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margin-bottom:0em; display:block; } - -dl.biblio dt { margin-top:.6em; margin-left:2em; text-indent:-2em; text-align:justify; clear:both; } -dl.biblio dt div { display:block; float:left; margin-left:-6em; width:6em; clear:both; } -dl.biblio dt.center { margin-left:0em; text-align:center; text-indent:0; } -dl.biblio dd { margin-top:.3em; margin-left:3em; text-align:justify; font-size:90%; } -p.biblio { margin-left:2em; text-indent:-2em; } -.clear { clear:both; } -p.book { margin-left:2em; text-indent:-2em; } -p.review { margin-left:2em; text-indent:-2em; font-size:80%; } -p.pcap { margin-left:2em; text-indent:-1em; text-align:justify; margin-top:0; font-size:100%; } -p.pcapc { margin-left:4.7em; text-indent:0em; text-align:justify; } -span.attr { font-size:80%; font-family:sans-serif; } -span.pn { display:inline-block; width:4.7em; text-align:left; margin-left:0; text-indent:0; } -</style> -</head> -<body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Middleton Place Privy House, by Helen Woolford Haskell</div> - -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: The Middleton Place Privy House</p> -<p style='display:block; margin-top:0; margin-bottom:1em; margin-left:2em; text-indent:0;'>An Archaeological View of Nineteenth Century Plantation Life</p> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Helen Woolford Haskell</div> - -<div style='display:block; margin:1em 0'>Release Date: July 3, 2021 [eBook #65754]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Stephen Hutcheson and the Online Distributed Proofreading Team at https://www.pgdp.net</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE MIDDLETON PLACE PRIVY HOUSE ***</div> -<div id="cover" class="img"> -<img id="coverpage" src="images/cover.jpg" alt="The Middleton Place Privy House: An Archeological View of Nineteenth Century Plantation Life" width="800" height="1218" /> -</div> -<div class="box"> -<h1>THE MIDDLETON PLACE PRIVY HOUSE -<br />AN ARCHEOLOGICAL VIEW OF NINETEENTH CENTURY PLANTATION LIFE</h1> -<p class="tbcenter"><span class="ssn">Helen Woolford Haskell</span></p> -<p class="tbcenter"><span class="ssn">UNIVERSITY OF SOUTH CAROLINA -<br />INSTITUTE OF ARCHEOLOGY AND ANTHROPOLOGY -<br />POPULAR SERIES 1</span></p> -<p class="center"><span class="ssn">Columbia, South Carolina</span></p> -<p class="center"><span class="ssn">September, 1981</span></p> -</div> -<div class="pb" id="Page_ii">ii</div> -<p class="tb"><i>The University of South Carolina offers equal opportunity -in its employment, admissions and educational -activities, in accordance with Title IX, section 504 -of the Rehabilitation Act of 1973 and other civil -rights laws.</i></p> -<div class="pb" id="Page_iii">iii</div> -<h2 id="toc" class="center">TABLE OF CONTENTS</h2> -<dl class="toc"> -<dt class="small">Page</dt> -<dt><a href="#c1">List of Figures</a> iv</dt> -<dt><a href="#c2">Acknowledgments</a> vi</dt> -<dt><a href="#c3">A brief history of Middleton Place</a> 1</dt> -<dt><a href="#c4">Archeology at Middleton Place</a> 8</dt> -<dt><a href="#c5">Pottery and porcelain</a> 12</dt> -<dt><a href="#c6">Glass tableware</a> 24</dt> -<dt><a href="#c7">Glass manufacture in the United States</a> 29</dt> -<dt><a href="#c8">Medicine Bottles</a> 34</dt> -<dt><a href="#c9">Wine and spirits bottles</a> 39</dt> -<dt><a href="#c10">Beer bottles</a> 40</dt> -<dt><a href="#c11">South Carolina dispensary bottles</a> 43</dt> -<dt><a href="#c12">Food containers</a> 45</dt> -<dt><a href="#c13">Bottles made after 1900</a> 47</dt> -<dt><a href="#c14">Lamp glass</a> 49</dt> -<dt><a href="#c15">Laboratory glass</a> 52</dt> -<dt><a href="#c16">Conclusions</a> 54</dt> -<dt><a href="#c17">Appendix I—Ceramic manufacturer’s marks</a> 56</dt> -<dt><a href="#c18">Appendix II—Significant dates in the American Glass Industry</a> 58</dt> -<dt><a href="#c19">Appendix III—Marks left by different techniques of bottle manufacture</a> 62</dt> -<dt><a href="#c20">Appendix IV—Artifact catalogue from the Middleton Place privy excavation</a> 64</dt> -<dt><a href="#c21">Bibliography</a> 73</dt> -</dl> -<div class="pb" id="Page_iv">iv</div> -<h2 id="c1"><span class="small">LIST OF FIGURES</span></h2> -<dl class="toc"> -<dt class="small">Page</dt> -<dt><a href="#fig1">FIGURE 1: Locator map of Middleton Place</a> 3</dt> -<dt><a href="#fig2">FIGURE 2: British-made white ironstone or granite china, 1891-1900</a> 13</dt> -<dt><a href="#fig3">FIGURE 3: Chinese export porcelain</a> 14</dt> -<dt><a href="#fig4">FIGURE 4: French Bourbon Sprig or Cornflower porcelain</a> 15</dt> -<dt><a href="#fig5">FIGURE 5: English porcelain platter</a> 16</dt> -<dt><a href="#fig6">FIGURE 6: Creamware sauce tureen</a> 17</dt> -<dt><a href="#fig7">FIGURE 7: Light blue transfer-printed serving bowl</a> 19</dt> -<dt><a href="#fig8">FIGURE 8: Molded white ironstone chamber pot</a> 19</dt> -<dt><a href="#fig9">FIGURE 9: English majolica</a> 21</dt> -<dt><a href="#fig10">FIGURE 10: Limoges porcelain</a> 22</dt> -<dt><a href="#fig11">FIGURE 11: Decal-printed Austrian porcelain</a> 23</dt> -<dt><a href="#fig12">FIGURE 12: Cut glass pitcher</a> 25</dt> -<dt><a href="#fig13">FIGURE 13: Cut glass decanters</a> 26</dt> -<dt><a href="#fig14">FIGURE 14: Stemmed drinking glasses</a> 27</dt> -<dt><a href="#fig15">FIGURE 15: Ale flute and mascotte wine glass</a> 27</dt> -<dt><a href="#fig16">FIGURE 16: Bottle shapes from the Middleton Place privy</a> 32</dt> -<dt><a href="#fig17">FIGURE 17: Pharmacy bottles</a> 34</dt> -<dt><a href="#fig18">FIGURE 18: Patent medicine bottles</a> 36</dt> -<dt><a href="#fig19">FIGURE 19: Apothecary’s vials</a> 38</dt> -<dt><a href="#fig20">FIGURE 20: Wine and spirits bottles</a> 40</dt> -<dt><a href="#fig21">FIGURE 21: Beer bottles</a> 41</dt> -<dt><a href="#fig22">FIGURE 22: South Carolina Dispensary bottles</a> 44</dt> -<dt><a href="#fig23">FIGURE 23: Preserve jar and olive oil bottle</a> 46</dt> -<dt class="pb" id="Page_v">v</dt> -<dt><a href="#fig24">FIGURE 24: Armor beef extract jar</a> 47</dt> -<dt><a href="#fig25">FIGURE 25: Twentieth century bottles</a> 48</dt> -<dt><a href="#fig26">FIGURE 26: Student lamp chimney</a> 50</dt> -<dt><a href="#fig27">FIGURE 27: Kerosene student and piano lamp</a> 51</dt> -<dt><a href="#fig28">FIGURE 28: “Pearl top” and crimped lamp chimneys</a> 51</dt> -<dt><a href="#fig29">FIGURE 29: Free-blown laboratory beaker</a> 52</dt> -<dt><a href="#fig30">FIGURE 30: Conservation of artifacts</a> 55</dt> -</dl> -<div class="pb" id="Page_vi">vi</div> -<h2 id="c2"><span class="small">ACKNOWLEDGMENTS</span></h2> -<p>I wish to thank Harvey S. Teal and George B. -Hartness of Columbia, South Carolina; M. Mellanay -Delham of Charlotte, North Carolina; Harmon Wray of -Memphis, Tennessee; and Jan B. Eklund of the Smithsonian -Museum for assistance with the artifact analysis. -The original research was funded by a grant from the -South Carolina Coastal Council. This publication was -made possible by a grant from the South Carolina Committee -for the Humanities, whose support is gratefully -acknowledged. The Middleton Place Foundation, and its -Director, Sarah Lytle, provided advice and encouragement. -The author appreciates the assistance of the -staff of the Institute of Archeology and Anthropology. -Essential to the production of this book were Gordon -Brown, Photographer; Darby Erd, Artist-Illustrator; -Kenneth Pinson, Editorial Assistant; Mary Joyce Burns, -Typist; Kenneth Lewis, Archeologist; and William Marquardt, -Associate Director.</p> -<p>Artifacts in the photographs are in possession of -the Middleton Place Foundation, Charleston, South -Carolina, and the Institute of Archeology and Anthropology, -University of South Carolina, Columbia, South -Carolina.</p> -<p>The cover illustration and drawings on pages <a href="#Page_1">1</a>, -<a href="#Page_3">3</a>, <a href="#Page_27">27</a>, <a href="#Page_32">32</a>, <a href="#Page_47">47</a>, <a href="#Page_51">51</a>, <a href="#Page_54">54</a>, and <a href="#Page_56">56</a> are by Darby Erd. -<a href="#fig16">Figure 16</a> is taken from illustrations in Norman W. Webber’s -<i>Collecting glass</i> (Arco Publishing, New York, -1973) and Ruth Webb Lee’s <i>Victorian glass</i> (privately -published, Northboro, Massachusetts, 1944). The drawing -in <a href="#fig24">Figure 24</a> is reproduced from a 1920 Armour & -Co. sales catalogue made available by Harmon Wray of -Memphis, Tennessee. The lamps in <a href="#fig27">Figure 27</a> are drawn -from catalogue illustrations in <i>Edwardian shopping: a -selection from the Army and Navy Stores catalogues, -1898-1913</i> (compiled by R. H. Langbridge, David and -Charles, Newton Abbot, 1975) and <i>Victorian shopping: a -facsimile of the Harrod’s Stores 1895 issue of the</i> -<span class="pb" id="Page_vii">vii</span> -<i>price list</i> (David and Charles, Newton Abbot, 1972).</p> -<p>The engravings on pages <a href="#Page_12">12</a>, <a href="#Page_24">24</a>, and <a href="#Page_39">39</a> are reproduced -from Jim Harter’s <i>Food and drink, a pictorial -archive from nineteenth-century sources</i> (Dover, New -York, 1980). That on <a href="#Page_29">page 29</a> is from the 1895 <i>Encyclopedia -Britannica</i> (volume 10, page 658, The Werner -Company, Chicago). The lamp on <a href="#Page_49">page 49</a> is from the -1902 edition of the Sears Roebuck catalogue (Crown, -New York, 1969).</p> -<div class="pb" id="Page_1">1</div> -<h2 id="c3"><span class="small">A BRIEF HISTORY OF MIDDLETON PLACE</span></h2> -<div class="img"> -<img src="images/p02.jpg" id="ncfig1" alt="Middleton Place" width="800" height="679" /> -</div> -<p>The land that now comprises Middleton Place lies -in one of the earliest areas inhabited by Englishmen -in South Carolina. In 1674, just four years after the -first colonists settled at Charles Town, Lord Proprietor -Sir Anthony Ashley Cooper granted lands for settlement -along the lower reaches of the Ashley River. -Among these was the site of Middleton Place, deeded in -1675 to Jacob Waight. Waight apparently forfeited his -claim to the tract, and in 1700, it was granted to -Richard Godfrey, who sold it in 1729 to John Williams, -a wealthy landowner and justice of the peace. The -land passed into Middleton hands in 1741, when John -Williams’ daughter Mary married Henry Middleton, the -second son of former provincial governor Arthur -Middleton.</p> -<p>Henry and his two brothers were the third generation -of Middletons in South Carolina. Their -<span class="pb" id="Page_2">2</span> -grandfather, Edward Middleton, had arrived in the -colony in 1678 as part of the great influx of Barbadian -Englishmen who made up more than half of Charles -Town’s early immigrants. Like many other Barbadians, -Edward settled along Goose Creek, north of Charleston. -His plantations there, along with estates in Barbados -and England, passed to his son Arthur in 1685. Arthur -also inherited a prominent position in Carolina society, -and with it, an active role in the political life -of the colony. Edward had served as Lords Proprietors’ -deputy and assistant justice in his few years’ -stay in Goose Creek, but Arthur, who held more than a -dozen public offices, was the Middleton who established -the tradition of political leadership that was -to distinguish his family for four generations.</p> -<p>Probably the most significant of Arthur’s -achievements was his role in the overthrow of the -Lords Proprietor. The eight British noblemen theoretically -owned and managed all of the Carolinas, but in -later years, they adopted policies that their colonists -saw as inimical to survival in the American -wilds. Following the Lords Proprietors’ failure to -provide military aid during the bloody Yamasee Indian -uprising of 1715-1717, Arthur Middleton led a convention -that in 1719 persuaded the king to remove the -Lords Proprietor. Later, as president of the Ruling -Council, he served as governor of the province until -the arrival of a governor appointed by the king.</p> -<p>Arthur’s son Henry inherited a large share of his -father’s estates in Carolina and Barbados and was -reputed to be one of the wealthiest men in Carolina. -According to one contemporary account, he owned some -20 plantations and 800 slaves. Nonetheless, after his -marriage to Mary Williams he moved his residence and -base of operations to his wife’s Ashley River plantation, -which they named Middleton Place. The manor -house was already standing at that time, but Henry -added the two flanker buildings (the southernmost of -which now serves as the main house), and laid out the -formal gardens, terraces, and ornamental lakes that -<span class="pb" id="Page_3">3</span> -made Middleton Place one of the most elegant of the -lowcountry plantations. Rice, introduced into the -Carolinas in the late seventeenth century, had become -by Henry’s time a staple crop of the Ashley River -region and was becoming the main product of Middleton -Place (<a href="#fig1">Fig. 1</a>).