, have a catchy and elegant sounding name, and have everything
that the guest might desire. Hotels that wanted to stand out had everything
custom made. Everything from the stationery, silverware, glassware, china and
towels were emblazoned with the hotel’s monogram or logo. And of course, every
hotel had to have its own distinct and immediately recognizable set of stylish
and colourful luggage-stickers.
Luggage stickers were once like tattoos – unique,
colourful, and evidence of a varied and well-travelled past. Just like how
sailors who went to sea came back festooned with ink, a steamer-trunk, set of
suitcases or a well-travelled Gladstone bag often returned home plastered from
lid to base in stickers. Stickers came from almost anywhere and everywhere:
from train stations, stickers from shipping companies, and stickers from
hotels.
Stickers contained information such as the name of a
trunk’s owner, his room number, the train which he had taken, or the name of
the ship he had boarded. And if he had boarded a ship, then the sticker might
also have his deck and cabin number. If he was on a long train journey and his luggage
was stored in the goods-van at the back of the train, his trunk sticker might have
his carriage or compartment number.
Today, luggage-stickers are just ugly, black-and-white barcoded,
print-out, rip-off, stick-on-and-done affairs. As soon as you arrive at your
destination, it’s immediately your mission to remove these stickers as soon as
possible, lest their blandness offend the eyes and sensibilities of the
delicate. On the other hand, vintage luggage stickers were works of art. They
often had bold letters in artistic fonts and colours which spelt out the hotel
name, the ship name, the city or port where the sticker was plastered on, and
came with decorative pictures or photographs as part of the design. They were
like miniature travel posters in their own right and passengers often kept the
stickers on their luggage as proof of their travels, and as proof of the extent
of their travel. And also because it gave their luggage ‘character’, with the
various stickers creating a rainbow patchwork of paper on the bland leather
surfaces of their cases and trunks.
Hotels During the Golden Age of Travel
The rise in the frequency of travel from the late 1800s to the start of the Second World War saw a corresponding rise in the number of hotels. A number of the world’s most famous hotels trace their roots back to this first great age of tourism. In the United States, the Stanley Hotel (1909) was opened by Freelan O. Stanley, co-owner of the famous Stanley Motor Carriage Co., which produced the well-known Stanley steam-powered automobiles of the 1900s-1920s. Notoriously haunted, it gave Stephen King the inspiration for one of his most famous horror novels: “The Shining”. Its guests included Titanic survivor Margaret Brown, musician J.P. Sousa, and President Theodore Roosevelt.
In New York City, the famous Plaza Hotel was opened in 1907. In London, the Langham and Grosvenor Hotels were opened in 1865 and 1862 respectively. The Ritz (1907) and the Savoy (1889) in London remain two of the most famous hotels in the world. In Singapore, Raffles Hotel opened in 1887. But as grand and famous as all these structures are, they all owe a debt to one hotel which has sadly faded into history, no longer operating, and which has been overshadowed by the fame of all the other hotels that have come after it.
The Tremont Hotel, in Boston (closed 1895), one of several hotels named Tremont House or Tremont Hotel scattered around the United States (there were five in total) was the first hotel in the world as we would know them today, which offered amenities like lockable bedroom doors, indoor plumbing, indoor heated baths, indoor toilets, a proper reception area, and bellhops to carry the mountains of luggage mentioned earlier on. Opened in 1829, it predated many of the most famous hotels in the world which still operate, and paved the way for standards in hotel amenities and services which we take for granted today.
As the numbers of hotel guests started to climb as more
people found more time and more spare cash with which to travel, hotels started
competing with each other. To lure in more customers, they came up with more
and newer amenities, better service and furnishings, and all kinds of features
and extras which today are considered standards across the hotel industry. In
some respects, the service was also much better than what we might be used to
today.
These days, we arrive at the hotel and check in. Then, we’re
given our key-cards and told our room numbers and left to it, and that’s
basically it. In older times, when hotel competition was fierce, this level of
‘service’ was not always acceptable. Back when even a short journey meant
bringing a small cartload of luggage with you, the front-desk clerk would ring
the counter-bell (similar to the one shown above) to summon a youth who would
take your room key and some or all of your luggage, which he either carried
upstairs, or loaded onto a hotel luggage-trolley and took upstairs in an
elevator. This boy (they were traditionally young men) got his name from the
very bell used to summon him – ‘Bellhop’. Once at your room, he unlocked the
door for you, helped you carry in your luggage, handed you your key and then
left you to your thoughts.
A luxury hotel of the era would’ve come with such amenities
as a lobby, hotel restaurants, lounges, bars, and even a ballroom, where a
house orchestra or jazz-band would provide music which you could dance to, if
you wished. Hotels which had their own house-bands included the St. Francis
Hotel in San Francisco, the Savoy Hotel in London, the Hotel Pennsylvania in
New York, and Raffles Hotel in Singapore. Big names like Glenn Miller and Benny
Goodman would often broadcast live from the Pennsylvania Hotel at set times
each evening, for hotel guests to dance to, and for people at home to listen to
via radio.
Popular Tourist Destinations
During the Golden Age of Travel, from the late 1800s
through to the mid-20th century, a number of countries became
popular, famous, and even infamous destinations for the well-heeled
globetrotter of yesteryear. Countries like Canada, the United States, Cuba,
Mexico, Germany, Italy, Egypt, Spain, France, Scotland, Ireland, England,
Australia, India, the British Straits Settlements, Hong Kong, Japan and China
were all popular tourist spots. If you had the time and money, you might take a
whole year off, and visit all of them, going on a world tour.
Among the most popular travel destinations were those
considered ‘exotic’, such as Egypt, the Middle East, India, the Dutch East
Indies, the Straits Settlements, Japan, and one of the most famous of all: The
International Settlement of Shanghai.
The Shanghai
International Settlement
Shanghai, China’s most famous port city was a free port
from 1843-1943, one of several treaty-ports opened and developed by the British
after the Opium War of 1839. Anyone could go there and free trade was
encouraged, much like Singapore during the same era. Shanghai in the first half
of the 20th century, free from the ravages of war in Europe,
flourished. It was not only famous, it was notorious.
Tales abounded of gambling, prostitution, drug-trafficking
(mostly opium), giddy nightclubs with raucous jazz music, high living,
department stores, the Shanghai racetrack, grand ballrooms and luxurious
hotels. But Shanghai, for all its glitz and glamour, pulsing nightlife and
sheen of neon, also held a seedy underbelly reeking of gangland violence and
crime. The police fought riots, stabbings, shootings, kidnappings, rape and an
endless battle against the fierce underground opium trade. Shanghai was the
original Sin City.
Who wants to go to Shanghai?
Visiting Shanghai in the early 20th century was like visiting Las Vegas today. Its lurid reputation more than anything else, was its biggest draw card. And for the right price, any and all kinds of thrills could be had, if you knew where to look, and who to contact in the crime-infested underworld of the International Settlement.
One of the first views of Shanghai that you got was The Bund. The Bund, or raised embankment, was the main riverfront thoroughfare of pre-war Shanghai, then called the Shanghai International Settlement. Stretched out along the entire length of the Bund were banking houses, shipping offices, grand hotels, newspaper headquarters, upscale clubs, the Shanghai Customs House, and foreign consulates.
As your ship sailed up the Huangpu River and away from the Yangtze, this was your first view of the city – all its grandeur out on display like some gaudy jewellery-shop window display. The Bund ran the entire width of the British and French Concessions of Shanghai, from Suzhou Creek, and down the west bank of the Huangpu River. And the ships docked right there on the riverside. The moment you got off, you were plunged right into the heart of Old Shanghai. You had your choice of the two best hotels in town: The Palace Hotel, and the Cathay Hotel (which remain there still, along with all the other buildings, which are heritage protected, although the hotels have since been renamed).
Shanghai was so popular that in the United States, some
young men joined the United States Marine Corps (USMC) hoping to be posted to
the 4th Marine Regiment, also called the ‘China Marines’, because they were based in Shanghai, a city of
exotic and oriental wonder! Due to the city’s cheap labour and high standards
of living, even humble soldiers lived in relative luxury while deployed to
Shanghai. Here, their main tasks were protecting the boundaries of the city and
the American Concession, and enforcing the laws of the International
Settlement, although this second duty was also carried out by the multi-ethnic
Shanghai Municipal Police, whose job it was to enforce law and order within the
Settlement.
The SMP was originally largely British, but also included
Chinese, Indian, French, and American officers as well. In 1917, famous
American songwriter, Irving Berlin, wrote a now, almost-forgotten song called ‘From Here to Shanghai’, which spoke of
the singer’s longing to experience something more exotic than just a trip to
‘dreamy Chinatown’. 1922 saw the publication of ‘Goodbye, Shanghai’, and in 1924, one of the most famous jazz standards
of the day, ‘Shanghai Shuffle’ was
published, showing how popular this destination was among travelling Europeans
and Americans.
Travelling to Shanghai from Europe, or even America, took
several weeks. Most ships did not sail to most of their destinations directly.
Even the largest ocean liners didn’t do that. There was far more money to be
made by making regular stop-offs along the way, which at any rate, were
necessary to re-coal the ship, drop off mail and passengers, pick up more mail
and more passengers, restock the ship for the next leg of its voyage, and then
carry on. A ship sailing from England to China might stop at Cherbourg,
Casablanca, Marseille, Naples, Port Sa’id, Bombay, Singapore, Hong Kong, and
Tokyo before finally dropping anchor at its final destination: Shanghai. You
can see now, why such a trip would take up to two months to complete!
The Shanghai International Settlement went by many names.
‘The Paris of the East’, and ‘The Whore of the Orient’ were two of the most
common, reflecting both its ritzy, exotic nature, and its Devil-May-Care way of
life.
The Peking Legation
Quarter
For tourists wanting to visit the old capital of China (it
was moved to Nanking in 1927), you either caught a train from Shanghai to
Tientsin, and then to Peking, or else sailed to Tientsin directly and caught a
train from there. And while in Peking, you stayed at the famous Peking Legation
Quarter, at the Grand Hotel de Pekin, or the Grand Hotel Des Wagons Lits. The
Legation Quarter, like the International Settlement to the south, was the Western
expatriate enclave within a larger, Chinese city.
After the famous Siege of the Legations in 1900, the entire
compound was surrounded by walls and gates to protect it against possible
future uprisings, making it look like a walled city. The Grand Hotel Des Wagons
Lits was operated by the same company which ran the famous Orient Express, the
Compagnie Internationale Des Wagons Lits (“International
Sleeping-Car Company”). In Peking, just like in modern Beijing, chief
tourist destinations were the Great Wall, and the Forbidden City. After the end
of the Qing Dynasty in 1911, the Forbidden City was opened to the public as the
Palace Museum in 1925, a position it has held ever since.
Singapore: The
Crossroads of the East
Another popular tourist stop was Singapore. Called ‘The
Crossroads of the East’, Singapore was ideally situated for a quick stopover on
your inspection of the South Pacific. A British colony since the 1810s,
Singapore was widely considered to be one of the nicest, grandest, most exotic,
and safest places in the world to have a holiday. After all, it had one of the
finest military airbases in Asia, as well as some of the best coastal
fortifications. For this reason, it was also proudly touted as the ‘Gibraltar
of the East’, as well.
The place to stay at while in Singapore was of course,
Raffles Hotel. Opened in 1887, Raffles has housed all manner of celebrities,
from Noel Coward to Rudyard Kipling and even British royalty. Raffles’ main
slogan in the early 20th century came from a review given by Kipling
in 1887, months after the hotel opened. Glowing with praise, Kipling had said:
“When in Singapore, feed at Raffles!”
– however, Raffles was careful not to publicise the rest of his review, which
continued: “…and sleep at the Hotel De L’Europe!”
– The Hotel De L’Europe was Raffles’ main competition in Singapore at the
time! Unlike the Hotel De L’Europe, however, Raffles survived the Great
Depression. The De L’Europe, by comparison, closed its doors in the mid-1930s
due to falling guest numbers.