</p> -<div class="img" id="fig1"> -<img src="images/p03.jpg" alt="" width="800" height="821" /> -<p class="pcap">Figure 1. Locator map of Middleton Place, -Dorchester County, South Carolina.</p> -</div> -<p>Like his father, Henry held a number of public -offices under the royal government, but it was in the -rebellion against that government that he gained political -renown, first as president of the South Carolina -Provincial Congress and later as a delegate to -the First Continental Congress in Philadelphia. Only -<span class="pb" id="Page_4">4</span> -seven of Henry and Mary’s eleven children lived to -adulthood, but both surviving sons were members of the -Provincial Congress, and when Henry’s health began to -fail in 1776 his elder son Arthur replaced him as delegate -to the Second Continental Congress. At 34 Arthur -Middleton was the senior South Carolina delegate -to sign the Declaration of Independence.</p> -<p>The American Revolution took a heavy toll on -South Carolina. Several major campaigns were fought -in the former colony, and Charleston and the surrounding -lowcountry were occupied by the British from -1780 to 1782. During this time, 63 leading Charlestonians, -including Arthur Middleton, were imprisoned -in British St. Augustine. By 1780, Henry was seriously -ill, and, like other lowcountry residents, he -and his sons suffered serious financial losses from -the plunder and disruption that accompanied the British -occupation.</p> -<p>Henry died in 1784 leaving Middleton Place and -other plantations to Arthur, who in the postwar economic -climate soon regained his former standard of -living. Arthur and his family of nine children had -lived at Middleton Place for some time before Henry’s -demise, and several important economic changes took -place under Arthur’s direction. In Henry’s early -years at Middleton Place, rice had been cultivated in -inland swamps irrigated with water from man-made reservoirs. -By the late eighteenth century, soil exhaustion -had begun to pose a problem, and many planters, -including the Middletons, changed to tidal rice cultivation -that involved impounding freshwater swamps -along the rivers’ edges and allowing them to be -flooded by the natural action of the river tides. Not -only did the new soil and nutrients deposited by the -floodwaters remove the threat of soil exhaustion, but -the tidal system was more labor-efficient than inland -cultivation, resulting in higher yield per acre. This -new efficiency was compounded by another late eighteenth -century innovation, the water-powered rice mill, -installed at Middleton Place about the same time.</p> -<div class="pb" id="Page_5">5</div> -<p>Arthur’s eldest son Henry inherited Middleton -Place at the age of 17, apparently while he was still -in school in England. Henry devoted a great deal of -attention to the gardens planted by his grandfather, -enlarging them and introducing many new plants, some -of them newly brought to America by the French botanist -André Michaux. From 1801 to 1830 Henry was continuously -in public office, first as a South Carolina -legislator and governor, then as a member of the United -States Congress, and from 1820 to 1830 as American -ambassador to Russia.</p> -<p>By the time he returned from his service abroad, -South Carolinians had embarked upon the separatist -agitation that would eventually lead to their third -attempt in 150 years to overthrow a government.</p> -<p>At issue were the 1828 and 1832 “tariffs of abomination,” -designed by Congress to protect fledgling -industries in the northern states. However, they were -viewed by indignant Carolina planters, dependent on -direct trade with England, as an assault on their -agricultural economy. The South Carolina Nullification -Convention of 1832 declared the tariff null and -void on the basis of John C. Calhoun’s doctrine that a -state had a right to vote to disregard onerous acts of -Congress and, if other states found its action unacceptable, -to secede. As a member of the opposing Union -Party, Henry Middleton was perhaps the first of his -family to take an active conservative role in a dispute -pitting South Carolina against an outside governing -body.</p> -<p>This early threat to the Union was deflected with -a tariff reduction in 1833, but the nullification doctrine -had laid the ideological groundwork on which 11 -southern states were to base their secession over the -issue of slavery 28 years later. Slavery was an economic -mainstay of agriculture throughout the South, -but particularly so in South Carolina, where slaves -had been imported from Barbados with the very earliest -settlers at Charles Town and where a plantation system -<span class="pb" id="Page_6">6</span> -based on involuntary servitude had existed since the -late seventeenth century. By the early 1700s African -slaves already made up three-quarters of the South -Carolina population, and on the eve of the Civil War, -South Carolina remained the largest slaveholding state -in the Union. Colleton District, where Middleton Place -was located, was nearly 80% black.</p> -<p>This enormous disparity meant that white slaveholders -lived in constant fear of slave insurrection. -They were equally fearful of emancipation, which, as -abolitionist sentiment grew in the North, many planters -came to view as an inevitable outcome of northern -political dominance. There were slaveholders who -staunchly opposed disunion, but South Carolina, as it -had been during the nullification dispute, was a hotbed -of secessionism. With the 1860 election of Abraham -Lincoln, a Charleston convention passed an ordinance -making South Carolina the first state to withdraw -from the Union. Henry Middleton had died in -1846 before the slavery controversy reached its -height, but among the signers of the Ordinance of -Secession were his sons John Izard Middleton of -Georgetown, and Williams Middleton of Middleton Place.</p> -<p>The war that followed caused more devastation to -the plantation economy than emancipation, for in defeat -the planters lost most of their financial assets -and their voice in local government. In areas that -had witnessed military action, they often saw devastation -of their homes and property. Middleton Place, -plundered and burned by invading troops in 1865, was -no exception. Williams and his family fled to -Charleston where they lived while renting the plantation -grounds to a “Yankee captain.” In 1867 Williams -borrowed money from a sister in Philadelphia and began -the task of restoring the burnt-out southern flanker -building to serve as a family residence. In 1871, -before repairs were complete, the Middletons and their -two children were again living at Middleton Place in -the shadow of the ruined mansion that had housed five -generations of their family.</p> -<div class="pb" id="Page_7">7</div> -<p>Restoration of the plantation’s agricultural -operations, however, proved more difficult. The tidal -rice fields, which required constant maintenance, had -been neglected, and the loss of the more than 100 -slaves who had worked the plantation grounds and rice -fields left Williams without the necessary labor for -large-scale cultivation. Although vastly diminished -quantities of rice continued to be harvested elsewhere -in the lowcountry, Middleton Place apparently never -again produced a successful rice crop. By 1890 rice -from Louisiana, where flat upland fields permitted -mechanized cultivation impossible in the South Carolina -marshes, had begun to drive Carolina rice off the -market. Today no rice at all is grown in South Carolina.</p> -<p>Two new commodities that gained importance in the -land-poor lowcountry economy were phosphates, of which -postbellum South Carolina was the nation’s leading -supplier, and timber, an important product in the -Southeast. Williams turned his hand to exploitation -of these natural resources, and by 1878, Middleton -Place boasted both phosphate mines and a sawmill. -Although he and his heirs continued to lease the plantation -timber and mineral rights until the early twentieth -century, by 1880 the aging Williams had left -Middleton Place, taking up residence in Greenville, -South Carolina. After Williams died in 1882, his wife -Susan made regular visits to the plantation. But following -her death in 1900, Middleton Place lay abandoned, -except for periodic visits, for over 20 years. -Williams and Susan’s son Henry, who had left South -Carolina in the 1870s to attend Cambridge University, -was living in England, and their daughter Elizabeth -had married and settled in Greenville.</p> -<p>The plantation was inherited by a cousin, J. J. -Pringle Smith, who, in 1925, moved his family into the -southern flanker house and began the slow job of restoring -the Middleton Place grounds and gardens. -Pringle Smith built the present stableyard complex on -the site of older outbuildings, installed an electrical -<span class="pb" id="Page_8">8</span> -generator in the former privy building, and opened -the gardens to the public. In 1970 Middleton Place -became a Registered National Historic Landmark under -the management of the Smiths’ grandson, Charles Duell. -In 1975, with the creation of the Middleton Place -Foundation, the south flanker containing many of the -family’s original furnishings was also opened to the -public.</p> -<h2 id="c4"><span class="small">ARCHEOLOGY AT MIDDLETON PLACE</span></h2> -<div class="img"> -<img src="images/p04.jpg" id="ncfig2" alt="uncaptioned" width="800" height="611" /> -</div> -<p>Modern historical archeology, like archeology in -general, is based on two main premises. First, where -man has lived for any length of time, he has left -behind artifacts—bits of food, broken pottery, tools, -and ornaments—that tell us something of his way of -life. Second, human behavior is, to a certain extent, -patterned and predictable, and similar artifacts will -be found on similar sites. Thus, even if two household -sites are separated by hundreds of years of technological -innovation, they may yield utensils used for -roughly the same purposes. If two contemporary sites -<span class="pb" id="Page_9">9</span> -produce artifacts of the same style and workmanship, -then their inhabitants shared at least some aspects of -a single culture, and variations between the sites can -provide valuable clues to adaptations of that culture -to different circumstances.</p> -<p>The distinction between prehistoric and historical -archeology is based not on differences in technology -but on the presence or absence of written records. -While prehistoric archeologists reconstruct -ancient cultures primarily from artifactual evidence, -historical archeology employs both documents and material -remains to study literate societies and the pre-literate -populations whom they influenced. In much of -Europe and Asia, the historic period begins centuries -before Christ, but in North America, historical archeology -is concerned with the period of recorded European -exploration and occupation extending from the -sixteenth century to the present.</p> -<p>From these four centuries we have innumerable -written records covering a vast array of subjects. -But although these records contain a wealth of information, -they cannot always be trusted to be either -thorough or accurate. In addition, historians are -often most interested in aspects of daily life—such -as health, diet, and the living conditions of the -unlettered poor—that are frequently omitted altogether -from written records. By examining the record -of activities that people have left in the soil, archeology -can provide written history with a comparatively -unbiased account of the economic conditions -underlying historical change.</p> -<p>Probably the most obvious indicators of past -living conditions are buildings, around which most -human activities are centered. On most historic sites -these include not only residences but also a variety -of outbuildings such as privies, barns, and work -buildings that are crucial to understanding the site -as a whole. This is especially true of such complex -institutions as plantations, where hundreds of people -<span class="pb" id="Page_10">10</span> -may have lived and worked over an area of many acres. -Since many of these buildings have long since disappeared, -the first task of the excavator is to find -them by tracing the concentrations of debris that, -fortunately for archeologists, our ancestors scattered -freely around their dwellings and workplaces.</p> -<p>The Middleton Place privy is a modest one-story -building half hidden in live oaks behind the Middleton -House museum. It has outlasted many of its more imposing -contemporaries to become one of the oldest -standing structures at Middleton Place. Built in the -late eighteenth or early nineteenth century, the privy -was one of the few plantation buildings to escape -destruction by Sherman’s troops in 1865. In its long -lifetime it has served as an outdoor latrine, a generator -house, and a storage building. Now, newly -equipped with running water and flush toilets, it is -the only antebellum building at Middleton Place still -serving the purpose for which it was constructed.</p> -<p>An outdoor privy may seem an unlikely place to -conduct an archeological excavation. Much eighteenth -and nineteenth century trash was simply tossed out the -back door, but the backyard privy, ready made for -waste disposal and usually handily located a few dozen -feet from the house, also received its share of household -disposables. As a privy pit neared abandonment, -the top layers were often stuffed with broken objects -before it was sealed and a new hole dug.</p> -<p>The privy is set solidly atop a rectangular -brick-lined pit, which house servants kept open and -functioning for more than 100 years with a system of -“honey buckets.” When the privy was finally abandoned -in the 1920s, the entire pit, not just the top few -inches, was packed with broken or unusable household -goods.</p> -<p>The privy pit was sealed by J. J. Pringle Smith, -who laid a concrete floor in the privy building and -converted it into a shed for the plantation’s first -<span class="pb" id="Page_11">11</span> -electric generator. With the subsequent arrival of -outside electrical power, the generator too was abandoned, -and the privy stood undisturbed for the next 40 -years. In 1978 workmen remodeling the building into a -modern restroom broke through the concrete floor to -the artifact-laden pit below. The artifacts were excavated -and analyzed by archeologists from the University -of South Carolina’s Institute of Archeology -and Anthropology, and are now on display in the Middleton -Place Spring House Museum.</p> -<p>Privy pits, being relatively shallow, normally -contain objects accumulated and discarded within a -very few years. The Middleton privy, only three feet -deep, was expected to be no exception. Once the artifacts -had been cleaned and restored, however, it became -apparent that this was no short-term kitchen -deposit, but a diverse assemblage of objects spanning -more than 100 years of the plantation’s history.</p> -<p>A sealed archeological deposit can date no earlier -than its most recent artifact, and a handful of -twentieth century utility bottles confirmed that this -chronological hodgepodge had been thrown into the -privy pit shortly after the arrival of the Pringle -Smith family in 1925. The scarcity of items from the -Smiths’ period of residence, however, suggested that -the family had filled the privy not with their own -trash but with objects accumulated by the Middletons -in the preceding century. The artifacts could not -have collected in the house before 1871, when the -Middletons moved back to their war-ravaged estate, or -after 1900, when Susan Middleton’s death ended the -plantation’s role as a regular residence. The artifacts -left in the house spanned Susan and her husband’s -entire lifetimes, from the costly dinnerwares -of the wealthy planter to the plain stone china of his -widow. As much as any exhibit at Middleton Place, -then, the artifacts on display in the Spring House -Museum bear testimony to the cycle of wealth and poverty, -prosperity and decay, that characterized the -nineteenth century Middletons and their plantation.</p> -<div class="pb" id="Page_12">12</div> -<h2 id="c5"><span class="small">POTTERY AND PORCELAIN</span></h2> -<div class="img"> -<img src="images/p05.jpg" id="ncfig3" alt="uncaptioned" width="800" height="442" /> -</div> -<p>The Industrial Revolution introduced an era of -mass production, technological efficiency, and mass -consumption. One of its minor miracles was the perfection -of a hard-boiled white ceramic that was within -the financial reach of most of the population. Though -hardly striking to the modern eye, the white ironstone -plates pictured below (<a href="#fig2">Fig. 2</a>) are the result of years -of experimentation by British and other European potters. -In durability, purity of color, and cost-effectiveness, -the everyday ironstones and granitewares of -the late nineteenth century represent a triumph of -western ceramic technology that has been little improved -upon since the earlier part of that century. -(See <a href="#c7">Appendix 1</a> for a complete listing and illustrations -of ceramic manufacturers’ marks.)</p> -<p>The impetus for this technological marvel goes -back to the global expansionism of Europe’s seafaring -nations in the sixteenth and seventeenth centuries. -Among the exotica brought back by early traders was -Chinese porcelain, an impermeable white ceramic ware -unlike anything produced in Europe. As trade with the -Orient grew, so did importation of Chinese porcelain. -By the eighteenth century, Chinese potters were regularly -<span class="pb" id="Page_13">13</span> -turning out blue-and-white “export porcelain” -(<a href="#fig3">Fig. 3</a>) made specifically for the European market. -East India Company ships were transporting it to England -as “flooring” to protect perishable cargoes of -tea.</p> -<div class="img" id="fig2"> -<img src="images/p05a.jpg" alt="" width="800" height="599" /> -<p class="pcap">Figure 2. British-made white ironstone or -granite china, 1891-1900. All four plates -are marked “MADE IN ENGLAND,” a convention -adopted in 1891 to comply with American -import regulations.</p> -</div> -<p>Much of this porcelain found its way to the American -colonies. In the early colonial period, Chinese -porcelain was a relatively rare and prestigious ware -associated with the upper-class custom of afternoon -tea. By the time of the American Revolution, both -tea-drinking and porcelain had spread to the lower -classes. When American merchants opened their own -direct trade with China in the 1780s, they brought -back large quantities of porcelain along with the more -lucrative teas and silks. By the 1820s Chinese -<span class="pb" id="Page_14">14</span> -blue-and-white had become an ordinary household -fixture and, with a concomitant decline in quality of -production, began to lose favor with the American -buyer. Very little was imported after the early -1830s.</p> -<div class="img" id="fig3"> -<img src="images/p06.jpg" alt="" width="800" height="639" /> -<p class="pcap">Figure 3. Chinese export porcelain. These -fragments are all from plates or serving -dishes, probably imported before 1830. All -are hand-painted with blue underglaze decoration. -The piece on the upper left retains -traces of additional decoration, including -gilding, applied over the glaze.</p> -</div> -<div class="pb" id="Page_15">15</div> -<div class="img" id="fig4"> -<img src="images/p06a.jpg" alt="" width="1560" height="1200" /> -<p class="pcap">Figure 4. French Bourbon Sprig or Cornflower -porcelain, a pattern popular before the -French Revolution. Other pieces of this -pattern are on display in the Middleton -House dining room.</p> -</div> -<p>It would be difficult to overestimate the influence -of Oriental porcelain on the European ceramic -industry. Europeans greatly admired the hardness, -whiteness, and thinness of the Chinese imports, and -many of the most important developments in eighteenth -and nineteenth century ceramic manufacture resulted -from a conscious effort to imitate these qualities. -Soft paste porcelain, made by adding glass to the clay -body, was an early attempt to reproduce the porcelain -paste itself. The Germans discovered the secret of -true hard paste porcelain around 1710 and began producing -it at Meissen three years later, followed by -the Austrians at Vienna in 1718 and the French at -Sèvres in 1768. Early European porcelains imitated -the Oriental in design as well as paste, but after -about mid-century, chinoiseries gave way to flowers -and other European designs executed in a variety of -colors. Through the end of the century, European -porcelain remained an art form available only to the -well-to-do. <a href="#fig4">Figure 4</a> shows a French porcelain tea -plate hand-painted in the “Bourbon Sprig” or “Cornflower” -pattern of scattered flowers popular during -the reign of Louis XVI. Probably produced in Paris in -the eighteenth or early nineteenth century, this plate -<span class="pb" id="Page_16">16</span> -was part of a large set of Bourbon Sprig china originally -brought from Europe by a member of the Middleton -family after 1820.</p> -<div class="img" id="fig5"> -<img src="images/p07.jpg" alt="" width="800" height="500" /> -<p class="pcap">Figure 5. English porcelain platter, decorated -over the glaze with the polychrome -orientalizing designs favored by early -19th century British ceramic painters. -This dish was also probably part of a -large set, fragments of which have been -found elsewhere on the Middleton Place -grounds.</p> -</div> -<p>Little hard paste porcelain was produced in England, -where bone china, a somewhat softer porcelain -with calcined ox bone added to the paste, became a -favorite material for expensive dinnerwares. Oriental -influence on British ceramics was more immediately -felt in the British decorative style, which through -the nineteenth century continued to borrow heavily -from the Chinese and Japanese. <a href="#fig5">Figure 5</a> illustrates -an English porcelain platter decorated in the colorful -pseudo-Oriental motif typical of early nineteenth -century dinner services. These services, often made -<span class="pb" id="Page_17">17</span> -in stone china or ironstone, sometimes included as -many as two hundred pieces to accommodate the lavish -dinner parties that were the fashionable entertainment -of the day.</p> -<div class="img" id="fig6"> -<img src="images/p07a.jpg" alt="" width="1565" height="636" /> -<p class="pcap">Figure 6. Creamware sauce tureen, manufactured -by the Josiah Wedgwood factory. One -of the original 1780s Wedgwood designs, -tureens similar to this one are still produced -by the Wedgwood pottery in Barlaston, -Staffordshire. Manufacturer’s markings -indicate that this piece was manufactured -before 1860.</p> -</div> -<p>A more significant effect of Oriental porcelain -on British ceramics was the revolution it inspired in -the production of everyday earthenware. From the -early eighteenth century, British potters had sought -to develop a smooth white-bodied earthenware that -could be made from local clays to compete with the -imported blue-and-white. The first real breakthrough -in this endeavor came in the 1760s, when Josiah Wedgwood, -the giant of British ceramic history, began production -of a thinly potted pale yellow pottery known -as creamware or queensware (<a href="#fig6">Fig. 6</a>). Dozens of British -factories quickly took up manufacture of creamware, -and it became a staple dinnerware throughout -Europe and America. It remained a popular British and -American tableware until the 1820s, after which it -degenerated into a common utilitarian crockery. Known -<span class="pb" id="Page_18">18</span> -as “C.C. ware,” creamware finished out the nineteenth -century as the cheapest of the heavy utility wares, -used chiefly for such items as mixing bowls and -chamber pots.</p> -<p>On the heels of creamware came pearlware, another -Wedgwood invention that consisted of a slightly -whiter-bodied ceramic, which, with the addition of a -clear blue-tinted glaze, came close to approximating -the pearly bluish white of Oriental porcelain. The -development of pearlware, and the even whiter earthenwares -that followed, ushered in the great British -period of blue transfer-printing that lasted from the -1780s through the 1840s. The art of printing glazed -ceramics with designs transferred from engraved copper -plates had been known since the 1750s, but the more -durable underglaze process was developed only in the -1770s—and then only in cobalt blue, the one color -that consistently remained unblurred through the high -firing temperatures required for glazing. Blue underglaze -printing had been tried to no one’s satisfaction -on the yellow background of creamware, but pearlware, -with its faint bluish tint, was the first earthenware -that was both hard enough and of a suitable color for -the new technique. Despite the development of nearly -pure white earthenwares in the early 1800s, British -potters continued throughout the nineteenth century to -add the blue-tinted pearlware glaze to earthenwares of -many different compositions.