As a free port and main stopover for ships plying the
passenger trade from Europe to Asia, Singapore boasted excellent shopping. A
visit to Orchard Road was almost mandatory, to seek out the latest oriental
wonders brought to the colony by ships sailing back from China and Japan.
Berlin: Cultural Center
of Europe
Despite the scourge of the Franco-Prussian War and the
First World War, during the late 1800s and early part of the 20th
century, the city of Berlin, Germany, was a popular tourist-spot for the
well-to-do. Renowned as a center of culture, art, music and politics, Berlin
attracted writers, journalists, politicians and famous actors.
Hotels like the Adlon became famous as haunts for foreign
newspaper-reporters and visiting VIPs. As the Hotel Adlon in particular was
(and still is) located in the governmental and diplomatic quarter of Berlin, it
was the ideal place to stay for journalists wishing to cover German politics.
Foreign embassies and the Reichstag were all nearby. Even today, the Russian
and British embassies in Berlin are located just a few blocks from this famous
hotel, which was rebuilt in the 1990s on its original location.
Before the scourge of Nazism in the mid-1930s, Berlin was
famous for its café culture, its jazz-music and its contributions to film and
theatre. European cabaret flourished in Germany during this period and
developed its own unique, raunchy humor in the nightclubs and taverns of
Berlin. The center of commercial and social life in Berlin was Potsdamer Platz,
one of the city’s main squares. Originally formed by the intersection of five
different roads, this large, open space was an ideal hub in the center town
from which almost anything could be reached. Grand hotels were built nearby,
the Potsdamer Platz railroad station was built near this location, and in 1897,
the Wetheim department-store was
opened near the square. By the 1920s, it was the largest department-store in
Europe.
The Nazi rise to power spelt the end to almost all of this.
Many of the actors and musicians were at least partially Jewish, and they fled
Germany in droves to escape persecution. Many of the actors in the famous 1942
film “Casablanca” were German,
Austrian or Czech Jewish refugees which had been actors in their
home-countries. They fled to America during the 1930s and reestablished
themselves in Hollywood, when it became clear that they could no-longer act in
Nazi-controlled countries. German cabaret, which had a strong focus on
political and social satire, was all but abolished by the Nazis.
Baedeker Guide Books
Any eager tourist heading off to far-flung destinations
today might consult TripAdvisor, or read up on their Lonely Planet guidebooks.
If you went anywhere during the Golden Age of Travel, most likely, you stopped
off at your local bookshop or travel agency, and asked to be shown their current
stock of ‘Baedekers’.
‘Baedeker’ was a German publishing house established in
1827. Throughout much of the 19th and the first half of the 20th
century, the Baedeker family became famous for printing guidebooks. Published
in German and English, ‘Baedekers’ covered everything from countries around the
world, to counties or states within countries, to cities and towns within
states, and could be remarkably detailed. From the mid-1850s, Baedeker guides,
which were regularly updated, covered countries all around the world. They
started being printed in English in 1861, when company founder, Karl Baedeker,
realized that for their firm to be successful, they had to appeal to as many
languages as possible.
Countries which had Baedeker guidebooks written about them
included: Germany, Belgium, Switzerland, France, Palestine, Syria, Norway,
Sweden, Great Britain, Italy, Greece, Egypt, Mexico, Canada and the United
States! And that’s just from 1861-1900! Other countries that were included in
editions printed in the 20th century included Spain, Portugal,
Austria-Hungary, and Russia. Cities which earned their own guidebooks were
numerous, and extended from London, to Paris to Peking, in China!
Stop and consider for a minute what a challenge it would’ve
been to amass such a stockpile of information in an age before the internet.
Imagine having to write guidebooks on cities and countries thousands of miles
away, and having to rely on steam-post and electric telegraph for
communications. Imagine the effort and time it took to send people thousands of
miles away to far-off countries to research and gather this information.
Far-off countries? In 1914, Baedeker published its first guidebook (in German)
on the South Pacific, covering the British Straits Settlements (Malaya,
Singapore) and the Dutch East Indies (Indonesia). A journey from Germany to
Singapore took over a month by steamship!
An Ongoing Journey
The number of things that a person could say and write about this exciting and romanticised element and era of history are almost endless. I’ll be making another posting soon, about the three most famous vehicles of the Golden Age of Travel – the Hindenburg Airship, the Queen Mary, and the Orient Express!
During the last public holiday long-weekend, I got the chance to visit the Ballarat Antiques Fair. Two hours’ drive outside of town was rewarded with two venues to visit, and dozens of stalls to peruse! A lot of the stuff on offer was fascinating, a great deal of it was extremely expensive ($1,200 for a silver card-case?), and all of it was very beautiful.
The fair had everything. Antique radios, inkwells, pocketwatches, watch chains, rings, silverware, carriage clocks, ceramics, a Victorian-era pudding-basin (why not?), posters, maps, jewelry and even some vintage clothing. But the item that I walked away from the fair with was a tiny little brass antique, small enough to fit into my pocket – and it’s adorable!
And here it is!
Made of brass, and filled with…most likely plaster…and topped with a stiff-bristled brush, this Victorian-era paperweight-and-pen-cleaner dates to around 1890-1910. At one time, fuzzy little devices like these could be found on well-appointed desktops all over the world, but while most people today will still know what an inkwell, a pen-tray, a letter-rack or stamp-box are for, and would recognise most of them in sight – the purpose of the pen-cleaner or ‘nib-wiper’, as they’re also called – has been largely lost from the public imagination of what constitutes a well-stocked Victorian-era desk.
What is a Pen Cleaner For?
Along with string-caddies, stamp-moisteners and blotter-pads, pen-cleaners were yet another desktop staple that used to be found on every well-appointed desk back in Victorian times. Their purpose was to remove the excess, or leftover ink from the nib of your pen. This saved you from fishing around for tissues or paper-towels, saving time, and reducing waste.
In the 1800s, the rise of the mass-produced, punch-pressed steel dip-pen made writing much easier and cheaper. Pens could be easily purchased in boxes of dozens each, which would last for weeks between uses. However, to make the pens so cheap, the steel that was used in their manufacture was usually cheap, brittle and prone to rusting. Constant contact with water-based ink caused the nibs to rust easily. In order to prolong the usefulness of their pens, writers had to keep their pens dry and clean between uses.
It’s for this reason that pen-wipers or pen-cleaners were invented. They were a simple, convenient way to remove the ink from the tip of your pen after writing, to stop the pen from rusting, if it had been used hard, and put away wet – since putting away a wet pen would literally cause it to start rusting.
Pen-cleaners ranged from the mundane to the fantastical. Cheap versions could easily be made from scrap cloth, more elaborate ones could be made of brass, or even silver. They came in all kinds of styles – chairs, boxes, animals…they were circular, rectangular…they came as part of desk-sets, along with inkwells and blotters…and their sole function was to remove ink from the tip of your pen.
In the 1890s and 1900s, with the rise of the fountain pen, pen-cleaners remained a popular desktop accessory, since they could still be used to wipe away the excess ink from the nib and feed of a pen, once it had been refilled in an inkwell. Again, this reduced, or even entirely eliminated the need – to find tissues to clean the pen.
Why Did I Buy It?
For one, it was very cheap. For two, it was in good condition, and for three, I’ve always wanted one!
I love collecting weird, whimsical, obscure antiques. Antiques which come with a story, or which require an explanation of some kind. It makes them more interesting if it’s not immediately obvious what they are.
Yet another reason why I bought it was because I’d been chasing after one of these for years, and I was thrilled to finally lay my hands on one. On top of that, I knew that it’d get a lot of good use out of me, and me, out of it, because of my daily use of fountain pens. I still need something to clean my nibs on, after all!
What Happened to Pen-Cleaners?
Pen-cleaners died out in the second half of the 1900s when people started using ballpoint pens. Like rocker-blotters and inkwells, all these other accessories were no-longer required to maintain or use a ballpoint pen, and so the pen-cleaner also saw a decline in use, until they eventually just faded into obscurity. There is a growing community of fountain pen collectors and users in the world today, though, so who knows? Perhaps the pen-cleaner might be due a revival, as a green, and convenient way to clean ink off of pen-nibs, without wasting so much paper?
Once upon a time, it was a common cry across the fairgrounds and carnivals of the world! A suited man in a top-hat and cane, bellowing through a big, shiny brass horn:
“Roll up! Roll up! Ladies and gentlemen, boys and girls! Come on, come all! See the Fat Boy, the Crab Family, the Lion Boy and the smallest man in the world! See the Elephant Man and the Limbless Wonder, the Rubber Man and the Teen Titan! Pay only a penny to gawp and ogle at these wonders of human perversion!”
But what was the reality of life in a circus sideshow? What did being a freak-show entertainer actually entail? In the 21st century, such entertainment is rare, but it still exists in one form or another, and most likely – it will always exist, because humankind has always had a fascination with the bizarre and the abnormal, the strange, the rare and the wonderful!
In modern times, freak shows tend to have an entirely negative perception by the general public, but was this always the case? In this posting, we’ll be exploring the reality of life ‘on the road’ as a traveling showman and as a freak show or sideshow attraction, as well as getting acquainted with some of the most famous sideshow acts in history!
What Is a Sideshow?
A sideshow was the name given to any secondary or side-act performed or exhibited at a fairground which was not part of the main event or main performances being held at the circus during the time of its stay. Sideshows could be anything from someone walking on coals to sword-swallowing, breathing fire or juggling any number or range of strange or even dangerous objects. Or, it could completely depart from the realm of ‘normal’ entertainment – and enter the realm of the freak show!
A ‘freak show’, as the name suggested, was a variety of ‘freaks’ who traveled with the circus as performers and exhibitors, displaying themselves for the amusement, shock, education or sometimes, just the sheer wonderment – of the paying public – and paying public, is the key here – if you wanted to see one of the freaks, or meet them, touch them, ask them questions or take photographs of them – you were obliged to pay them for it – this wasn’t some free exhibition! Displaying themselves to the public was their job, and like all employees, the freaks expected to be paid for their time and effort!
What is a Freak Show?
A freak show is similar to, but not the same as, a sideshow. A sideshow is any type of sideline attraction at a fairground. A freak show is a type of sideshow focusing on ‘freaks of nature’ – human beings which were in one way odd, different, strange or otherwise mentally or physically deformed or handicapped in one way or another.
How Long have Freak Shows Been Around?
Honestly? Probably since the dawn of time.
The modern idea of the ‘freak show’ dates back at least to the 1630s, and by the 18th century, traveling freaks (either individuals, pairs or small groups), who exhibited themselves at shows around Europe, started becoming common. It became common for freaks to entertain royalty and nobility, and from as early as the 1600s, the position of ‘Court Dwarf’ started to spread around Europe.
What is a Court Dwarf?
A court dwarf was a little person, or person who grew up with one of any of the many forms of dwarfism, who were employed by royal and imperial courts throughout Europe in the 17th and 18th centuries, to act as entertainers and companions to the ruling monarch and their family. In a sense, these were the first type of ‘freak show’ to ever officially exist.
Due to their rarity, dwarfs were actively traded among royal and princely families, and a dwarf could be given as a ‘gift’ from one ruler to another, as a sign of goodwill. Their unique appearance made court dwarfs very popular, and dwarfs often attained great wealth from the sizable stipends paid to them by the rulers whom they served. This practice lasted for over two hundred years, and the last official court dwarf was, Josef Boruwlaski, a Pole born in 1739. Although he had no official aristocratic title, his position as a Court Dwarf led to the nickname of ‘Count Jozef’.
A musician and entertainer, 3ft 3in ‘Count’ Jozef Boruwlaski died in 1837 at the impressive age of 97. He was most famous, in his day, for his meeting with Daniel Lambert – the 700-pound former prison-guard who was the fattest man in the world up to that point in recorded history. The official meeting of the world’s largest, and smallest men was reported widely in English newspapers at the time.
The Beginnings of Freak Shows
Count Boruwlaski and his contemporaries, such as Mr. Lambert, did exhibit themselves and did earn money from it. Indeed, ogling at Daniel Lambert’s gigantic obesity was highly fashionable in Georgian-era high-society…so fashionable in fact, that Lambert had to discontinue the practice, because it gave him absolutely no privacy!
However, the days of the court dwarf were numbered, and Boruwlaski is widely considered to be the last of his kind. He lived so long that he outlived all other court dwarfs, and after his death at the dawn of the Victorian era, the practice was discontinued. The death of the ‘Durham Dwarf’ effectively marked the end of one era of freak shows, and the beginning of another era – the professional, commercially-minded and enterprising freak-show operator and performer!
And for this, we must largely thank…one man. And that man is the incredibly flamboyant Mr. Phineas Taylor Barnum!…Better known as P.T. Barnum, arguably the most famous 19th century showman ever!
P.T. Barnum and the Greatest Show on Earth!
Born in 1810, Barnum’s actions basically gave rise to the world’s first official freak-show, as we might recognise it today. In 1841, Barnum purchased an old exhibition building on the corner of Broadway and Ann Street in New York City. Naming it “Barnum’s American Museum”, it served as a showcase for all the weird and wonderful things that he could find, with which to shock and amaze the paying public!
Not all of Barnum’s exhibits were entirely truthful – for example there was the “Feejee Mermaid” (a monkey and a fish sewn together!) or Joice Heth – purported to be the nursemaid of George Washington. Aged 161, Barnum passed her off as the “oldest living person in the world!”…when she died, an autopsy revealed that her age was closer to 80, rather than 160-odd.
But, in among the frauds and fakes, the half-truths and outright lies, Barnum’s American Museum did host some real and actual human oddities, and some of them became world-famous in their time! From the smallest man in the world to the dog-faced man, the lion boy and the camel woman, Barnum and his collection of freaks and sideshows shocked, wowed and amazed the public. In the 1840s, 50s and 60s, a good day out in the Big Apple was not considered to be complete without a visit to the museum.
Famous Freak Show Acts and Performers
One of the reasons we know so much about Victorian-era freak shows is because they were heavily promoted and advertised. There is a huge wealth of information out there documenting everything about them – photographs, advertising posters, postcards, newspaper articles, diary entries, and even biographies and autobiographies, written by the freaks themselves, or by the people who knew them.
So, who were these people, and what were their histories? Here, we’ll have a look at some of the most famous freak show attractions of all time.
NAME: Charles Sherwood Stratton. BIRTH-DEATH: 1838 – 1885. STAGE NAME: General Tom Thumb. CLAIM TO FAME: Smallest man in the world.
Born on the 4th of January, 1838, Charles S. Stratton is arguably the most famous circus freak who ever lived. He was also related to P.T. Barnum – they were distant cousins. When Barnum heard about his newborn cousin and his diminutive size, he couldn’t help but try to convince the boy’s parents that the child would be perfect for his American Museum. After working out a deal with Stratton’s parents, Barnum taught young Charles the elemental aspects of showbiz! Singing, dancing, how to be witty and smart and funny. Stratton’s father assisted with his son’s adjustment to the world of the circus, and accompanied Charles around, to aid in his adjustment.
Stratton became famous for impersonating famous ‘small people’ from history and mythology such as Napoleon Bonaparte, and Cupid, the baby angel of love. Once he’d started working at Barnum’s Museum, Charles Stratton was just four years old and was barely over two feet tall.
Stratton proved to be a natural comedian, and in 1856, when Stratton was eighteen, Barnum took him on their first European tour. By now, Stratton had attained the nickname of ‘General Tom Thumb’ and used this as his stage-name. Stratton’s popularity was astronomical, and he was soon more famous and more popular than almost any other big-name celebrity of the mid-1800s! He met Queen Victoria and Prince Albert Edward while he was in London. Queen Victoria was at first enraged, but then charmed, by the dwarf’s inability to walk backwards with ease (it was considered impolite to turn your back on the monarch) and she thought that everything about Stratton was adorable and comic, and invited him back to Buckingham Palace a number of times.
Back in America, Stratton’s fame only grew stronger when he met President Lincoln and Stratton notoriety made freak shows and sideshows widely socially-acceptable for the first time in history. People started treating circus freaks as entertainers and people, professionals who deserved respect, and not as oddities to be ogled at and degraded.
In 1863, Stratton married Lavinia Warren. Like everything else about his life, P.T. Barnum hammed this up for the press like it was going out of style. Stratton’s wedding photographs appeared in newspapers and magazines…and you could even gather a collectors’ set of them! His wedding was attended by thousands of people, and to greet all the guests who came to his house afterwards, Charles had to stand on top of a grand piano just to shake all their hands!
Stratton became obscenely rich from his freak-show appearances. He owned two houses, bailed out his cousin P.T. Barnum when the latter hit financial struggles, and even bought himself his own private yacht! Unfortunately, Stratton’s life was all too brief, and he died aged 45, in 1885, shortly after suffering a stroke.
NAME: Wilfred Westwood BIRTH-DEATH: 1897 – 1939. STAGE NAME: N/A CLAIM TO FAME: Circus Fat Boy
A staple of freak shows almost from day one was the classic ‘circus fat boy’ – typically an extremely obese, prepubescent child (usually a boy, although circus fat girls also existed – Wilfred’s older sister Ruby was a circus fat girl), whose job it was to shock and wow audiences with his gigantic size! Numerous sideshow fat boys existed throughout history, but one of the best documented was young Wilfred Westwood.
A native of New Zealand, Wilfred was the second-last child born into a large family, in 1897. Including his parents, there were nine people! Wilfred had an older sister (Ruby, also a circus fat-child), an older sister Eva, three older brothers, and one younger sister, Loyis Westwood. Together, Wilfred and Ruby brought the Westwood family incredible fame, and they toured Australia, New Zealand and several other countries besides. As early as 1900, when Wilfred was just three years old, newspaper articles were being written about him and his sister, as circus-promoters and journalists started trying to publicise the ‘giant children’.
By the age of 11, Wilfred weighed over 300lbs, and yet, despite this, he wasn’t even the largest circus fat-boy in the world…around the same time, John Trunley, the ‘Fat Boy of Peckham’, weighed over 350 pounds!
Trunley and Westwood were far from the only circus fat boys, but they were possibly, the most famous. In the 1800s and early 1900s, when infant and child mortality was as high as 25 or even 30%, and when millions of children were underfed and chronically malnourished (a public health-concern that caused the British government to start free school meals for underprivileged children) – children of incredible obesity were something to be celebrated and admired! At a time when the health-effects of extreme obesity were poorly understood, fatter children were seen as well-fed, healthy children, who were just a little bigger than the others.
Trunley became a watchmaker in later life, and died in 1944. Westwood became a glass-blower, and was killed in a car-crash in 1939.
NAME: Stephan Bibrowski BIRTH-DEATH: 1890 – 1932 STAGE NAME: Lionel the Lion Boy! CLAIM TO FAME: Hypertrichosis.
Born in Poland in 1890, young Stephan was abandoned by his mother almost since birth, when he started exhibiting symptoms of the phenomenally rare genetic condition known today as ‘Hypertrichosis’ or ‘Wolfman syndrome’, where the entire body – save the hands, and feet – are covered in hair!
Stephan’s mother believed that she had been a victim of ‘Maternal Impression’, also known as ‘Monstrous Birth Syndrome’, a popular (but unfounded) medical theory that had existed since at least the 1600s. Never heard of it? Not surprising.
The theory of maternal impression, or the ‘Monstrous Birth’ theory was the belief that if an expectant mother experienced some kind of trauma, her child would bear the marks of that trauma upon birth. In Bibrowski’s case, his father was attacked by a lion, which led his mother to believe that it was life-scarring event that led to her giving birth to a ‘lion’ of her own.
Young Stefan was taken in by the famous Barnum & Bailey Circus (yes, that Barnum), and by the age of 11 in 1901, he was touring Europe and America, billed as “Lionel the Lion Boy!” Apart from appearing as a sideshow, Lionel also performed acrobatic feats to impress the audiences who came to see him.
By the late 1920s, Lionel, or Bibrowski, started getting tired of the circus-life. He retired, and moved to Germany. He died in Berlin in 1932, at the age of 41. Cause of death: Heart attack.
NAME: Chang & Eng Bunker BIRTH-DEATH: 1811-1874 STAGE NAME: The Siamese Twins CLAIM TO FAME: Conjoined Twins
Ever heard the term ‘Siamese Twins’, referring to conjoined twins? Ever wondered where the term came from?
You have P.T. Barnum and Chang and Eng Bunker to thank for that!
Born in Siam (Thailand), Chang and Eng were of mixed American-and-Siamese heritage, and moved to America when they were still children. In later life, they adopted the more English-sounding surname ‘Bunker’ as part of their Americanisation. Chang and Eng started touring in 1829, and toured and exhibited themselves on and off for the rest of their lives, stopping in 1839. They had by this time become fluent in English, and took the time off to build a home for themselves, get married, and even raise children, but ten years later, they found themselves getting bored with ‘retirement’, and in 1849, they returned to the touring circuit through the 1850s and 60s.
The Bunkers were noted slaveholders in the years leading up to the Civil War, and in the period of Reconstruction that followed, much was made of this in the public press, which earned them great public backlash from the audiences who came to witness their performances. Depression and declining health led to the twins’ death within hours of each other, in 1874.
Apart from their fame in giving rise to the term ‘Siamese twins’, Chang and Eng Bunker hold another distinction – they were one of the longest-lived sets of conjoined twins in history – a record not surpassed until 2012!
NAME: Joseph Carey Merrick BIRTH-DEATH: 1862 – 1890 STAGE NAME: The Elephant Man CLAIM TO FAME: Proteus Syndrome (?)
By far the most famous freak show exhibitor in history (apart from Tom Thumb), has to have been Joseph Carey Merrick – better known as the Elephant Man.
Born in 1862, Merrick had a brutally hard and incredibly short life. His mother, one of the few people to care for him, died young, leaving him in the care of his father and stepmother. Repulsed by his appearance, they abandoned him, whereupon, Joseph was taken in by his uncle, a barber and hairdresser.
Numerous attempts to find Joseph meaningful work (from hawking wares to rolling cigars, and even sweeping the floor of his uncle’s barbershop) all ended in failure due to his increasing deformities. Young Merrick ended up in the workhouse at least twice in his life, before finally deciding to turn his attention to the world of the circus freak!
Circus freaks were a world apart from everybody else in polite, straitlaced, and morally-upright Victorian society. They were a society of outcasts and misfits – the perfect place, Merrick reasoned, for someone like himself.
With the assistance of an understanding circus manager, Merrick started out on his career as a circus freak. In this role he remained for a few years, occupying a room behind a shop across the Whitechapel Road from the London Hospital. It was from this hospital that Frederick Treves, a noted surgeon, would come to meet Merrick. He studied his deformities and even had him photographed and examined. Merrick left London and traveled to Europe, where his fortunes took a downturn yet again.
Merrick had made a considerable amount of money from selling copies of his biography, which he sold alongside his freak-show act. The (slightly fictionalised) account of his life detailed his birth and upbringing, and the belief that he was the result of maternal impression. Mugged and robbed while in France, Merrick had lost almost all the money he’d made during his time as a circus-freak and returned to London almost penniless, arriving at Liverpool Street Station in 1886.
In an incident dramatically recreated in the 1980 film ‘The Elephant Man’, Merrick collapses from exhaustion, and only Dr. Treves’ business-card, in Merrick’s coat-pocket, gives a clue to his identity.
After a great deal of campaigning, fundraising, and philanthropic donations, enough funds were raised for the Elephant Man to live indefinitely in the London Hospital in Whitechapel. ‘The London’ was founded in the 1700s as a charity hospital, providing free healthcare to the impoverished and destitute. It survived entirely on public donations, and the physicians who worked there did so voluntarily, giving up a few days a week from their Harley Street addresses to tend to the sick and dying in the East End. In many respects, the London was the best place for Merrick. It was used to dealing with the very worst of the human condition – attempted suicides, alcoholism, industrial accidents, and infectious disease – which also meant that it was one of the most advanced medical centers in the world at the time. It was to the London Hospital that Jack the Ripper’s victims were taken, in 1888, for their autopsies.