</p> -<p>Early transfer patterns imitated the Chinese and -were engraved into the copper plates in a series of -deep lines, but a technique combining lines and stippling, -which allowed for greater detail and shading, -was introduced about 1810. With this and other developments, -Oriental designs gave way to pastoral and -architectural scenes—English, Alpine, Italianate, and -American, among many others—usually surrounded by -borders of English flowers (<a href="#fig7">Fig. 7</a>). In later years, -many of these scenes were printed in various colors -made possible by the introduction of new dyes in the -late 1820s, but blue remained the most popular color -through the end of the transfer-printing era in the -late 1840s.</p> -<div class="pb" id="Page_19">19</div> -<div class="img" id="fig7"> -<img src="images/p08.jpg" alt="" width="792" height="467" /> -<p class="pcap">Figure 7. Light blue transfer-printed serving -bowl, manufactured by J. & G. Alcock, -Staffordshire, 1839-1846. Pastoral scenes -like this TYROL pattern were popular from -about 1810 through the 1840s.</p> -</div> -<div class="img" id="fig8"> -<img src="images/p08a.jpg" alt="" width="800" height="499" /> -<p class="pcap">Figure 8. Molded white ironstone chamber -pot, probably American made, c. 1860-1900.</p> -</div> -<div class="pb" id="Page_20">20</div> -<p>The dinnerware that pre-empted transfer-printed -earthenware was plain stone china of the sort pictured -in <a href="#fig2">Figure 2</a>. Late nineteenth century stone china, -also known as ironstone, graniteware, and semi-porcelain, -was not a new ceramic but a variant of the -stone chinas and ironstones first produced by Josiah -Spode and Charles Mason in the first two decades of -the century. The novelty of the stone chinas sold -after 1840 lay in the new inexpensive methods of mass-producing -them, and in their hitherto unthinkable -absence of painted decoration. Early nineteenth century -stone chinas had been elaborately decorated with -Oriental wildlife and transfer-printed patterns, but -by mid-century it was almost all stark white, with -only embossed or molded decoration. After about 1870, -it was often produced with no decoration at all.</p> -<p>Stone china at its best was nearly unbreakable, -and thus admirably suited to life in the still rough-and-ready -American states. Like earlier wares, most -of the stone china sold in the United States was imported -from Great Britain. The fledgling American -pottery industry did not begin producing hard-paste -whitewares until after 1860, and throughout the nineteenth -century American-made ironstone was considered -inferior to imported china. Much of the early American -potter’s energy went into the production of common -utility items, which, like the probably American-made -chamberpot in <a href="#fig8">Figure 8</a>, were often unmarked to hide -their domestic origins.</p> -<p>At the opposite extreme of the decorative scale -was English majolica, a gaudily painted ware introduced -by Minton & Co. at the 1851 “Great Exhibition” -in London (<a href="#fig9">Fig. 9</a>). Early Minton majolica was intended -as an imitation of sixteenth century Italian -majolica and featured hand-painted romantic scenes on -an opaque white background. The style quickly -evolved, however, into a fancifully molded pottery -<span class="pb" id="Page_21">21</span> -decorated with a wide range of colorful semitranslucent -glazes. Produced by a number of factories -after about 1860, majolica was used through the end of -the century both for inexpensive domestic items and -for sometimes massive ornamental objects such as jardinieres.</p> -<div class="img" id="fig9"> -<img src="images/p09.jpg" alt="" width="551" height="800" /> -<p class="pcap">Figure 9. English majolica, c. 1860-1910. -This brightly colored ware was often -molded into shapes resembling trees or -other plants. The brown-glazed handle is -from a pitcher apparently colored with -blue, yellow, and brown.</p> -</div> -<p>Manufacture of European porcelain had not ceased -during the years British earthenware dominated the -American ceramic market, but the nature of the product -had changed considerably. The French porcelain industry, -in particular, had evolved from a restricted -craft patronized by royalty to a number of independently -owned factories turning out standardized dinnerwares -for the public taste. These relatively inexpensive -wares appealed to Americans as well as Europeans, -<span class="pb" id="Page_22">22</span> -and French porcelains were imported in quantity -beginning around 1850. To Americans, the most prestigious -French porcelain came from Limoges, where a -number of factories had clustered to take advantage of -extensive kaolin deposits. Of Limoges porcelain, the -most highly regarded was that produced by Haviland & -Co., a firm founded in 1842 by an American china merchant, -David Haviland, to produce porcelain, specifically -designed for the American market (<a href="#fig10">Fig. 10</a>). -Cheaper French porcelains, often with no manufacturer’s -mark, were sturdily and heavily made in an apparent -attempt to capture the white ironstone dinnerware -market.</p> -<div class="img" id="fig10"> -<img src="images/p10.jpg" alt="" width="800" height="535" /> -<p class="pcap">Figure 10. Limoges porcelain, c. 1875-1891. -The dinner plate at left bears the hallmark -of Haviland & Co., an American-run -French Company that produced porcelain -especially for the American market. Three -other undecorated plates, the least expensive -kind of porcelain, were also recovered -in the privy excavation.</p> -</div> -<div class="pb" id="Page_23">23</div> -<div class="img" id="fig11"> -<img src="images/p10a.jpg" alt="" width="800" height="500" /> -<p class="pcap">Figure 11. Decal-printed Austrian porcelain, -probably c. 1900-1918. Decal-printing, or -decalcomania, was first used on ceramics -around the turn of the century and is a -common method of decorating china today.</p> -</div> -<p>Despite its popularity, French porcelain did not -succeed in replacing white ironstone in the American -cupboard. That remained for German and Austrian -porcelain (<a href="#fig11">Fig. 11</a>), an even cheaper ware that began -to enter the country in quantity around 1875, and in -prodigious amounts after the turn of the century. -Much admired for their thinness and translucency, -these delicate dinnerwares easily undersold not only -ironstone and the established French and British porcelains, -but the then fashionable pressed glass tableware -sets as well. Like most porcelains of the period, -Austrian and German dinner sets were usually decorated -with small sprays of naturalistic flowers. This design -was made easier by the late nineteenth century -development of decal-printing, or “decalcomania,” a -process by which multicolored paper patterns are -transferred directly onto the surface of a glazed -ceramic. Decal-printing was first used on European -<span class="pb" id="Page_24">24</span> -ceramics around 1900, and it remains a popular ceramic -decoration today.</p> -<p>Most of the popular Austrian porcelains were -manufactured near Carlsbad in Bohemia, which after -World War I became a part of modern Czechoslovakia. -After World War I Czechoslovakia and other European -countries continued to dominate the American porcelain -market. Although American-made earthenwares and stone -chinas had become a competitive force around the beginning -of the century, it was not until World War II, -and the resulting disruption of the European china -trade, that American porcelain manufacturers were able -to end the tradition of imported ceramics that began -with seventeenth century Chinese porcelain.</p> -<h2 id="c6"><span class="small">GLASS TABLEWARE</span></h2> -<div class="img"> -<img src="images/p11.jpg" id="ncfig4" alt="uncaptioned" width="800" height="402" /> -</div> -<p>Decorative glass recovered in the privy excavation -covered a range of styles and manufacturing techniques -spanning the entire nineteenth century. Most -of the glass tableware, however, particularly the -heavy cut glass, appears to have been manufactured in -the antebellum period. This indication that the Middletons -continued to dine off their pre-war finery -until they left the plantation may be an indication of -the family’s reduced financial circumstances after the -Civil War. Only a few of the more representative -<span class="pb" id="Page_25">25</span> -glass tableware items are illustrated below.</p> -<div class="img" id="fig12"> -<img src="images/p11b.jpg" alt="" width="800" height="817" /> -<p class="pcap">Figure 12. Cut glass pitcher with applied -crimped handle. Early 19th century, possibly -American-made.</p> -</div> -<p>One of the more popular and long-lived methods of -decorating glass has been wheel-cutting, introduced -into England from Germany by the early eighteenth -century, and used primarily on the soft but brilliant -lead glass crystal developed in England around 1675. -Early nineteenth century English cut glass, incised -entirely by hand, tended toward restrained neoclassical -lines, but the introduction of a steam-powered -cutting wheel in 1810 ushered in an era of deep and -extensive cut decoration. Much of this English and -<span class="pb" id="Page_26">26</span> -Irish cut glass was imported into the United States, -but by the first few decades of the nineteenth century, -American glasshouses had developed a reputation -in the field as well. The cut glass pitcher in <a href="#fig12">Figure 12</a> -dates from this period and is similar to pitchers -produced in Pennsylvania glasshouses in the 1820s. The -applied hand-tooled handle is of a type seldom used -after the 1860s.</p> -<div class="img" id="fig13"> -<img src="images/p12.jpg" alt="" width="800" height="641" /> -<p class="pcap">Figure 13. Cut glass decanters. A. Cylindrical -flute-cut decanter, a style popular in -the 1840s. The mate to this decanter is -still among the family possessions in the -Middleton Place house. B. Shouldered decanter -with shallow fluting around base. -This style was introduced before 1830.</p> -</div> -<div class="pb" id="Page_27">27</div> -<div class="img" id="fig14"> -<img src="images/p12a.jpg" alt="" width="800" height="362" /> -<p class="pcap">Figure 14. Stemmed drinking glasses. A. -Fluted ale or champagne glass. Cut glass, -c. 1810-1840. B. “Almond Thumbprint” pattern -wine glass. Pressed glass, post-1850. -C. “Mascotte” pattern wine glass. Pressed -glass, post-1880.</p> -</div> -<div class="img" id="fig15"> -<img src="images/p12c.jpg" alt="" width="523" height="600" /> -<p class="pcap">Figure 15. Ale flute and Mascotte wine glass -as they would have appeared unbroken.</p> -</div> -<p>By the 1830s cutting in flat vertical slices, or -flutes, had come into fashion. Heavy straight-sided -decanters like the one in <a href="#fig13">Figure 13</a>A were well-suited -to this decoration and remained popular through the -1840s, after which the fashion swung toward lighter -long-necked decanters with rounded bodies. The decanter -on the right with more restrained fluting -around the base only is probably part of a shouldered -<span class="pb" id="Page_28">28</span> -decanter of a style most common before about 1830. -Victorian glasscutters frequently reproduced older -styles, however, in the thousands of decanters that -were turned off the wheel before decanters ceased to -be an everyday tableware around World War I.</p> -<p>In the late 1820s American glassmakers introduced -the side-lever glass press, a device that could form -wide-mouthed glass items by pressing them against a -mold with a plunger. The glass press allowed mass -production of decorated tableware at a much lower cost -than cutting or engraving, and within a few years -pressed glass had begun to make serious inroads into -the cut glass market. Early American pressed glass -was made in stippled or “lacy” patterns formed by -closely-spaced small indentations in the mold, but in -the late 1840s, smooth patterns similar to some cut -glass styles had been developed. The invention in -1864 of an inexpensive substitute for the costly lead -glass crystal further reduced the cost of pressed -glass manufacture, and by the 1870s, dozens of factories -were turning out pressed glass table sets in a -staggering array of patterns. These pattern glass -sets remained the most popular American glassware -until the 1880s when cut glass resurfaced with deeply -and ornately incised “brilliant” cut glass.