Despite this background, the hospital had a strict policy of not admitting ‘incurables’ – those who had conditions which could not be treated, and which would only be a drain on the hospital’s already limited funds. It took a lot of convincing of the hospital’s board to allow Merrick special dispensation for his unique condition. It was more than obvious that he would not survive without round-the-clock medical care, and once enough funds had been raised, a two-room suite was laid out for him on the ground floor of the hospital. Here he would live for the rest of his life.
Merrick’s health improved, and it was during this time that Treves photographed Merrick once more, and interviewed him extensively about his life. Meeting the ‘Elephant Man’ became highly fashionable, and many of London’s wealthiest residents – including the future Queen Alexandra – would visit him at the hospital.
Joseph Carey Merrick – the Elephant Man – died in 1890. The autopsy on his disfigured body was carried out by the man who had come to know him better than anybody else – Sir Frederick Treves. Treves’ examination and the subsequent certificate he filled out, listed the cause of death as ‘Asphyxiation. It was Treves’ own theory that Merrick – who was unable to sleep lying down due to the contortions of his body, and the weight of his head – had slumped backwards against his bed during the night. This had caused his neck to break, cutting off his airway and resulting in death.
He was 27 years old.
To this day, Joseph Merrick’s skeleton is still held at the London Hospital.
The Public Perception of Freak Shows
The public tolerance of freak shows has waxed and waned over the years, decades, and even centuries and at various times they were celebrated, reviled, condemned and promoted.
The majority of freak-show managers and circus ringmasters looked upon running freak shows as being a social service. They were providing entertainment and education to the masses, as well as ‘shock-value’, indulging mankind’s fascination with the bizarre and unusual. At the same time, they were also providing misfits and people with horrible disfigurements or medical conditions, with a home, a family of sorts, a camaraderie, and a social network which gave them a living, a form of security, and a sense of belonging.
A lot of circus-freaks turned to their chosen occupation, usually as a last resort, to make the most of a bad situation, or simply to wow people with what they were. In an age before social security, government pensions, advocacy groups, effective medical treatment, and the countless other facilities and organisations available to people with severe disabilities today, being a circus-freak was, more or less – the last half-respectable occupation open to people who would otherwise have found themselves on the street.
Freak-shows have never really gone away. They still exist, and in some cases, have simply switched mediums. There’s no shortage, in the 21st century, of TV shows depicting all kinds of modern-day ‘freaks’ from ‘Freaky Eaters’ to ‘Hoarders’ and ‘Most Shocking’, which featured its own ‘circus fat boy’ – Dzhambulat Khatohov.
As the old Jack Buchanan song goes: “When the clock strikes four, everything stops for tea!”.
But – why does it? In this posting, we’ll be looking at the history of, arguably, the world’s most popular beverage – tea – and everything that goes along with it. What tea is, where it comes from, how it came to be, the customs surrounding tea and its consumption, and the utensils and paraphernalia used around the world in the consumption of tea!
Due to tea’s extensive history and variations, there’s no way that I’ll cover everything in just one posting, so I may do another one at a future date. So if something you wanted to read or know about isn’t included here, then it may be included in a possible follow-up posting later down the line.
Not for All the Tea in China!
Tea as we think of it today, was first cultivated in China as early as 4000B.C., but it was not harvested for its beverage qualities – instead, it was eaten as a vegetable! Tea was not consumed as a beverage until sometime between 300-500A.D. However, the first incarnation of tea was prepared very differently from how we think of it today.
During the Chinese Tang Dynasty (618-907A.D.), the accepted practice was to crush and grind tea-leaves in a pestle and mortar. The crushed leaves were beaten and ground up until they had been reduced to powder. This allowed the powdered leaves to be compressed into bricks or cakes, which would be easier to pack, and easier to transport, keeping their flavour for longer over long trade-journeys, which in those days could take several days, weeks, or even months!
When it came time to drink the tea, the cake or brick was simply crumbled into powder again, and water was added on top to dilute it. In Chinese, this was known as “mocha”. When the Japanese adopted this practice, they also took the Chinese loanword along with it, and ‘mocha’ became the Japanese ‘Matcha’. This remained the norm until the 1300s, when the practice changed yet again, to steeping dried tea-leaves, instead of tea-powder, much as how we do today.
Tea on the Move
For centuries, tea remained a largely Chinese secret. Tea was traded, along with silk, porcelain and valuable spices, around Asia, and along the fabled Silk Road network. However, things started to change in the 1500s and 1600s, with Dutch sailors exploring the Far East. It was at this time that Europeans were first exposed to the beverage of tea.
Like anything new – tea, coffee, chocolate, kale juice and quinoa – tea was first consumed for its medicinal properties, either real, or imagined. In Europe, where the main beverages were beer, ale and wine, due to how polluted the water was, tea was a welcome and surprising change, and slowly, it spread around Europe.
Enjoying a Cuppa
Tea is believed to have been brought in England in 1661. Why such a precise date? Because that’s when a Portuguese woman named Catherine of Braganza sailed from her homeland to wed England’s King Charles II. Famously barren, Catherine produced no children, and this left Charles unable to sire a legitimate heir to the throne, however, the queen did give birth to something arguably much more important than children – British tea-culture!
As part of her dowry, Catherine brought to England, not only gold, silver and jewels, but also exotic spices and expensive teas. Noble families, wishing to ingratiate and imitate their new queen, took to copying her drinking habits, which included consuming tea – but not only consuming it, but also enjoying it, and making an event of it – We have Queen Catherine to thank for the very British custom of ‘taking tea’.
In its early days, tea was extremely rare in Britain, and prohibitively expensive! China had a stranglehold monopoly on the substance, and the one-and-only port in China which was open to foreign traders, and therefore, the only port open to exporting tea, was the port of Canton in southern China.
Because of such restrictive trading regulations, the amount of tea that Britain (and other European countries) could import each year was very small, and this drove the price up to such an insane level that only the nobility could afford it. Tea was drunk sparingly, and the whole custom of preparing, and serving tea was a ritual presided over almost exclusively by the women of a household. Servants were rarely, if ever, permitted to touch tea, and the dried tea-leaves, imported all the way from China, were locked inside elaborately decorated tea-caddies, lined with foil paper to protect the flavour, and which were made of anything from wood inlaid with ivory, to tortoiseshell, and even – if you could afford it – solid silver!
The Word ‘Tea’
‘Tea’ is believed to have been a corruption of ‘te’, the word used for the beverage in the Chinese port of Xiamen, one of the first to open to trade with the West (particularly, the Dutch, who were the first to import tea to Europe). In most Asian languages (including Chinese and Japanese), the word for ‘tea’ is ‘cha’.
China from China, What Else Could be Finer?
What else, indeed?
The Chinese had been creating hard-paste ceramics…what we call ‘porcelain’ today…since at least the 6th century. Hard-paste porcelain was tricky to make – it required a very high firing temperature, and the mixture of various powders used to form the paste from which the porcelain was made had to be carefully measured and prepared. The best quality porcelain-clay preparations were often left alone to age…in many cases, for several decades!
After the maturation or ‘souring’ process, during which the clay-mix had been left to rest, the clay had to be rehydrated before it could be worked. To do this, potters simply opened their flies and pissed into it! The urine reintroduced moisture into the clay and made it more plastic, which made it easier to shape and mold into whatever it was that you were trying to make!…Don’t worry, the firing process killed off any bacteria in the clay, rendering the porcelain clean and sterile when it was removed from the kiln.
Chinese porcelain was heavily imported by Europeans in the 1600s and 1700s, along with tea, but transporting porcelain such long distances was expensive, if only for the fact that trying to transport crates of chinaware on a rocking, rolling sailing ship is a recipe for disaster. Because of this, there were numerous attempts to recreate Chinese-style porcelain in Europe – particularly in Britain, and the Low Countries.
Actual porcelain ceramics are made using a mixture of fine clay powder, sand and a tiny amount of the secret ingredient – soapstone – basically talcum-powder. Working this mixture created a type of porcelain which could be shaped, and fired and made into ceramics which were crisp, white, incredibly thin to the point of translucency…and, most importantly, where tea is concerned…shatter-resistant!
One of the reasons why European attempts to recreate Chinese porcelain failed was because of this one element. They had no resistance to thermal shock – the sudden change in temperature caused by pouring boiling hot tea into a cold, porcelain tea-bowl or teacup. People who couldn’t afford fine china bought the cheaper, lower quality ceramics, which the wealthy bought the more stable, thinner, stronger and more suitable expensive china. This is the supposed origin of poor people adding milk to their tea first, whereas wealthier drinkers added milk afterwards…or not at all! The cold milk took the sting out of the heat of the tea when it was poured into the cup, so that the porcelain wouldn’t crack under the temperature-change.
Eventually, Europeans did manage to create their own form of porcelain, independent from Chinese ceramicists – it was called bone china. Depending on the recipe used, bone-china clay was comprised of china-stone powder (a type of granite), china-clay (kaolinite), and, depending on the formulation of the recipe – anywhere from 30-60% bone…as in actual bone. The bones of dead animals were cleaned, crushed, ground up into powder, and this was added to the mixture. The translucency, thinness and strength of bone china (four bone-china cups can hold up a car, in case you’re wondering), are all due to the addition of bone-powder into the clay mix.
Types of Teaware
When the custom of tea-drinking was introduced to Europe in the 1600s, Chinese porcelain came along with it, and these were the vessels first used to prepare and drink tea. The earliest European teaware, manufactured in the 1700s, closely imitated Chinese teaware, both in size, style, and even decoration. Transfer-printed imagery (engraved on a copper plate, covered with ink and then transferred onto thin paper which was then pressed onto the finished ceramics before firing) often featured Chinese-style motifs, such as gardens, pagodas and flowers.
European Teaware
The earliest European teacups imitated Chinese ones so much that they did not come with handles – instead, they resembled the Chinese ‘chawan’ (‘tea-bowl’), varying from them only in decoration and size. The Western practice of putting a separate handle on the side of a teacup would not become common until the early 1800s.
In time, the practice of adding milk, and later, sugar, to tea, spurred the creation of the traditional three-piece tea-set, of teapot, milk-jug or creamer, and sugar-bowl. Like tea, sugar in the 1600s and 1700s was very expensive, and was imported largely from Caribbean and South-American sugar-plantations, where it was extracted from sugar-cane crops. Because of the expense of sugar, some people added honey to their tea instead.
Asian Teaware
Chinese, and other Asian teaware has hardly changed in centuries. Teacups have varied in style and decoration, but hardly ever in terms of size, or shape. Since most Asian people don’t add anything to their tea, their teacups are generally smaller than European ones, and their tea-sets are less elaborate – comprising of just the teapot and a set of teacups, and perhaps a matching tea-tray or more likely – a tea-board, to catch spills, or to rise and wash the teacups between uses.
Apart from this, the Chinese teacup did evolve in one way: The creation of the ‘Gaiwan‘.
‘Gaiwan’ literally translates as ‘lidded bowl’ in Chinese. ‘Gai’ is lid, or cover, and ‘wan’ (or ‘woon’, in Cantonese) is ‘bowl’.
The compound word of ‘gaiwan’ refers to a specific type of Chinese teacup-set, comprised of a teacup or bowl with a wide, flaring lip, small base and sloping sides, a matching, circular lid with a lifting-knob on top, and a matching saucer underneath, into which the base of the teacup fits snugly.
Gaiwan have been around for centuries, and their creation dates back to the Ming Dynasty, sometime in the 1400s. Gaiwan were used, either for brewing tea, or for drinking it. The lid served to either stir the tea to help it brew, to cool it down before drinking, or to hold back the loose tea-leaves while drinking from the cup. The lid also stopped the heat of the boiling water from escaping, keeping the tea warm for a longer time between sips.