</p> -<p>Pressed glass manufacturers responded to the new -patterns with pressed glass imitations, a single example -of which was recovered from the Middleton Place -privy deposit. Figures <a href="#fig14">14</a> and <a href="#fig15">15</a> show the transition -of styles through the nineteenth century. On the far -left in both figures is a tall ale or champagne glass -wheel-cut with the vertical flutes fashionable in the -first half of the century. <a href="#fig14">Figure 14</a>B shows a small -wine glass pressed in the “Almond Thumbprint” pattern, -an early non-lacy pattern introduced in the 1850s or -1860s. The wine glass on the right is pressed in the -“Mascotte” pattern. This pattern, probably first -produced in the 1880s, was one of the many late nineteenth -century pressed glass patterns made to resemble -the more fashionable brilliant cut glasswares.</p> -<div class="pb" id="Page_29">29</div> -<h2 id="c7"><span class="small">GLASS MANUFACTURE IN THE UNITED STATES</span></h2> -<div class="img"> -<img src="images/p13.jpg" id="ncfig5" alt="uncaptioned" width="800" height="578" /> -</div> -<p>At the beginning of the nineteenth century, most -bottles in the United States and England were either -free-blown—formed on the end of a blowpipe without -aid of a mold—or blown into a one-piece “dip mold” -that formed only the basic body shape. Neither of -these processes allowed large-scale production of -oddly shaped or embossed containers, and since even -dip-molded bottles were formed by hand above the -shoulder, the bottles tended to be asymmetrical.</p> -<p>Hinged two-piece molds, capable of shaping the -shoulder and neck as well as the body of the bottle, -had occasionally been used in England as early as the -1750s, but they did not become common in the U. S. -until the second and third decades of the nineteenth -century. A three-piece mold with a dip body and -hinged neck and shoulder parts, developed in England -shortly after the turn of the century, was popularized -by an 1821 patent taken out by the Henry Ricketts -Company of Bristol. These two forms, especially the -two-piece mold, remained the most common mold types -<span class="pb" id="Page_30">30</span> -throughout the nineteenth century. On early two-piece -molds, the pieces were hinged in the center of the -base, but a more stable mold with a separate base part -was developed by the late 1850s and was almost universally -used in the later decades of the century.</p> -<p>On almost all mouth-blown bottles, whether free-blown -or blown in a complex mold, the lip and upper -neck were formed in a separate process after the -otherwise complete article had been removed from the -blowpipe. This process, the last step in the formation -of the bottle, was known as “finishing,” and the -completed lip came to be called the “finish.” In the -early part of the nineteenth century, bottles were -finished with simple hand tools such as shears, but by -1840, a specialized “lipping tool” with a central plug -and one or more rotating external arms had been introduced. -This tool produced a smoother and more uniform -finish, and remained in use until the industry was -fully automated in the twentieth century.</p> -<p>While the finish was being formed, most bottles -were held by an iron pontil rod affixed to the base -with molten glass. This process left a rough scar on -the bottom of the bottle where the pontil had been -detached. Holding devices which gripped the body of -the bottle and eliminated the need for empontilling -were apparently known in England in the 1820s, but did -not become common in American glasshouses until the -1840s or 50s. By the 1870s use of the pontil rod had -almost entirely ceased.</p> -<p>The most significant American contribution to the -early nineteenth century glass industry was the development -in the 1820s of the hand-operated side-lever -pressing machine. This device consisted of a single- or -multi-piece mold into which the glass was pressed -by means of a plunger. Since the plunging process -required wide-mouthed molds, pressing was used primarily -for glass tableware, although straight-sided jars -were also pressed in the later part of the century.</p> -<div class="pb" id="Page_31">31</div> -<p>In 1864 William Leighton of J. H. Hobbs, Brockunier, -& Co. in West Virginia perfected a formula for -an inexpensive soda-based glass that was as crystalline -as the heavy lead glass previously used for most -American-made clear glass items. This new glass revolutionized -the pressed glass tableware industry, and -probably was responsible for the flood of clear glass -medicinal and household bottles that followed the -Civil War. Like earlier clear glass, the improved -lime glass was tinted with manganese oxide to remove -its natural green coloring. Clear glass items manufactured -with manganese tend to turn varying shades of -lavender when left exposed to the sun. Manganese was -imported from Germany in the nineteenth century to -decolor glass and was no longer used after the outbreak -of World War I.</p> -<p>In the immediate post-Civil War period, the -American glass industry expanded rapidly. Molds were -improved and worker and furnace productivity increased -to many times their 1800 level. New bottle shapes -were introduced, and specialized and embossed bottles -proliferated. The manufacture of preserve jars became -a major industry, and a special “blow-back” mold, -included in John Mason’s 1858 fruit jar patent, was -used to form the screw threads for the sealable lids. -Standard bottle shapes for different products became -common, as did uniformly applied standard lip forms -for different purposes. The standard shapes of the -bottles from the Middleton Place privy are shown in -<a href="#fig16">Figure 16</a>. Turnmolding, a long-known method of removing -mold marks by rotating the unfinished bottle in -the mold, became a popular way of manufacturing unblemished -wine bottles. A popular technique of embossing -was plate-molding, an operation in which a personalized -name plate could be inserted into a standard -mold for inexpensive lettering of even small runs of -bottles.</p> -<div class="pb" id="Page_32">32</div> -<div class="img" id="fig16"> -<img src="images/p14.jpg" alt="" width="800" height="1066" /> -<p class="pcap">Figure 16. Bottle shapes from the Middleton -Place privy (not to scale). A. Champagne -beer. B. Export beer. C. Malt whiskey. D. -Jo-Jo flask. E. Union Oval flask. F. Bordeaux -wine. G. Hock wine. H. Olive oil. I. -American preserve. J. Fluted extract. K. -Bromo-Seltzer. L. Poison. M. French -square. N. Baltimore oval. O. Philadelphia -oval. P. Double Philadelphia oval. Q. -Plain oval. R. Panel. S. Ball neck panel. -T. Oil panel. U. Round prescription. V. -Quinine. W. Morphine. X. Free-blown apothecary’s -vial. Y. Round patch box. Z. Ointment. -AA. Stoneware ink. BB. Bell mucilage. -CC. Cone ink. DD. Cylinder ink.</p> -</div> -<div class="pb" id="Page_33">33</div> -<p>The first mechanized production of bottles in the -United States was on a semiautomatic “press-and-blow” -machine patented by Philip Argobast in 1881 and used -by the Enterprise Glass Co. of Pittsburgh to make -Vaseline jars in 1893. Although the molten glass -still had to be gathered and dropped into the mold by -hand, the Argobast machine could produce completely -machine-molded wide-mouth jars by pressing the lip and -blowing the body in two separate operations. Semiautomatic -production rapidly took over the fruit jar -industry, and by the turn of the century most fruit -jars were made on semiautomatic machines rather than -in the traditional blow-back molds. Narrow-necked -bottles, however, could not be manufactured on “press-and-blow” -machines because the plunger for the pressing -operation could not be withdrawn through a narrow -opening. Although a “blow-and-blow” machine for -narrow-necked bottles was developed in England in the -late 1880s, semiautomatics for small-mouthed ware were -apparently not introduced in the U.S. until after the -development of the automatic Owens bottle machine in -1903.</p> -<p>The Owens machine, invented by Michael J. Owens -of the Toledo Glass Co., was put into production in -1904. It differed from the semiautomatics in that the -glass was gathered into the molds by mechanical suction -process, thus completely eliminating hand labor. -Despite a series of improvements from 1904 to 1911, -the Owens machine was slow to gain acceptance, both -because of its expense and because of the restrictive -licensing policies adopted by the Toledo Glass Co. In -1905 most bottle production other than wide-necked -jars was still by hand. Semiautomatics came into -increasing use, however, and a number of improvements -made them a serious threat to the Owens machine. -After about 1914, there was a proliferation of patents -for automatic feeding devices that could cheaply convert -the more modern semiautomatics into fully automatic -machines. Use of feeder-fed semiautomatics, as -well as the Owens automatic machines, reduced hand -bottle production to 50% of the country’s output by -1917, and to less than 10% by 1925. More efficient -feeder machines slowly replaced the Owens-type suction -machines and are the type in general use today.</p> -<div class="pb" id="Page_34">34</div> -<h2 id="c8"><span class="small">MEDICINE BOTTLES</span></h2> -<p>As glass manufacturing expanded after the Civil -War, so did the pharmaceutical industry. Pharmacology -became a more exact science than it ever had been, and -its practitioners dispensed their compound medicines -in glass bottles that for the first time were available -in precisely graduated sizes and a variety of -shapes often tailored to suit specific products. -Early post-war bottles were usually made in the aquamarine -of “green” glass that had become traditional -for apothecaries’ wares, but use of clear lime glass -spread until by the end of the century most pharmacy -bottles, like most of those from the Middleton Place -privy, were made of clear glass.</p> -<div class="img" id="fig17"> -<img src="images/p15.jpg" alt="" width="800" height="396" /> -<p class="pcap">Figure 17. Pharmacy bottles. A. French -square shape, c. 1860s-1920s. B. Ball neck -panel, c. 1860s-1920s. C. Philadelphia -oval shape, c. 1867-1903. Embossed C. F. -PANKNIN APOTHECARY CHARLESTON, S. C. -D. Blue Whitall Tatum poison bottle, c. -1872-1920. E. Wide-mouthed prescription -bottle, possibly for morphine, c. 1860s-1920s.</p> -</div> -<p>One of the first of the new shapes was the -“French square,” a tall bottle with beveled corners -introduced in the early 1860s (<a href="#fig17">Fig. 17</a>). The French -<span class="pb" id="Page_35">35</span> -square was followed by more elaborate rectangular, -round, and oval shapes, many of them adapted with one -or more flat sides to accommodate the paper labels or -plate-molded lettering with which pharmacists usually -marked their wares. The “Philadelphia oval” shown in -<a href="#fig17">Figure 17</a>C, plate-molded with the name of an 1867-1902 -Charleston pharmacy, was a favorite shape.</p> -<p>Despite such advances as Louis Pasteur’s bacteriological -discoveries, ideas of medical treatment in -the nineteenth century remained primitive by modern -standards. Without many of the vaccines and antibiotics -now available, people dosed themselves with a -wide range of substances which most twentieth century -invalids would hold in dim regard. For instance, -pharmacists distributed morphine in small bottles such -as that shown in <a href="#fig17">Figure 17</a>E. Vegetable extracts that -would not now be in anybody’s pharmacopoeia were often -sold in panel bottles (<a href="#fig17">Fig. 17</a>B).</p> -<p>One of the few restrictions placed on the more -dangerous medicaments was packaging. In 1872 the -American Medical Association, concerned over accidental -poisoning, issued a recommendation that potentially -harmful substances be bottled in distinctively -colored containers that were also recognizable by -touch. One result of this directive was blue quilted -poison bottles (<a href="#fig17">Fig. 17</a>D). A specialty of Whitall, -Tatum & Co., a major manufacturer of pharmaceutical -wares, these bottles were manufactured until about -1920. Other companies continued to produce poison -bottles until the 1930s, when it was decided that the -bright colors and fanciful shapes were more an attraction -than a deterrent to children exploring the medicine -cabinet.