Russian Teaware
Another country famous for its teaware is Russia, where the practice of taking tea is possibly more different than anywhere else on earth.
Russia was the land which originated the tea-preparing device known as the samovar – literally – ‘self-boiler’ – a large (usually brass) tea-urn comprised of a central cistern, fire-tube and chimney, drip-tray and teapot.
In most cases, the Russian practice of tea-drinking was to fill the samovar’s cistern with water. The chimney or firebox was filled with paper and wood-shavings, and then set on fire. Refueling the samovar was simply a matter of dropping kindling, or pine-cones down the chimney. Ash was removed through a little door underneath the firebox. A stand set on top of the chimney allowed a teapot with tea-concentrate to be placed over the fire, keeping it hot. The tea-concentrate was very, very, very concentrated tea, with multiple spoons of tea inside a relatively small pot filled with hot water.
The drinker would pour a small amount of the concentrate into their teacup or tea-glass, replace the pot on top of the samovar, and then, using the spigot on the front of the samovar – fill the rest of their glass with boiling water. This would dilute the tea-concentrate, making it more mellow, and pleasant to drink.
Like with other countries with a tea-culture, in Russia, it became popular to make an event out of drinking tea, and tea was often consumed along with sweet pastries, cakes and cookies. The practice of using a samovar spread widely throughout eastern Europe and around the Middle East and the Eastern Mediterranean, leading to regional variations and different national styles and designs.
The Art of Taking Tea
Since earliest times, the practice of drinking or ‘taking’ tea has always been surrounded by rituals and customs. Gradually, early tea-drinking habits developed into regional customs and traditions, and these led to a wide range of ways to enjoy tea all around the world.
In China, and Asian countries such as Taiwan, Hong Kong, and Singapore, the tradition of ‘yumcha’ still exists today – where people gather for lunch or a morning or afternoon meal, consisting of tea, and eating dumplings, buns and rolls. The words ‘yum cha’ literally mean ‘drink tea’. Going out for yumcha is usually a special occasion, done with family and friends, or visiting relatives and takes place at specialised yumcha restaurants.
In Britain, and many former British colonies such as Canada and Australia, the tradition of ‘afternoon tea’ is a longstanding tradition dating back to early Victorian times. It was said to be invented by Anna Maria Russell, the Duchess of Bedford, a longtime personal friend of Queen Victoria.
Frustrated by the long wait between luncheon and dinner (which in Victorian times, could be taken as late as 8:00pm), the Duchess took up the habit of having a light meal in the late-afternoon, around three or four o’clock, consisting of tea, cakes, sandwiches and scones. This, the Duchess hoped, would hold her over until dinner, which could be anywhere from two to four hours later in the day. She enjoyed this custom so much that it started spreading throughout the court, and it became fashionable to invite friends over for afternoon tea – a quiet time in the middle of the day when one could relax with a light snack, a drink, and a chance to catch up on the gossip of the day. Afternoon tea remains a popular custom in the Anglosphere to this day.
Tea Today
The beverage of tea, as well as the meals and events that it inspired, remain as popular today as they ever were. Even when we have other drinks like coffee, or soda, milk, and a wide range of flowery and herbal infusions – tea remains one of, if not the, most popular beverage in the world. Hotels from as far afield as the Ritz in London to the Windsor in Melbourne, or the Raffles Hotel in Singapore, still serve high tea and afternoon tea today. In Malaysia and Singapore, you can buy my personal favourite type of tea: ‘Teh Tarik’ (‘Pulled Tea’) – which is black tea mixed with condensed milk and sugar…and which is then poured repeatedly from mug to mug, over and over again to froth it up and cool it down, leaving you with a rich, sweet, warm, frothy drink! Mmmm-mmmm!
If you visit any major European city – for example – Brussels, or Amsterdam, London, or Paris, and you go to the “old city” or the “ancient quarter” in the very heart of the metropolis, chances are, you’ll stumble across all kinds of amazing, beautiful buildings. Among these buildings – are guildhalls.
Guildhalls are all over Europe. Almost every major European city was bound to have at least one – usually – several, sometimes all clustered in one place, sometimes, spread out around the city, but they are there, if you know where, and how to find them. During my trips to Europe, I was fortunate enough to see the Guildhall in London, and some of the beautiful ones in the Netherlands when I visited Amsterdam. But then, you might ask – what is a guildhall? What makes it so special? And for that matter – what the hell is a guild?
I am so glad you asked. Let’s find out together!
What exactly is a Guild?
“I say, Jeeves! What an extraordinary talent! Could one inquire as to…” “I’m not at liberty to divulge the ingredients, sir”. “No! Of course not! Secrets of the guild, and all that, eh?” “Precisely, sir!”
– “Jeeves & Wooster”
A guild is defined as an organisation, or group of people, with shared interests, goals, crafts or skills, which is formed in order to protect their mutual interest, provide support to each other, and to further the improvement of their craft or interest – whatever that happens to be.
Using this definition – how far back can guilds be traced?
Believe it or not, but – thousands of years!
The first guilds – of a sort – were established in Ancient Rome, but the system of guilds that most people think about today were largely created in Medieval (476 – 1350) or Renaissance times (1350 – 1600), and they were established all over Europe, to such an extent that almost every major city was bound to have several of them – and believe it or not – guilds are still being established today – the London Worshipful Company of Art Scholars was created…in 2010!
What is a Guild For? What does it Do?
The purpose of a guild is to regulate a trade or profession, to guard and record trade or craft secrets, and to keep the trade alive. Within a particular community (say – a city), guilds regulated and certified the work done by various craftsmen or professionals within the community. In an age when knowledge was passed down from father to son, mother to daughter, master to apprentice, when records were hard to keep, and literacy was minimal – the best way to ensure that the best of the best interests of a trade or skill or profession were being both protected, regulated, and taught – was to consolidate all this knowledge into one organisation – a guild!
And this trade or profession could be literally anything – writers, weavers, tailors, silversmiths, blacksmiths, accountants, barbers…London even has a guild for taxi-drivers! Guilds existed to preserve a craft or profession’s secrets, skills and histories, and to maintain standards of professionalism, as well as to oversee the continued improvement and education of those who wished to participate in that particular craft or profession, regardless of what it actually was. The closest modern equivalent to a medieval guild is like a modern trade union, where paid-up members receive benefits and have a say in how their trade or profession is regulated, and what it will, or will not do.
How Does a Guild Operate?
When a guild was formed, it first required somewhere to call home – a guildhall, or a guildhall stand-in, if a purpose-built guildhall did not yet exist. The next thing it required was a register – a list of all its members – who they were, what their positions and skills were, and what ranks they held. In older times, these registers were laboriously written longhand by a scribe, and every update or addition required that a whole new document be created from scratch.
The next thing that a guild needed was to establish a body and hierarchy of members. Guilds were broadly broken up into craft guilds, and merchant guilds; craft guilds are the most well-known, and to enter a craft guild required a lengthy training process. This is covered below…
The Apprentice
If you wanted to be part of a guild, you needed to have a trade or craft, and join the guild which catered to that trade or craft. To earn the right to be a craftsman or tradesman, you needed to complete the necessary training and education – known as an apprenticeship. An apprentice was a novice, a student, a pupil of the craft or profession which he hoped to make his life’s work. A newbie, as we’d call it today.
Apprentices almost always started as teenagers, usually between 13-15 years of age. To be made an apprentice, or to carry out an apprenticeship, the hopeful craftsman first had to find someone to teach him the tips and tricks of the trade. To do this, he would visit the guildhall of his selected trade, and seek out someone who would be his mentor – a master craftsman who required an apprentice, and who would offer him a position. If the apprentice accepted, then a document – a Certificate of Indenture – was drawn up.
Depending on the craft or trade that the apprentice wished to enter, he might find the act of finding a master to teach him, to be easier than he might expect. It was very common for the children of master craftsmen to follow in the professions of their fathers. In this instance, the apprentice’s own father would train them in their chosen profession. In this way, generations of craftsmen could all work within a single family, and many famous craftsmen throughout history, entered their professions this way. Paul Revere, of Revolutionary War fame, was apprenticed to his father, who was a silversmith. John Harrison, the famous clockmaker, was apprenticed to his father, who was a carpenter. But just because you got to join the family business didn’t mean that you could escape the strictures of the day – you still had to fill out your certificate, sign it, and agree to it.
The certificate – colloquially known as one’s “indentures” or “indenture papers” – was a contract between the Master Craftsman, and the Apprentice. It stipulated in black and white what the Master owed his apprentice, and likewise, what the Apprentice owed the Master. Both parties would sign the indentures (there was always at least two) and then it was certified by a legal official such as a notary, judge, or a member of the guild.
The document was then sealed, dated, and finally – torn in half. The wavy, curving lines that were made along the break in the paper was what gave the document its name – the line wasn’t straight – it was never straight – it was always ‘indented’ – wavering, irregular and erratic. This is why the documents were known as ‘indentures’. This was done deliberately so that it would be impossible for either party to create a fake agreement later on, changing any of the terms or conditions previously agreed upon, since both documents had to be presented at the same time, and they both had to match up along the same wavy, indented line when they were put together.
Apprenticeships lasted a very long time – the usual length of time was seven years. In this way, an apprentice completed his apprenticeship when he was in his early twenties. In that seven years, an apprentice was expected to learn, and be taught, all the skills and tips and tricks of his chosen trade or profession. Apprentices typically did all the grunt-work. Looking after tools, doing the simple, unskilled jobs, cleaning the workshop, lighting the fire, understanding how the implements and tools were used, and how various techniques and finishes were applied or carried out.
Near the end of their apprenticeships, to prove that they were paying attention, and actually knew what they were doing, apprentices had to pass, what we would today, call a ‘practical examination’. In this, they had to prove their skills to their master by creating what was called a ‘journeyman piece’ – this piece would incorporate all the various skills, techniques and methods that they had learned throughout their apprenticeships, and the better it was, the more likely they were to progress in their profession. Tailors had to make clothes, carpenters might make furniture, a cabinetmaker might try to build a chest of drawers, a silversmith might try to make a silver beaker or tumbler, and so on.
The point of the journeyman piece was to show that he had attained the necessary skills to move up to the next rank – that of a journeyman craftsman. If he had, then he had successfully completed his apprenticeship, and could move on upwards…
The Journeyman
The next step up for the budding craftsman was to be a journeyman. A journeyman was any craftsman or skilled tradesman who had successfully completed the contract of his indenture, and was now considered to have mastered the basics of his craft. The next thing he had to do was to gain experience. Experience was gained by working as an employee of a master craftsman. Not an apprentice – who was a student – but as an actual paid worker.
The word ‘Journeyman’ comes from the French ‘Journee’ – meaning ‘day’ – a craftsman had now advanced from being an apprentice, to being a day-labourer – someone who was literally paid per-day of work by his employer. Journeymen were more free in their work than apprentices – they could have their own families and private lives, they could own their own property and come and go from work each day as they pleased. This was in contrast with an apprentice, who typically lived with his master in his master’s house, with the master expected to feed, clothe, and house, as well as train and educate his pupil.
While journeymen were apprentices who had successfully completed their apprenticeships, they were not yet considered fully-fledged artisans in the sense that they did not have the right to employ someone else to work under them, however, a journeyman – again, unlike an apprentice – had the right to demand payment for their day’s work.
If, or when, a journeyman decided that he had had enough of working for ‘the man’, then a journeyman could, if he had the skill, apply to become a master craftsman. Just as an apprentice had to complete a journeyman piece to become a journeyman, a journeyman had to complete a masterpiece in order to become a master craftsman. However, while a journeyman piece was judged by a master, a masterpiece was not judged by another master – but by several masters!