</p> -<div class="pb" id="Page_36">36</div> -<div class="img" id="fig18"> -<img src="images/p16.jpg" alt="" width="800" height="567" /> -<p class="pcap">Figure 18. Patent medicine bottles. A. Maltine -bottle, double Philadelphia shape. -Embossed THE MALTINE MF’G CO. CHEMISTS -NEW YORK, a company name used from 1875 -to 1898. B. Bromo-Caffeine bottle, c. -1881-1920s. Embossed KEASBEY & MATTISON -CO. AMBLER, PA. C. Horsfords Acid Phosphate -bottle, eight-sided. Embossed -RUMFORD CHEMICAL WORKS and on base, -PATENTED MARCH 10, 1868, c. 1868-1890.</p> -</div> -<p>A better-known but less savory branch of nineteenth -century medicine was the patent medicine industry, -which exploded into notoriety with its extravagant -use of the new late nineteenth century advertising -techniques. While most patent remedies were alcohol- or -narcotic-based frauds, the term patent medicine -meant simply any medicine sold without a prescription -and included a number of legitimate and -effective over-the-counter remedies. The 1906 Pure -Food and Drug Act and subsequent acts of Congress were -intended to control dangerous substances and put an -end to spurious advertising claims, and resulted in -the alteration or removal from the market of many -<span class="pb" id="Page_37">37</span> -patent medicines. Others, such as Bromo-Seltzer, -survived the legislation and continued to be sold for -years.</p> -<p>Most patent medicines were in fact not patented, -for that would have meant revealing the formula to -competitors and consumers alike. Nevertheless, the -nature of many of the more potent over-the-counter -remedies was not entirely unknown. Hostetter’s Bitters, -for example, was regulated by the South Carolina -Dispensary along with whiskey and beer.</p> -<p>Only three patent medicine bottles were recovered -from the Middleton Place privy deposit, and all appear -to have been rather tame digestive remedies of the -sort that might be sold today. The amber bottle on -the left (<a href="#fig18">Fig. 18</a>A) contained Maltine, probably a -digestive and nutritional supplement rather than a -cure. The blue bottle (<a href="#fig18">Fig. 18</a>B), the same shape that -was later used for Bromo-Seltzer, probably contained -Bromo-Caffeine, an antacid and laxative whose main -ingredient was magnesia. Bromo-Caffeine was the principal -product of the Keasbey & Mattison Co., which -operated in Philadelphia from 1873 to 1882, and in -Ambler, Pennsylvania, from 1882 to 1962. The blue-green -bottle (<a href="#fig18">Fig. 18</a>E) contained Horsford’s Acid -Phosphate of Lime, a phosphate-based preparation sold -by the Rumford Chemical Works of Providence, Rhode -Island, from 1868 until at least the turn of the century. -On later bottles, however, the company name -reads from top to bottom rather than from bottom to -top.</p> -<p>The predecessor to these sturdy containers was a -thin-walled cylindrical bottle used by the apothecaries -and pharmacists of the eighteenth and early nineteenth -centuries (<a href="#fig19">Fig. 19</a>). All free-blown or dip-molded, -these bottles were used as late as the 1850s, -and because of the Civil War, perhaps even later in -some parts of the South. The two bottle bases at -right are turned up to show the blow-pipe pontil scar -made by holding the bottle with a blow-pipe while its -<span class="pb" id="Page_38">38</span> -neck and lip were formed. The long neck on the right -is probably not from a cylindrical bottle but from a -globular flask that was used in larger sizes for wine -and other beverages, and in smaller sizes for medicines -and essences. The style of its collar dates -this bottle to after about 1820.</p> -<div class="img" id="fig19"> -<img src="images/p17.jpg" alt="" width="800" height="455" /> -<p class="pcap">Figure 19. Apothecary’s vials, 18th or early -19th century. The neck and base fragments -are not all from the same bottles.</p> -</div> -<div class="img"> -<img src="images/p17a.jpg" id="ncfig6" alt="Base fragments." width="800" height="255" /> -</div> -<div class="pb" id="Page_39">39</div> -<h2 id="c9"><span class="small">WINE AND SPIRITS BOTTLES</span></h2> -<div class="img"> -<img src="images/p17b.jpg" id="ncfig7" alt="uncaptioned" width="800" height="654" /> -</div> -<p>Perhaps the oldest use for glass bottles has been -the storage and transport of alcohol. Some of the -oldest bottles from the Middleton Place privy are wine -and spirits bottles. Bottles made in the same dark -green glass as the three pictured below left were used -by the earliest colonists for various wines and spirits, -and, although the bottle shapes have varied over -the centuries, the tradition continues in the green -wine bottles of the present day.</p> -<p>With the improvement of glassmaking techniques in -the nineteenth century, alcohol bottles became more -diverse and specialized. Although a simple cylindrical -bottle (<a href="#fig20">Fig. 20</a>B) remained a standard for various -types of spirits, flasks, like those later used by the -South Carolina Dispensary (Fig. <a href="#fig22">22</a>B and C), became -more and more common for whiskey. Beer bottles developed -a distinctive shape (<a href="#fig21">Fig. 21</a>), and different -shapes evolved for different types of wines. <a href="#fig20">Figure 20</a>A -<span class="pb" id="Page_40">40</span> -is a Bordeaux wine bottle, used since the early -nineteenth century for the sauternes and clarets of -the French Bordeaux district. The amber miniature -shown in <a href="#fig20">Figure 20</a>D is a two-ounce sample bottle of -the shape normally used for German Rhine wines. By -the beginning of the twentieth century, most types of -alcohol bottles could be purchased in miniature sizes -for use in advertising and promotion.</p> -<div class="img" id="fig20"> -<img src="images/p18.jpg" alt="" width="800" height="684" /> -<p class="pcap">Figure 20. Wine and spirits bottles. A. -Turn-molded, probably c. 1870s. B. Three-piece -mold, c. 1850-1880. C. Three-piece -mold, sand pontil, c. 1820-1880. D. Rhine -wine sample bottle, c. 1870s-1920s.</p> -</div> -<h2 id="c10"><span class="small">BEER BOTTLES</span></h2> -<p>The three late nineteenth century bottles shown -below represent one of the oldest pastimes in America. -<span class="pb" id="Page_41">41</span> -Until the late nineteenth century, however, most -American beers were locally produced ales, stouts, and -porters that were not bottled but sold in kegs to -taverns. Modern lager beer was first introduced by -German immigrants in the 1840s, but it was not until -the 1870s that the expanding railway system, together -with the food preservation techniques developed by -Louis Pasteur in 1870, made it feasible to brew and -bottle lager beer for a nationwide market.</p> -<div class="img" id="fig21"> -<img src="images/p18a.jpg" alt="" width="800" height="679" /> -<p class="pcap">Figure 21. Beer bottles. A. Pint champagne -beer, Lightning stopper, c. 1892-1895. -Embossed in plate mold THE PALMETTO -BREWING CO. CHARLESTON S. C.; on back -THIS BOTTLE NOT TO BE SOLD. B and C. -Export beer bottles, a type used after the -1870s. The tooled crown finish dates bottle -B between about 1892 and 1925.</p> -</div> -<p>Lager beer was less alcoholic but more effervescent -than earlier beers. Increased bottling of lager -<span class="pb" id="Page_42">42</span> -and carbonated soft drinks spurred the search for new -bottle seals capable of withstanding more pressure -than the traditional cork, which was subject to leakage -and had to be tied down to prevent its popping out -altogether. Two of the most successful of the dozens -of stoppers patented in the decades following 1870 -were Henry Putnam’s levered 1882 Lightning stopper -(<a href="#fig21">Fig. 21</a>A), and William Painter’s 1892 crown cap (<a href="#fig21">Fig. 21</a>B), -the closure still used on most beer bottles.</p> -<p>With these and other developments, production of -bottled “export” lager increased rapidly through the -1880s and 1890s. Keeping pace with the growth of the -beer industry, however, was the group that was to -prove its undoing: the American temperance movement. -The temperance movement became an organized lobbying -force with the 1893 founding of the Anti-Saloon -League, and thereafter exerted increasing pressure on -Congress and the state legislatures. “Dry” agitation -in South Carolina led to the implementation from 1893 -to 1907 of a statewide dispensary system to control -distribution of beer, wine, and spirits; by 1916, -South Carolina and 22 other states had prohibited all -sale of non-medicinal alcohol. National wartime legislation -banned the manufacture of distilled spirits in -1917 and beer and wine in 1918. The Volstead Act of -1919 extended this ban until the eighteenth amendment -forbidding the production or sale of any beverage with -more than .5% alcohol could take effect in January -1920.</p> -<p>Prohibition completely changed the face of the -American brewing industry and almost completely destroyed -the tradition of the small local brewer. Many -brewers tried to survive by selling soft drinks and -“near beer,” a lager with less than .5% alcohol. -“Near beer,” however, could not stand up to the competition -of home brewers and bootleggers, and most -breweries either turned to the manufacture of other -products or closed down altogether. Two months after -the sale of wine and beer was again permitted in -April, 1933, only 31 breweries had reopened. In 1940, -<span class="pb" id="Page_43">43</span> -seven years after the lifting of all national restrictions -on alcohol, beer production finally reached its -pre-Prohibition level, but the number of breweries in -operation was less than half the number in 1910.</p> -<h2 id="c11"><span class="small">SOUTH CAROLINA DISPENSARY BOTTLES</span></h2> -<p>The South Carolina Dispensary system, in operation -from 1893 to 1907, was a nearly unique and completely -unsuccessful attempt to control alcohol abuse -by placing a state’s entire retail liquor trade into -the hands of its government. Touted by its sponsor, -Governor “Pitchfork Ben” Tillman, as a means of encouraging -temperance, guaranteeing purity of product, -and returning alcohol revenues to the citizens, the -dispensary was born as an eleventh hour compromise -between pro- and anti-Prohibition forces in the state -legislature. The measure as enacted satisfied neither -side, and the dispensary remained a volatile issue in -state politics until its repeal 14 years later.</p> -<p>The system functioned by buying up wholesale -spirits from local and out-of-state manufacturers, -repackaging or relabeling them at a Columbia distribution -center, and retailing them to the public through -locally operated dispensaries. Beer, which was never -bottled by the dispensary, was sold privately under -special license, and alcohol of any sort could be -brought into the state for individual consumption. In -the beginning, all liquors were sold in special dispensary -bottles, but by the turn of the century, the -dispensary was handling hundreds of products, many of -them pre-packaged national brands.</p> -<p>Litigation and often violent public resistance -(an 1894 “whiskey rebellion” left three dead) plagued -the system in its early years. By 1905 the internal -corruption had become so pervasive that a legislative -investigating committee recommended closing the system -as unmanageable. Despite the now-handsome profit that -it was returning to the state treasury, the South -<span class="pb" id="Page_44">44</span> -Carolina dispensary was abolished by the Carey-Cothran -Act of the state legislature in 1907.</p> -<p>South Carolina Dispensary bottles came in three -basic shapes: Union flasks, Jo-Jo flasks, and cylindrical -bottles and jugs. Bottles made before 1899 -were embossed with palmetto trees (<a href="#fig22">Fig. 22</a>A and C), -and those made after 1899, when public disapproval -forced the removal of the state symbol from liquor -bottles, were embossed with an intertwined SCD monogram. -Bottles were manufactured for the dispensary by -over 20 different glass factories, but after 1902 all -but one brief contract went to the Carolina Glass -Company of Columbia.</p> -<div class="img" id="fig22"> -<img src="images/p19.jpg" alt="" width="800" height="702" /> -<p class="pcap">Figure 22. South Carolina Dispensary bottles. -A. Cylindrical palmetto bottle, -1893-1899. B. Monogrammed Jo-Jo flask with -embossed CFLG Co basemark, 1899-1902. C. -Palmetto Jo-Jo flask, 1893-1899.</p> -</div> -<div class="pb" id="Page_45">45</div> -<h2 id="c12"><span class="small">FOOD CONTAINERS</span></h2> -<p>Although olive oil, pickles, and other foods that -do not require sterilization have been packed in glass -and ceramic containers for centuries, the preserving -of hot foods in airtight glass or metal containers is -a comparatively recent development. Housewives in the -eighteenth century knew how to preserve fruits by -boiling them in glass jars that were subsequently -corked and sealed with wax, glue, or pitch, but the -idea of canning as we know it was popularized by -Nicholas Appert, a French confectioner who in 1809 won -a prize from Napoleon for his method of keeping food -fresh for soldiers in the field. Appert succeeded in -preserving over 50 kinds of food, including meats and -vegetables, and published an essay detailing his -method of boiling food in a wide-mouthed jar and sealing -it with a firmly driven cork. The process was -quickly copied in England and America, where seafood, -fruit, and pickles were first packed for wholesale in -New York and Boston about 1820.</p> -<p>A major problem with Appert’s method of preserving -in glass was the irregular finish of hand-made -bottles, which often prevented the cork stopper from -forming an absolutely airtight seal. For commercial -packers, an early and lasting solution was the tin-plated -canister, patented in England in 1810 and in -the United States in 1825. An inexpensive and effective -closure for glass containers had to await John -Mason’s 1858 patent of the threaded jar seal, which -consisted of a molded screw thread that allowed the -cap to seal on the shoulder rather than the uneven lip -of the jar. Home canners still use a similar screw-top -jar today.</p> -<p>Many Americans, both civilian and military, had -their first taste of commercially canned foods during -the Civil War. Increasing varieties of meats and -vegetables were packed in tin cans in the late nineteenth -century, but glass bottles remained—and still -remain—chiefly the package of condiments, sauces, and -<span class="pb" id="Page_46">46</span> -other foods that require a reclosable cap.</p> -<p>These limited uses can nonetheless result in a -large number of empty containers. Food bottles are -usually one of the most numerous items found in a -household trash heap. At Middleton Place, only four -of a total of seventy-seven bottles were food containers, -and all had originally held the preserves, -flavorings, and oils that are usually packaged in -glass. <a href="#fig23">Figure 23</a>A shows a “One-pound American preserve,” -a jar sold at the turn of the century by at -least one glass company, and <a href="#fig23">Figure 23</a>B is a typical -late nineteenth/early twentieth century olive oil bottle. -<a href="#fig24">Figure 24</a> shows both the excavated example and a -1920 catalogue illustration of a white pressed glass -container for Armour’s Beef Extract, a by-product of -the packing business produced by Armour & Co. beginning -in 1885.</p> -<div class="img" id="fig23"> -<img src="images/p20.jpg" alt="" width="1556" height="1104" /> -<p class="pcap">Figure 23. Preserve jar and olive oil bottle, -c. 1860s-1920s.</p> -</div> -<div class="pb" id="Page_47">47</div> -<div class="img" id="fig24"> -<img src="images/p20a.jpg" alt="" width="800" height="607" /> -<p class="pcap">Figure 24. Armour Beef Extract jar, c. 1900-1920s. -Armour & Co. began producing beef -extract in 1885, but this glass container -was not used until around the turn of the -century.</p> -</div> -<div class="box"> -<p class="jr1">None Genuine without</p> -<p class="center"><span class="smaller">4 OZ. NET WEIGHT</span></p> -<p class="center"><span class="sc">Armour’s -<br /><span class="large"><b>Extract <sup>of</sup> Beef</b></span></span></p> -<p class="center"><span class="smaller">MANUFACTURED & PACKED BY</span> -<br />ARMOUR & CO, -<br />Chicago. U.S.A.</p> -</div> -<h2 id="c13"><span class="small">BOTTLES MADE AFTER 1900</span></h2> -<p>This final group of bottles and jars have nothing -in common except their date. The two clear glass bottles -at left are standard desktop ink bottles made -after the 1904 introduction of the Owens bottle machine -and before screw top inks replaced the corked -variety around 1930 (<a href="#fig25">Fig. 25</a>). The conical ink in the -center was one of the earliest shapes for desk-top ink -bottles, introduced when ink was first bottled in -small individual containers in the 1840s. The contents -of the ointment jar at right, made after 1916, -are unknown. Patent records indicate that the May 15, -1916, date was neither a trademark registration nor a -patent issue. It may be a false patent date, put on -the bottle to lend the contents an air of legitimacy.</p> -<div class="pb" id="Page_48">48</div> -<p>Although other artifacts, such as the Austrian -porcelain in <a href="#fig11">Figure 11</a> and the beef extract jar in -<a href="#fig24">Figure 24</a>, may have been manufactured in the twentieth -century, these three containers were the only items in -the privy pit that were definitely made after Susan -Middleton’s 1900 abandonment of the plantation. As -such, they were the only evidence archeologists had -that these nineteenth century objects were probably -deposited in the twentieth century. All three are -items likely to have been in use at the time of the -Smith family’s 1925 move to Middleton Place, and they -were probably discarded at that time.</p> -<div class="img" id="fig25"> -<img src="images/p21.jpg" alt="" width="800" height="274" /> -<p class="pcap">Figure 25. Twentieth century bottles. A. Cylinder -ink bottle, machine-made, c. 1904-1930. -B. Cone ink, machine-made, c. 1904-1930. -Embossed on base, CARTER’s MADE IN -USA. Carter’s Ink Company began bottling -ink in Massachusetts in 1858. C. Screw top -ointment pot, white pressed glass. Embossed -on base, AUBREY SISTERS MAY 15, -1916.</p> -</div> -<div class="pb" id="Page_49">49</div> -<h2 id="c14"><span class="small">LAMP GLASS</span></h2> -<div class="img"> -<img src="images/p21b.jpg" id="ncfig8" alt="uncaptioned" width="366" height="800" /> -</div> -<p>In 1859, drillers in Pennsylvania brought in the -nation’s first producing oil well, an event that was -to alter radically the lives of generations of Americans. -The first revolution achieved by this versatile -new fuel was not in mechanical power, but in lighting. -A working oil field made possible the manufacture of -kerosene, a promising coal and petroleum-based illuminant -that had been patented in New York in 1854 but -had not been put into production because of the scarcity -of one of its principal ingredients. Kerosene -burned more brightly, steadily, and efficiently than -almost any known fuel except gas, which suffered from -the twin disadvantages of requiring immovable fixtures -<span class="pb" id="Page_50">50</span> -in the wall or ceiling, and of being generally unavailable -outside large urban areas. The abundance of -petroleum from the Pennsylvania fields made kerosene -one of the cheapest fuels available, and by the mid-1860s, -its use had far outstripped that of gas lighting. -In many rural areas, it remained the only practical -form of household lighting until electrification -of these areas in the 1930s.</p> -<div class="img" id="fig26"> -<img src="images/p22.jpg" alt="" width="406" height="800" /> -<p class="pcap">Figure 26. Student -lamp chimney. This -glass was used in -reading lamps like -those illustrated in -<a href="#fig27">Figure 27</a>. The kerosene-fueled -student -lamp was an 1863 -Prussian design that -became popular in -the United States in -the 1870s.</p> -</div> -<p>Early kerosene lamps often resembled the oil -lamps of the first half of the century, and many were -oil lamps converted to kerosene. Among the new designs -that became popular in the 1870s was the -adjustable student or reading lamp (Figs. <a href="#fig26">26</a> and <a href="#fig27">27</a>), -an 1863 Prussian invention used through the early -twentieth century. In the 1880s decorated lamp chimneys -came into fashion. One of the earliest, simplest, -and most enduring of these styles was the familiar -“pearl top” chimney rim, patented by the George -A. Macbeth Company in 1883 (<a href="#fig28">Fig. 28</a>). Similar crimped -rims were produced by the Thomas Evans Company, which -in 1899 merged with Macbeth to become, by virtue of a -semiautomatic lamp chimney machine, the nation’s largest -glass chimney manufacturer. Demand for glass -lamp chimneys was curtailed by the spread of electric -power in the early twentieth century, and, although it -continued in production, the lamp chimney industry did -not fully mechanize until after the 1920s.</p> -<div class="pb" id="Page_51">51</div> -<div class="img" id="fig27"> -<img src="images/p22a.jpg" alt="" width="800" height="674" /> -<p class="pcap">Figure 27. Kerosene student and piano lamp, -reproduced from 1895 and 1907 department -store catalogues.</p> -</div> -<div class="img" id="fig28"> -<img src="images/p22c.jpg" alt="" width="800" height="363" /> -<p class="pcap">Figure 28. “Pearl top” and crimped lamp -chimneys. The true pearl top rim on the -far left was patented by the George A. -Macbeth Co. in 1883. The variations shown -on the right became popular about the same -time.</p> -</div> -<div class="pb" id="Page_52">52</div> -<h2 id="c15"><span class="small">LABORATORY GLASS</span></h2> -<p><a href="#fig29">Figure 29</a> is a laboratory beaker of a type manufactured -in the nineteenth and early twentieth centuries, -probably a relic of William and Susan Middleton’s -inventor son Henry. It is free-blown in lead -glass, one of many glass compositions used for American -laboratory equipment before Corning Glass Works -introduced low-expansion Pyrex glass in 1915.</p> -<div class="img" id="fig29"> -<img src="images/p23.jpg" alt="" width="800" height="573" /> -<p class="pcap">Figure 29. Free-blown laboratory beaker, -probably late 19th or early 20th century.</p> -</div> -<div class="pb" id="Page_53">53</div> -<p>Henry lived at Middleton Place with his parents -until the 1870s, when he went to study at Cambridge -University under the Scottish physicist James Clerk -Maxwell. Henry lived in England until his death in -1932.</p> -<div class="pb" id="Page_54">54</div> -<h2 id="c16"><span class="small">CONCLUSIONS</span></h2> -<div class="img"> -<img src="images/p24.jpg" id="ncfig9" alt="uncaptioned" width="800" height="556" /> -</div> -<p>The artifacts from the Middleton Place privy -present a unique opportunity to observe one aspect of -this plantation’s past. This collection of ceramics, -bottles, and other items constitute the refuse discarded -by the occupants of Middleton Place following -the Civil War. It reflects their needs and tastes and -represents an unconscious record of activities a century -ago. Artifacts in the collection include items -from an earlier time as well as things purchased -throughout the last half of the nineteenth century.</p> -<p>These materials also reveal much about the -privy’s history. When compared with collections discarded -around contemporary buildings, the artifacts -from Middleton Place are similar to those often associated -with abandoned buildings. The artifacts in the -Middleton Place privy, then, are likely to have been -deposited there, not as the result of day-to-day living, -but as a consequence of cleaning out the rubbish -of the house’s earlier occupants. We may identify the -privy artifacts as a collection of items accumulated -during a time of refurbishing as in the 1920s when J. -<span class="pb" id="Page_55">55</span> -J. Pringle Smith moved into the family residence and -began restoring it.</p> -<div class="img" id="fig30"> -<img src="images/p24a.jpg" alt="" width="800" height="434" /> -<p class="pcap">Figure 30. Many hours are spent in the -laboratory conserving and studying the -artifacts.</p> -</div> -<p>Although interesting and informative as individual -objects, the privy artifacts are much more informative -as an “assemblage” resulting from past activities. -The archeologist must study assemblages, like -pieces of a puzzle, to reconstruct, interpret, and -explain past events that produced them. It is important -to record carefully all the artifacts found together -as well as their relationships to one another -and to the deposit from which they were removed. -Artifacts taken from the ground without proper recording -are removed from their archeological context, -and the information they hold is forever lost. Aimless -“treasure” digging has destroyed much of our historical -heritage. The Middleton Place privy collection -illustrates how proper care, recording, and analysis -can reveal new information. With foresight and -planning, archeology can increase knowledge of the -past for ourselves and for future generations.