See, the only way to actually join a guild was to prove to the master craftsmen of that guild that you deserved the privilege, and had the skills, to make it worthwhile to accept you as a member. So if you wanted to try and become a master craftsman, then your masterpiece was submitted – not to one master – but to several masters! And if they all agreed that your masterpiece really was a masterpiece – and that you had shown that you had exceptional skill – you would be granted the title of master!
The Master Craftsman
As a Master Craftsman, you were now able to carry out your desired trade as you wished. This meant that you could open your own business, hire apprentices, set your own prices, and decide what, when, why, where, and how you worked. However, there were still restrictions.
See, to be a master craftsman, you had to follow a sort of ‘Code of Conduct’, and to ensure that you did follow this code, a lot of cities insisted that any craftsman or skilled labourer working within the bounds of the city had to register themselves with the guildhall of their specific craft. So, you might be a master silversmith, but you couldn’t work as a silversmith in a city without first registering yourself as a silversmith at the city’s silversmithing guildhall.
Registering with your specific guild meant that you had to follow specific rules and regulations. While you were free to do what you wanted, more or less, you were also prevented from doing certain things – for example – you couldn’t talk about your profession – guilds existed to protect the interests of their members – and these interests included any trade or industrial secrets, processes or methods which their members carried out – so you couldn’t divulge secret recipes, or special methods or experiments – to anybody outside the guild. Punishments for doing so were surprisingly severe, and usually included some form of public humiliation.
While this might sound extreme, being a master craftsman or merchant registered with your particular guild also came with a lot of perks – paying your membership fees ensured all kinds of benefits, and guilds operated specifically to benefit their members. The very word “guild” comes from the German word “Gelt” and the Old English word “Gield” – meaning “Payment, or money”.
In this way, guilds were a sort of insurance firm or benevolent society – they provided financial assistance to help master craftsmen start up their own businesses, provided poor relief if they lost their business, shared trade secrets, and regulated working conditions.
Unsurprisingly, guilds could become extremely powerful – so much so that they could, if they desired, not pay, or pay very few – taxes – especially if the guild handled a trade or craft that was particularly important.
The Decline of the Guilds
Guilds and their guildhalls remained prominent through much of the Middle Ages (476AD – ca. 1400), the Renaissance (1400-1600) and much of the Early Modern period (ca. 1600-1800). However, by the time of the Vcitorian era, guilds started losing a lot of the prominence, power and influence that they had once held for over a thousand years. Many factors led to their eventual downfall.
Guilds carried out a lot of functions – they regulated prices, training, education, keeping of records, and countless other things – but they were also – in a sense – monopolies. If you wanted to trade as a particular craftsman or merchant within a particular city – you had to join the city guild dedicated to that craft or area of merchandise – no ifs, no buts – no join, no sell. Simple as that.
A lot of traders and craftsmen started seeing this as being detrimental to their trade – after all – why should a guildhall determine how much you can sell your stuff for? Why should it be a law that you HAD to join the guild just to trade within the city boundaries? Fair enough, they kept records and oversaw apprenticeships, but craftsmen and artisans started feeling that some guilds were simply getting too powerful for their own good, and shifting attitudes in the Victorian era saw guilds gradually decrease in power over the next hundred years.
By the mid-1800s, guilds had lost much of their power. Changing attitudes about work, and how trade and industrial secrets should be protected, sapped the guilds of their authority. Political changes such as the French Revolution of 1789, and the “Year of Revolutions” (1848), caused the guilds in many cities, sovereign states and city-states across Europe to be dissolved, and their functions taken over by modern companies and businesses, with laws enacted to cover the areas once protected or regulated by the guild system.
Guilds Today?
Guilds as we tend to think of them – as in, the Medieval European guilds, do not exist anymore. Guildhalls remain as historical landmarks and heritage protected buildings, but the organisations they housed are largely lost to history. Some organisations call themselves guilds, although this is mostly as a professional courtesy or nostalgic throwback, rather than having any actual resemblance to medieval guilds.
In London, there do still exist a number of “Worshipful Companies”, which operate similar to guilds, but the number of institutions that exist today, which are most like real medieval guilds are fast disappearing, if indeed they still exist.
Chopsticks have always fascinated me. They’re simple, elegant, portable, robust, and compact. And, once you’ve mastered the use of chopsticks – almost anything can be used as chopsticks – I remember Jackie Chan in one of his early movies, where his character was trying to have lunch in his office – unable to find any actual chopsticks to eat his noodles with, he gave up and used a pair of pencils, instead!
Although these days, it’s common in many Asian households to have an entire drawer-compartment overflowing with chopsticks, and the only problem you face is trying to match them up when you need a pair to eat lunch with, in times past, chopsticks were highly-prized personal possessions, and it was common for people to each have their own pair. In some countries – such as Japan – this is still the case. At a time when chopsticks were hard to come by, once you owned a pair – you carried it with you everywhere!
Such was the case, when this trousse was made!
What is a Chopstick Trousse?
‘Trousse’ is a French word, which variously means “kit”, “case” or a type of compartmentalised container, used for storing implements, tools or utensils required for a specific task. This is a chopstick trousse, and its task is…eating!
Chopstick trousses were created back in the 1700s in northern China. Their use was encouraged after a law was passed by the Qianlong Emperor, which decreed that all Manchu-Chinese had to carry around a pair of chopsticks, and a knife, with which to eat their food. Manchurian and Mongolian dining habits and styles meant that a knife was an essential part of one’s eating utensils, since the knife would be used to slice or cut up one’s meat. The passing of this law was to ensure the preservation of Manchurian culture, since Manchus were a minority elite, ruling over the much larger Han Chinese population at the time.
A lot of people call these things Chinese or Japanese eating trousses. I’m not sure why, because they don’t come from Japan, and while they existed in China, they were never used by the Chinese. Japanese and Chinese dining customs don’t use knives – they didn’t then, they don’t now. Trousses like these were largely used by minorities.
The standard chopstick trousse comes with a single, thin, long-bladed knife, and a pair of chopsticks, which may, or may not be chained at the top (to prevent loss if they fall out). I have seen sets with two knives, and two sets of chopsticks, but the vast majority will have just the one knife, and one set of chopsticks.
How is it Made?
Almost all trousses were made of wood – wood is easy to find, easy to carve and shape, and easy to stick together. This trousse is also made of wood. How trousses differed from each other, however, was in how they were decorated. Trousses could be embellished in any number of ways, from inlaying bone or silver, brass or nickel, leather, sharkskin, stingray, or in the case of my trousse – tortoiseshell.
The tortoiseshell – thin and flexible, would have been steamed – much like how you steam wood – to soften it – and when it was especially soft and flexible, the tortoiseshell was wrapped around the wooden body of the trousse, with a layer of glue in between, to adhere one to the other. A similar process would’ve been carried out to sheath the knife-handle in the same tortoiseshell.
What is it Made Of?
This trousse is made of wood (which makes up the body of the trousse and the handle on the knife), brass (the collar at the top of the trousse), tortoiseshell (the decorative overlay), silver (the chopsticks) and finally – the white collar and pommel on the knife are both made of bone. Bone was a very common material to make trousse accessories from – chopsticks, knife scales, hilts, collars and pommels were all made from bone. It was abundant, cheap, or free, easy to carve, and could be polished to a beautiful whiteness – and much easier to find than ivory!
Are Trousses Common?
Fairly common, yes. I suspect that millions of these things were made over the centuries, and that many were probably brought to the West by expats, explorers, missionaries or tourists traveling in Asia in the 1800s and 1900s. They range in price on eBay from $150.00 to over $300-$500, depending on age, condition, and level of decoration and detail. I don’t know exactly who collects these things, but there does seem to be an interest in them.
Repairing the Trousse
The trousse was pretty cheap when I bought it – this was largely due to the fact that it wasn’t complete at the time. The trousse didn’t come with its original chopsticks, which were probably bone, so I replaced them with my silver chopsticks which I bought about two years ago. On top of that, some of the tortoiseshell was also coming loose. I removed the tortoiseshell and glued it back on. Once it was secured, then I started working on another part of the trousse that needed my attention: the pommel at the top of the knife.
The point of the pommel is to protect the top of the knife handle. In this case, the pommel was missing, but I could tell from the hilt or the collar at the end of the blade next to the handle, that it would originally have been made of bone. I was able to secure some small pieces of bone, and, using a file, some sandpaper, glue and oil, I was able to shape the bone, glue it onto the top of the knife, file and sand it flat, polish it smooth, and shape it to the shape of the top of the handle.
Although it’s a tiny detail, just fixing this one element took several hours of filing, shaping, measuring, sawing, gluing, filing, and more filing, and finally, polishing, to get the new pommel not only to stay on top of the knife, but also fit in with the thickness and shape of the rest of the knife and its bone hilt, as well. It’s not 100% perfect, but at least the knife now looks much more complete than it previously had done.
The Montblanc Meisterstuck #149. A pen of legendary, mythical proportions. Much has been said about this pen, and much has been written about this pen…and…much has been written with this pen. I’ve wanted one for years, but was constantly put off buying one because of their massive price-tags ($1,200AUD+, at the time of this posting).
But then, Saint Nibby, Patron Saint of Fountain Pens, decided to throw some luck my way – and I was able to buy a vintage Montblanc Meisterstuck 149 at auction – as part of a box lot of pens – at a price which was about 80% cheaper than its current retail price. You bet I jumped at it!
Before taking that plunge, however, I spent a lot of time examining the pen, before deciding to bid on it. While the pen was vintage, and secondhand…it was still a Montblanc, with everything that comes along with it – including a high price. So you bet I took a bloody long time to examine that pen in detail, before deciding to toss even a bent penny towards it.
Fortunately, the pen I bought was 100% legitimate, and 100% vintage – made in West Germany in the 1980s, and sold out of a jewelry shop in Hong Kong on the 22nd of December, 1989 – I know this, because the Montblanc Instruction Manual that came with the pen had all this information written inside it. So, 30 years ago, someone bought someone else a very expensive Christmas present!
In my case, I got lucky. But there are people out there who are not so lucky. Unfortunately – all famous brands are faked. Louis Vuitton, Rolex, Montblanc and countless others, are often the victims of forgeries and fakes, and every year, hundreds of people pay massive amounts of money for something that isn’t what they were hoping it was.
Now, you might think – what does it really matter, if the fake is good quality, and didn’t break the bank? Is it really an issue?
Yes. For two reasons.
If it’s a fake, it won’t be covered by warranties or return-policies. If the item gets damaged and needs to be repaired or replaced – the company won’t honour its end of the bargain, because you didn’t honour your end of the bargain by buying a genuine item.
If you try and sell the item later on – nobody will want to buy it from you, and you’ll be stuck with something that you can’t get rid of.
Now, I understand that not everybody goes out looking to buy a fake, and that some people do get caught up in nets of deceit and lies. So, how do you spot a fake? Or to be precise – How do you spot a fake Montblanc Meisterstuck 146 or 149 fountain pen?
This guide is going to be written assuming that you don’t have any (or much) experience in buying Montblanc fountain pens. We’re taking simple, easy baby steps here, and will, by and large, be sticking to one or two models: The Meisterstuck 146, and the larger and more famous 149. There’s a lot of things to consider when buying a Montbanc fountain pen, and a LOT of things to be weary of, when dealing with fakes.
Montblanc Fountain Pens – Spotting a Fake
Selling vintage and secondhand pens is a very lucrative business. There are dealers and collectors out there who are able to make a pretty decent living, just from flipping old pens, repairing them, cleaning them, and putting them back out onto the open market. This is great for writers, or pen collectors, because it means that they can get great pens at discount prices, which perhaps they wouldn’t ordinarily be able to afford. But as always in the secondhand market – Caveat Emptor – Buyer Beware.
Whether you’re buying a vintage Montblanc online (eBay, Facebook Groups, secondhand dealer, antiques store) or in-person (auction house, flea-market, pen show, etc), there are certain things you should be aware of, before dropping hundreds, or even thousands, of dollars, on a Montblanc pen. As a pen collector and writer of many years’ experience, I’m going to share a few tips with you – here are some things to look out for…
How Much Does It Cost?
This might sound like a stupid thing to pay attention to, I know – but hear me out. Let’s say you find a Montblanc, secondhand, on eBay, or Facebook, and you want to buy it. Pay attention to the asking price – especially if it’s being sold by an “official distributor” (pfft, yeah right).
Brand-new Montblanc pens cost STUPID CRAZY amounts of money. Hundreds, thousands, even TENS of thousands of dollars EACH. Nobody selling Montblancs – whether they’re brand new, or vintage – is going to let them go for dirt-cheap. If you see someone trying to sell you a Montblanc for under $200…pick up your wallet and RUN AWAY. Real Montblancs are bloody hard to win at auction, and difficult to find secondhand for good money – so anyone who ever bought one to resell it is not going to give it away for nothing. If the person trying to sell you that ‘Montblanc’ is giving you a deal too good to refuse – then you should probably refuse it.
That said, just because a Montblanc online is really expensive doesn’t mean that it’s real, either. You can charge whatever the hell you want for a piece of crap…and it’s still going to be crap…it’s just going to be really expensive – and worthless – crap. So what else can you do to find out whether a pen is real or not? Keep reading, below…
How Many do they Have?
Another way to spot a fake, is to ask the dealer or seller how many Montblancs they have for sale. Make up some bullshit-story like you need six identical 146s, for your groomsmen at your wedding or something – and see what the dealer says. If they automatically say ‘Yes!’…then back away very, very slowly.
Most vintage pen dealers will not be able to afford dozens of Montblancs. If someone suddenly claims to have six identical ones, or more, and they’re going to sell them to you at bargain prices, then they’re either very rich…or very fake. In twenty five years of writing, and twenty years of collecting fountain pens, I’ve only ever owned four Montblancs – and only two of those I bought with my own money, and only because they were absolute bargains secondhand.
Regardless of what the model is, Montblancs are that bloody expensive to buy brand-new, that most people just can’t justify the price. Only someone with hundreds of fakes lying around, will be able to fulfill a request like selling you six or nine or twelve Montblancs all at once.
What’s the Packaging Like?
A NEW Montblanc pen comes in exquisite packaging. Everything is crisp, clean, two-toned black and white, with foam padding and soft, silk-like interiors.
No Montblanc will ever be sold, brand-new, in some cheap, velveteen slip-pouch, or some leather pen-sleeve. All Montblanc pens are sold in-box – sometimes (but not always) with a complimentary bottle of ink, and other trinkets (my 145 Meisterstuck c/c filler came with a CD of Chopin piano music).
Check all Online Photographs
If you’re buying the pen online – ask the dealer for photographs – clear, high resolution photographs – of the clip, the cap-bands, the engravings, the ink-window, the nib and the filling mechanism of the pen.
No seller of fake Montblancs will ever oblige with these photographs. And if they do – then they’re hoping that you’re going to be stupid enough to not-know that they’re selling fake Montblancs. Someone selling a real Montblanc will always do their best to give you the best photographs they possibly can. So, what should you pay attention to?
I am so glad you asked…
Fake Montblanc Fountain Pens – What to Look For
As I said earlier – the Montblanc Meisterstuck 149 has a current retail price of – depending on where you bought it – $900 – $1,200+.
For that kind of money, you expect to buy something that is – in every way possible – the very definition of writing perfection. A Montblanc 149 should be literally flawless in all respects, with absolutely nothing wrong with it at all in any capacity whatsoever.
Fakes always have something wrong with them.
So – what wrong things should you be looking for?
Check the Nib
First thing’s first – check the nib.
A REAL Montblanc fountain pen nib is made of 14 or 18kt gold. They always have been, and always will be. Every Montblanc nib has “4810” on it (the height of Mont Blanc in meters), and the purity of the gold in ’14k’ or ’18k’, with either 585 or 750, underneath. In case you’re wondering – that stands for 58.5% gold, or 75% gold (the rest is copper, to give the nib strength and durability). Gold purity changes on Montblanc nibs across their pen-range. Some pens have 14k, others have 18k. But this isn’t set in stone. My 145 and 149 both have 14k nibs, but I have seen other MB 146s and 149s which have 18k nibs.
What is consistent is that the nibs are always two-toned – gold, and silver (although it’s actually rhodium). Again, there’s no set system to this and the same model of pen can alternate between 14k and 18k, two-tone with gold exterior and rhodium interior, gold interior and rhodium exterior, gold with a rhodium band…the designs change constantly, to keep things fresh.
With that said – how the hell do you tell what a real Montblanc nib is? Here’s how:
If your ‘Montblanc’ has a nib that says “IPG” or “Iridium Point Germany” on it – run away.
If the engraving on your Montblanc nib isn’t utterly gorgeous and flawless in every way possible – run away.
If your Montblanc nib is engraved AT ALL – run away. Montblanc nibs are formed and molded – NOT engraved.
If the nib is scratchy or otherwise defective – then it’s not a real Montblanc nib. If the pen is secondhand, then it may be a real Montblanc, of which the nib was damaged, which would have to be reformed or replaced – but no Monblanc fresh out of the box, will have a defective nib of any kind – remember – $1,200 pen here. A brand new Montblanc with a defective nib is like a brand-new Rolls Royce with a massive dent in the passenger-door…it does not exist.
If the nib looks like gold-plated steel – then it’s not a real Montblanc. All Montblanc pens, without exception – have solid gold nibs. Even if you dropped the pen and sent it back to the factory to have it repaired – the new nib will be solid gold. There is no such thing as a Montblanc fountain pen with a steel nib. They do not exist. If you see one – it’s a fake.
Check the Cap Bands
Montblanc pens are famous for their cap-bands – the three gold rings near the bottom of the cap.
When fountain pens were first invented in the 1890s – caps did not have bands. They were added in as an afterthought in the 1910s and 20s, to reinforce the cap, and prevent it from cracking and splitting from someone screwing the cap onto the pen too tightly. To a certain extent, cap bands still fulfill this function, although these days, they’re largely decorative in nature.
So – you might as well enjoy the decoration, and take a nice, close look at it.
The seam between the cap-rings and the cap should be flawless. The engravings on the cap-bands with the company name, and the model number or name of the pen, should also be flawless. Remember, you’re paying for a pen which costs hundreds, or even thousands of dollars – it had bloody well better be perfect!
If there’s any flaws at all – it’s not a real Montblanc – put it down, and back away.
Check the Resin Body
Here’s another one you may not be aware of – Montblanc pens are made of a particular type of resin plastic, designed to be scratch resistant, and highly lustrous. Pick up the pen – unscrew the cap and hold it up to the light – or, failing that – shine a light-source through the cap.
A REAL Montblanc cap is not actually completely black – it’s translucent – light shines THROUGH the cap – and it shines through as a very dark, maroon wine red colour.
If your cap doesn’t have that dark red translucency when you shine a light through it – yep – it’s fake!
Check the Filling System
Unless it’s a 144, a 145 (which are cartridge and/or converter fountain pens), or one of Montblanc’s older, lower-tier vintage models, almost without exception – all Montblanc fountain pens are piston-filling fountain pens with striated ink windows above the section threads.
What is a piston-filling fountain pen? Perhaps you don’t know? No problem!
A piston-fill pen is a fountain pen with an IN-BUILT filling mechanism whereby ink is sucked INTO the pen using a piston mechanism. This is operated by turning the piston-knob at the top of the pen, under the blind-cap (in the case of Montblanc pens, the blind-cap and the piston-knob are one-and-the-same).
No Montblanc fountain pen larger than a 145 will ever have a separate – removable – piston-converter – inside it. The way to fill a pen such as a 146, or a 149, is to:
Uncap the pen.
Insert the pen into a bottle of ink.
Unscrew the blind cap at the top of the pen, as far as it will comfortably go (DO NOT FORCE IT).
Screw the blind cap back down until it’s secure.
Remove the pen from the bottle of ink, and wipe down the nib.
If someone is trying to sell you a Montblanc 149 or 146, or any other Montblanc pen which has a piston-filler mechanism inside it – and says that they have “extra refills” for sale – or spare converters, or something – run away.
Nobody who is selling a 146 or the larger 149, and knows what it is – will say that it takes ‘refills’ – there is NO SUCH THING as a ‘refill’ for a Montblanc 149 fountain pen – the only ‘refill’ that exists is a bottle of fountain pen ink, and that is the only thing they take. If someone shows you photographs of their Montblanc Meisterstuck 149, which they have for sale, and the pen has been pulled apart at the section, just above the nib – then either the pen is fake, or they’ve just snapped a $1,200 pen in half.
Look for the Ink Window
While we’re on the subject of filling up the pen – another thing that usually differentiates a real Montblanc from a fake one is the presence of the ink-window on all Montblanc Meisterstuck 146 and 149 piston-fill fountain pens.
The ink window is that little striped clear area on the pen barrel, just above the section threads. The point of the ink window is so that you can see the ink inside the pen…duh! Real Meisterstucks have ink windows…fake ones do not. If your Meisterstuck 149 or 146 does not have an ink window, it’s not real. While we’re on it, the 145 doesn’t have an ink window because it’s a converter pen, and therefore doesn’t need one.
Check the Clip
When buying a suspect Montblanc, check the clip at the top of the cap. Since about 1990, every Montblanc fountain pen has been sold with a SERIAL NUMBER engraved into the clip-band at the top of the cap. The number is ALWAYS on the ring to the RIGHT of the clip and every serial number is unique. No two pens ever have the same number.
While we’re looking at the clip – check for the word “PIX”. This is usually underneath the clip itself and is part of the clip – so if it’s been engraved in separately, then it’s not real.
Check the Paperwork
If the pen comes with any type of paperwork, or extras like cartridges or a converter or something – look at the text on them. In particular, check the spelling of “Montblanc”.
Yes, I’m serious.
The company name is MONTBLANC – Not Monblanc, not Mont Blanc, not Mount Blanc. It is – MONTBLANC – one word. There is a “Mont Blanc” – which is the name of a mountain in France – after which the company is named. But the actual company itself has always been called MONTBLANC. If it isn’t – then it ain’t real.
Fake? Or Just Old?
All the information posted above, relates, by and large, to modern Montblanc fountain pens, manufactured, and sold, right now.
It does not necessarily relate to vintage, or antique Montblanc pens.
Because Montblanc pens are so expensive, it can be tempting to buy a secondhand one, vintage, online, or at a flea-market or something like that. And there is nothing wrong with that. The problem arises when you have to decide if the pen you’re buying is a fake…or just old?
Older Montblanc pens (Pre-1990, generally) will not have “PIX” on them anywhere. They will not have serial numbers, and the packaging may appear rather simplistic by modern standards – but that doesn’t mean that they are not Montblancs. For example – vintage Montblanc 149s had “149” actually stamped into the blind-cap at the back of the pen – did you know that? Did you also know that they used to be made of celluloid, not resin plastic?
And let’s not forget that the Montblanc 149 was introduced in 1952. This means that the pen is very much a product of its time – and that time was the Cold War.
So what does this mean for Montblanc? Well, it means that the clip-ring at the top of the pen says “W-GERMANY”, not just “GERMANY”. Why? Because it was produced in West Germany, during the Cold War. This is just one of the many subtle changes to Montblanc pens that you should be aware of, if you decide to go out and buy a secondhand or vintage model.
Closing Statements
Well, there you have it! How to spot a fake Montblanc 149 Meisterstuck (or any of its little brothers). I tried to make this as succinct a guide as possible, but the fact is that fakes are getting so much better these days that you really can’t leave anything out.
If you’re buying a Montblanc online or secondhand from anyone who isn’t a registered Montblanc distributor, or from the company itself, you really do have to be very careful. Fakes are certainly out there, and you can end up buying one, if you’re not careful – a friend of mine did that a few years ago at a pen show. It was a hard pill to swallow.
My first love has always been the art of writing. I love just being able to relax, and let my mind run free. I love being able to let thoughts flow and form as they will, and transcribe them into something strange and wonderful, weird and whimsical.
For this reason, the right type of writing instrument has always been very important to me. Just as a concert pianist will insist on a Steinway, or a violinist will insist on a Stradivarius, or a chef will insist on Wusthoff, writers who want to use quality writing instruments also insist on certain brands of pens. In America, names like Parker, Sheaffer, Waterman, and Wahl-Eversharp spring to mind. In Japan, companies like Pilot or Namiki, or Sailor are most prominent. In Europe, you have Visconti, Conway-Stewart, and Pelikan.
But of all these dozens of pen-companies from all over the world, one particular company – and one particular model – has always stood out. That company is Montblanc, and the pen, is the Meisterstuck 149.
Much has been said, written and filmed, about the Meisterstuck 149, and in this posting, I’ll be going into a bit of the pen’s history, and why it has attained such a position as it has, among the world of not only writing, but of luxury products in general.
What is ‘Montblanc’?
Montblanc is a luxury retail company founded in Germany in 1906. The name comes from “Mont Blanc”, the tallest mountain in Europe. Mont Blanc, which is located in France, was taken as the company’s name to symbolise the fact that this company was the pinnacle of excellence in every way possible. The white star on the cap of every Montblanc pen is meant to represent the white snowcap of Mont Blanc, and the “4810” on every nib represents the mountain’s height in meters.
While today, Montblanc make all kinds of products, from leathergoods to watches and a wide range of writing instruments – originally – Montblanc was simply a pen company – and its goal was to make simple, good-quality, no-nonsense pens that worked.
What is a ‘Meisterstuck’?
In 1924, Montblanc introduced a new line of pens: The Meisterstuck (“Masterpiece”) Line (“Mys-ter-stook”), which was intended to be the company’s first-tier, first-class, top-quality range of luxury writing instruments! Between 1924 through the 1930s and 40s, Montblanc experimented with various models and styles, partially inspired by streamline styling which was highly fashionable in the late 20s and early 30s and 40s.
Based in Hamburg, a major German port-town, Montblanc’s facilities were flattened by the Allies during World War Two as the British and Americans aimed to cripple as much as possible, Germany’s manufacturing (and therefore, war-making) capabilities. When the war was over, however, Montblanc and Hamburg found itself in the new West German republic. Eager to turn over a new leaf and bring prosperity back, Montblanc rebuilt itself and went back to manufacturing their fabled Meisterstuck line, complete with the white star logo, and lifetime guarantees on all its pens.
What is a ‘149’?
The Montblanc Meisterstuck #149 is the company’s most famous pen-model BY FAR. It is instantly recognisible to any collector of fountain pens, or follower of pop culture, or connoisseur of luxury products.
But…why? Why this pen? Why this particular model? What makes it so special? And for that matter – what does ‘149’ even mean?
‘149’ refers to the original coding system used by Montblanc, when this particular model was introduced in 1952. “1” refers to the product-line. In this case – the Meisterstuck Line. “4” referred to the filling mechanism (pens with ‘4’ were piston-fillers), and the “9” referred to the size of the nib. So a Model 149 was a Meisterstuck piston-filler with a #9 nib.
From the 1950s to the 60s and 70s, Meisterstuck 149s were made of celluloid plastic – the same substance used to make similar fountain pens in the 1920s and 30s. Celluloid plastic is very strong (Parker used to chuck their pens out of office windows to prove their durability!), but it has one drawback – it discolours. Blues darken, reds fade, greens turn brown and black can fade to brown. In the case of Montblanc 149s, the striated ink-window, just above the section would discolour to a unsightly yellow-brown colour.
This is why, in the 80s and 90s (and still today), Montbanc pens started being made out of a more stable resin plastic, which was smoother, more colour-fast, was more resistant to scratching and staining, and held a high-gloss finish better than celluloid did.
Montblanc and Status
Like Tiffany & Company, Rolex, Louis Vuitton and Moet & Chandon, the name ‘Montblanc’ has, for over 100 years, been a hallmark of quality, and a status-symbol. But what was it that earned Montblanc pens, and particularly, the 149, this particular status?
One of the main reasons why Montblanc has attained the position that it has was because of the state of American manufacturing.
Between the 1850s to the 1950s, America, Germany and Britain really competed in the market of consumer-goods. Duesenberg, Rolls Royce, Parker, Sheaffer, Singer, Siedel & Naumann, Saville Row, Rolex, Royal, Remington-Rand, Ball, Hamilton, Waltham, Elgin…at one point, all these companies were household names. But how many of them do you actually recognise?
Up until about 1960, American manufacturing was among the best in the world. American watch companies like Waltham, Ball, Elgin, Gruen and Hampden, made the best watches in the world, comparable with anything made in Europe. The same was true of American pen companies like Parker, Sheaffer, and Waterman. But American manufacturing of high-quality consumer-goods took a BIG hit post-WWII, so much so that by the late 1950s, almost all these companies had either died off, or were bought out or moved manufacturing offshore – for example, Parker ended up in England and Waterman ended up in France…where they still are today.
The collapse of the American pen manfacturing industry meant that other companies – mostly European ones, started taking over. Brands like Pelikan, or Conway Stewart, Onoto, Swan and…Montblanc…started replacing Parker, Sheaffer and Waterman while these companies were in transition between new owners…or in the case of companies like Wahl-Eversharp – dying a slow and quiet death.
But why did Montblanc, of all companies, rise to fore? Why not some other company?
Part of it had to do with marketing. Companies like Conway Stewart, Onoto or Platignum (yes, there is a ‘g’ in there) did not make ‘luxury’ pens – they made solid second-tier everyday writing pens. They were not interested in making luxury products – they merely wanted to make nice products which were attractive, and worked, and which were affordable to the everyperson in the street.
Montblanc, on the other hand, was really aiming for that high-end market. With American pen manufacturing companies in limbo in the 1950s, companies like Montblanc surged forwards to fill in the luxury market once held by Parker and Sheaffer, and the company’s list of customers and clients started to grow.
The rise of the 149
As Montblanc started taking over in the 1950s, replacing or outselling other pen companies, people started taking notice – especially when it brought out the 149.
It’s fair to say that in the 1940s, 50s and 60s – most companies were not producing huge pens. Parker made a few Oversized English Duofolds, but the vast majority of pens made during this time were rather standard-sized – so this would’ve made an oversized luxury pen, such as the 149 – stand out even more. And because it stood out so much more, people started taking notice of it. People like President John F. Kennedy, and English writer Iris Murdoch. Kennedy’s use of the Montblanc 149 is particularly notable because it was used during a major televised event, which did much to boost the pen’s popularity and notoriety.
Ever since, the Montblanc 149 has been a status symbol. Rightly or wrongly, it’s a pen that everybody recognises, and which most people have heard of. Its classic black and gold profile has been imitated by countless manufacturers, both expensive and cheap, and has appeared in countless magazines, movies and television shows for decades now. It has been used by famous actors, world leaders and celebrities the world over, and continues to enjoy the reputation that it has held for nearly seventy years!
The Montblanc Meisterstuck 149 – A Pen Review
In closing off this article, I thought I’d write an actual review of the pen. So, here goes…
Value for Money
There is no denying that the Montblanc 149 is a very expensive pen. Where I’m at, they currently retail for about $1,250.00. In an age when most people would struggle to justify spending $50.00 on a fountain pen, and when most collectors would struggle to spend $250.00 on a fountain pen, it is by far, one of the most expensive models out there.
Good thing I did’t pay that much. I got mine secondhand at auction, and paid just over $200 for it, which is about 80% cheaper than the RRP!!
But, the actual price aside – is the pen value for money?
In my opinion – yes. Status and branding aside, the 149 is a solidly constructed pen. While some say that a lot of the price goes into the status and the branding and the image, I would also argue that a lot of the price goes into the quality of the manufacturing – after all, you’re buying something from a company with a big reputation, and with a big reputation to lose, if what you buy isn’t absolutely first-class, for the money you just spent on it.
The 149 is a very robust pen. It’s well-made, it’s elegant, and they last for decades with minimal maintenance. Occasional cleaning to prevent buildup of dried ink, and the odd nib-polishing will keep the pen fresh, clean and functional for many decades – the model I bought was made back in the 80s, and I didn’t have to do a single thing to it, to get it to work.
Ease of Use
Is the Montblanc 149 comfortable to use? Yes, it is. The plastic resin is smooth to the hand, and the nib writes like ice on glass. For such a large pen, it is actually surprisingly light in the hand, which means that your wrist and fingers won’t feel weighed down or unbalanced while writing – very important for a pen which you might spend a lot of time using!
The only slight issue is the pen’s size. While it isn’t heavy, it is long. And this may cause discomfort for some people in the sense that the pen may be unbalanced if you try and write with it, with the cap posted. If you have larger hands, then this might not be a problem (in fact, it may be an advantage), but in general, writing with this pen posted isn’t my idea of comfortable.
The Filling Mechanism
The 149 has a built-in piston filling mechanism. Unscrewing the end-cap forces the plunger down, expelling ink, and screwing the cap back down draws ink up, as the plunger is pulled back up. On my pen, this action is smooth and without issue. On some vintage MB 149s, the piston may become stiff from years of use.
To repair this, the piston-unit itself must be removed from the pen, and a fresh layer of silicone grease must be applied to the piston, before the unit is screwed back into the pen. To avoid damaging the screw-threads, a special piston wrench should be used, to remove the unit from the pen, and to reinstall it after fresh lubricant has been applied.
Any potential faults aside, though, I found the filling mechanism to be smooth and easy to use, and the ink window was clear and easy to use to gauge the amount of ink inside the pen. One advantage of a piston-filler over, say, a converter-filler pen or a cartridge pen, is that they do hold considerably more ink than a pen of similar size which is not a piston-filler. If you do a lot of writing, or if you’re planning on traveling a lot, and need a pen with high ink capacity, then this is certainly an area where the 149 has a distinct advantage.
The Nib
This pen has a 14kt gold nib, which is a sort of…wet, Medium-Fine. Wet nibs are better in the sense that they write smoother, with the ink lubricating the pen-point, but at the same time, overly wet nibs can be a struggle on cheaper paper, with the excess ink soaking through the page, and causing bleed-through and feathering.
In my experience, even FINE Montblanc nibs are quite wet, though. If you like wet nibs, then this isn’t going to be a problem for you, but you may need to upgrade your paper-game a bit, to find something that doesn’t feather like mad. Rhodia paper seems to be quite compatible in this regard.
Size of the Pen
The Montblanc 149 is one of the largest pens out there. While it’s light, and this makes it easier to write with, it’s also very chunky and quite long. It is sold as an “oversized” pen, after all, and certainly lives up to that! If you have especially Trumpian hands, then the MB 149 might not be for you, because of just how thick and chunky the section is. Trying to get your fingers around something so large might be awkward.
However, people with average and larger-sized hands should have no problem gripping the pen. In fact, larger sections can sometimes be an advantage in writing, because they spread the fingers out more, and make for a more relaxed, comfortable writing experience, rather than forcing all the fingers to cramp up around a small section.
Should you Buy a 149?
That can be a tricky question to answer. Is it worth the money? I think yes. Is it easy to use? Yes, unless you have particularly small hands (so for example, if you’re a smaller lady, or if you have particularly small hands, I would reconsider it and choose something else). Is it easy to fill and operate? Yes. It is lightweight and balanced? Yes. Is it going to get you noticed?
Oh Hell yes!
About the only caveat I would put on buying a Montblanc 149, is the price. As I said right at the start – the Montblanc 149 is a VERY expensive pen. Just the base model costs over $1,000 already. That being the case, I would suggest (unless money is really no object), that you buy a vintage or secondhand Monblanc 149, in good condition, instead.
If you like the piston-filling style of the 149, but not the price and the size – try the Montblanc 146 – which is everything that the 149 is – but one size down. If you want the Meisterstuck style without the piston-filling capability, then the MB 145 (next size down again) is also an option – that’s a cartridge/converter pen, which is both smaller, and lighter.