</p> -<div class="pb" id="Page_56">56</div> -<h2 id="c17"><span class="small">APPENDIX I</span> -<br />CERAMIC MANUFACTURERS’ MARKS</h2> -<div class="img"> -<img src="images/p25.jpg" id="ncfig10" alt="CERAMIC MANUFACTURERS’ MARKS" width="800" height="1247" /> -</div> -<div class="pb" id="Page_57">57</div> -<dl class="undent pcap"><dt>A. Arthur J. Wilkinson, Royal Staffordshire Pottery, Burslem, Staffordshire. White ironstone plate, 1891-1896.</dt> -<dt>B. John Edwards, Fenton, Staffordshire. White ironstone plate, c. 1891-1900.</dt> -<dt>C. John Maddock and Sons, Burslem, Staffordshire. White ironstone plate, 1891-1896.</dt> -<dt>D. C. C. Thompson & Co., East Liverpool, Ohio. White ironstone nappy, 1884-1889.</dt> -<dt>E. Limoges, France. White porcelain saucer, c. 1875.</dt> -<dt>F. Haviland & Co., Limoges, France. White porcelain plate, c. 1876-1891.</dt> -<dt>G. Unidentified mark, decal-printed porcelain plate.</dt> -<dt>H. John and George Alcock, Cobridge, Staffordshire. Light blue, transfer-printed bowl, 1839-1846.</dt> -<dt>I. Josiah Wedgwood, Burslem, Staffordshire. Impressed on creamware sauce tureen, 1769 to present.</dt> -<dt>J. Unidentified impressed mark, white porcelain platter.</dt></dl> -<div class="pb" id="Page_58">58</div> -<h2 id="c18"><span class="small">APPENDIX II</span> -<br />SIGNIFICANT DATES IN THE AMERICAN GLASS INDUSTRY</h2> -<table class="center"> -<tr><td class="l">First three-piece hinged mold </td><td class="r">c. 1808</td></tr> -<tr><td class="l">Two-piece hinged mold first used in America </td><td class="r">by 1809</td></tr> -<tr><td class="l">First widespread use of slanting collar finish </td><td class="r">c. 1820</td></tr> -<tr><td class="l">Ricketts patent for three-piece mold with lettered base </td><td class="r">1821</td></tr> -<tr><td class="l">First side-lever glass press </td><td class="r">late 1820s</td></tr> -<tr><td class="l">“Lacy” pressed glass </td><td class="r">1820s-1840s</td></tr> -<tr><td class="l">Popularity of smooth-patterned pressed glass tableware sets </td><td class="r">c. 1840s-1880s</td></tr> -<tr><td class="l">Development of jawed lipping tool for bottles </td><td class="r">pre-1840</td></tr> -<tr><td class="l">Amasa Stone receives first U.S. patent for lipping tool </td><td class="r">1856</td></tr> -<tr><td class="l">Introduction into U.S. of non-pontil holding devices for bottles </td><td class="r">late 1840s-1850s</td></tr> -<tr><td class="l">Formula for kerosene patented by Abraham Gesner </td><td class="r">1854</td></tr> -<tr class="pbtr"><td colspan="2"> -<span class="pb" id="Page_59">59</span> -</td></tr> -<tr><td class="l">Development of two-piece mold with separate post base </td><td class="r">pre-1858</td></tr> -<tr><td class="l">Mason jar patent </td><td class="r">1858</td></tr> -<tr><td class="l">Blow-back mold in general use </td><td class="r">c. 1858-1900</td></tr> -<tr><td class="l">First oil well in Pennsylvania leads to widespread use of kerosene fueled lamps </td><td class="r">1859</td></tr> -<tr><td class="l">Introduction of French Square pharmacy bottles </td><td class="r">early 1860s</td></tr> -<tr><td class="l">Student lamp patented in Prussia </td><td class="r">1863</td></tr> -<tr><td class="l">Leighton formula for improved lime glass </td><td class="r">1864</td></tr> -<tr><td class="l">Development of plate mold for embossed bottles </td><td class="r">pre-1867</td></tr> -<tr><td class="l">Widespread embossing of bottles </td><td class="r">1860s-1920s</td></tr> -<tr><td class="l">Empontilling of bottles almost entirely replaced by use of holding devices </td><td class="r">1870s</td></tr> -<tr><td class="l">Greatest popularity of turn-molded bottles </td><td class="r">1870s-1920s</td></tr> -<tr><td class="l">Student lamp introduced in U.S. </td><td class="r">1870s</td></tr> -<tr><td class="l">Louis Pasteur developed sterilization techniques for beer </td><td class="r">1870</td></tr> -<tr><td class="l">Anheuser-Busch begins first commercial bottling of American beer </td><td class="r">early 1870s</td></tr> -<tr class="pbtr"><td colspan="2"> -<span class="pb" id="Page_60">60</span> -</td></tr> -<tr><td class="l">Heavily embossed and colored poison bottles </td><td class="r">1872-1930s</td></tr> -<tr><td class="l">Improved finishing processes result in smoother and more uniformly applied bottle finishes </td><td class="r">by 1880</td></tr> -<tr><td class="l">Argobast patent for semiautomatic press-and-blow machine for wide-mouthed jars </td><td class="r">1881</td></tr> -<tr><td class="l">H. W. Putnam acquires patent rights for lightning stopper </td><td class="r">1882</td></tr> -<tr><td class="l">Borosilicate glass developed in Germany </td><td class="r">1883</td></tr> -<tr><td class="l">Macbeth-Evans Co. patents “pearl top” lamp chimney </td><td class="r">1883</td></tr> -<tr><td class="l">William Painter patents crown cap </td><td class="r">1892</td></tr> -<tr><td class="l">Enterprise Glass Co. puts Argobast semiautomatic into commercial production </td><td class="r">1893</td></tr> -<tr><td class="l">South Carolina dispensary system </td><td class="r">1893-1907</td></tr> -<tr><td class="l">Michael Owens patents semiautomatic turn-molding machine for light bulbs, tumblers, and lamp chimneys </td><td class="r">1894</td></tr> -<tr><td class="l">First lamp chimney and tumbler production on Owens turn-mold machine </td><td class="r">1898</td></tr> -<tr><td class="l">Most wide-mouthed jars produced on semiautomatic machines </td><td class="r">by 1901</td></tr> -<tr class="pbtr"><td colspan="2"> -<span class="pb" id="Page_61">61</span> -</td></tr> -<tr><td class="l">Owens automatic bottle machine patented </td><td class="r">1903</td></tr> -<tr><td class="l">Owens machine put into commercial production: first narrow-necked machine-made bottles </td><td class="r">1904</td></tr> -<tr><td class="l">First production of narrow-necked bottles on semiautomatic machines </td><td class="r"><i>c.</i> 1907</td></tr> -<tr><td class="l">Corning Glass Works develops Pyrex heat-resistant glass </td><td class="r">1915</td></tr> -<tr><td class="l">Use of manganese to decolor glass </td><td class="r">1917</td></tr> -<tr><td class="l">State prohibition law goes into effect in South Carolina </td><td class="r">1916</td></tr> -<tr><td class="l">National beer and wine production halted under Wartime Food Control Act and Volstead Act </td><td class="r">1918-1920</td></tr> -<tr><td class="l">National prohibition of alcohol under eighteenth amendment and Volstead Act </td><td class="r">1920-1933</td></tr> -<tr><td class="l">Machine-made bottles comprise 90% of total United States production </td><td class="r">1925</td></tr> -</table> -<div class="pb" id="Page_62">62</div> -<h2 id="c19"><span class="small">APPENDIX III</span> -<br />MARKS LEFT BY DIFFERENT TECHNIQUES OF BOTTLE MANUFACTURE</h2> -<p>Free-blown bottles usually date before the second -half of the nineteenth century and are characterized -by an absence of mold lines of any sort. Because no -molds were used, these bottles are often asymmetrical. -Dip-molded bottles, or bottles molded for basic body -shape below the shoulder, are also generally pre-Civil -War and can only tentatively be distinguished from -free-blown bottles by their symmetry below the shoulder -and a slight tapering from shoulder to base. -Bottles blown in a two-piece mold have mold lines -extending up two opposite sides, usually to just below -the tooled lip. On early nineteenth century bottles -of this sort, the mold lines continue across the center -of the base, but after the 1850s, most two-piece -molds had a separate base part, either a cup bottom, -in which the seam encircled the outer edge of the -base, or a post bottom, which left a circular seam on -the bottom of the bottle. Most bottles from the Middleton -Place privy were blown in two-piece molds with -cup bottoms.</p> -<p>The three-piece mold leaves a single horizontal -line around the shoulder of the bottle, and vertical -lines extending up either side of the shoulder. The -height of these lines can vary from partway up the -shoulder to nearly to the top of the neck. A turn-molded -bottle has been rotated in the mold to erase -mold marks and will exhibit faint horizontal scratches -and striations on the body and neck.</p> -<p>Embossing, very popular after the Civil War, -usually consists of the name of a company or product -printed in raised letters on the sides or base of the -bottle. Isolated numbers and letters on or just above -the base are usually, but not always, mold numbers -used by the manufacturer for identification. Embossed -letters are sometimes carved into the body of the -<span class="pb" id="Page_63">63</span> -mold, but for smaller runs a plate mold, with a removable -lettered plate on one or more sides, was used.</p> -<p>Mold lines on bottles finished with a specialized -lipping tool are usually obliterated by faint horizontal -striations extending to about a quarter inch below -the lip. The two-piece blow-back mold, however, -leaves mold seams to the very edge of the lip, and a -lip surface that has been ground smooth rather than -shaped with a lipping tool.</p> -<p>A pontil mark is a circular scar left on the base -by the iron rod used to hold the bottle for finishing -the neck and lip. Although there are many different -methods of empontilling, only two types of marks were -found on bottles from the Middleton Place privy. One -is a “sand pontil mark,” a roughened grainy area covering -most of the base, apparently the result of dipping -the glasscoated pontil iron in sand before attaching -it. The other is a “blow-pipe pontil mark,” -which results from empontilling a bottle with the same -pipe that was used to blow it. A blow-pipe mark is a -distinct ring of glass the same size as the bottle -neck.</p> -<p>Pressed glass is formed with a plunger in a mold -on one or more pieces. Pressed glass items are comparatively -thick-walled, have smooth molded lips, usually -with mold seams, and often are distinguished by a -short, straight shear mark, like an isolated mold -line, on the inside base. This mark is from the severing -of the “gob” of glass before it is dropped into -the mold. Bottles that are made on either automatic -or semi-automatic machines will have mold lines encircling -the top of the lip, as well as on the sides -and base.</p> -<div class="pb" id="Page_64">64</div> -<h2 id="c20"><span class="small">APPENDIX IV</span> -<br />ARTIFACT CATALOGUE FROM THE MIDDLETON PLACE PRIVY EXCAVATION</h2> -<table class="center"> -<tr class="th"><th colspan="2"><i>Artifacts</i> </th><th><i>No. of Fragments</i> </th><th><i>Minimum No. of Whole Items</i></th></tr> -<tr><td colspan="2" class="l">Ceramics</td></tr> -<tr><td colspan="2" class="l">Porcelain</td></tr> -<tr><td class="l"> </td><td class="l">Undecorated Haviland & Co. plate </td><td class="r">9 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Undecorated saucer, D & Co., Limoges </td><td class="r">5 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Undecorated saucer </td><td class="r">6 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Undecorated plates </td><td class="r">17 </td><td class="r">2</td></tr> -<tr><td class="l"> </td><td class="l">Undecorated platter </td><td class="r">13 </td><td class="r">2</td></tr> -<tr><td class="l"> </td><td class="l">Gold-banded cup </td><td class="r">9 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">“Cornflower” pattern tea or bread plate </td><td class="r">4 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Decal-printed tea plate or saucer, hallmark Alice / Austria </td><td class="r">5 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Decal-printed Austrian teacup </td><td class="r">11 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">British meat dish, hand-painted oriental design </td><td class="r">16 </td><td class="r">1</td></tr> -<tr class="pbtr"><td colspan="4"> -<span class="pb" id="Page_65">65</span> -</td></tr> -<tr><td class="l"> </td><td class="l">Chinese export porcelain serving dishes </td><td class="r">4 </td><td class="r">4</td></tr> -<tr><td colspan="2" class="l">Creamware</td></tr> -<tr><td class="l"> </td><td class="l">Banded Wedgwood sauce tureen </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Undecorated baker </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td colspan="2" class="l">Whiteware</td></tr> -<tr><td class="l"> </td><td class="l">J & G Alcock “Tyrol” pattern transfer-printed bowl </td><td class="r">5 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Blue transfer-printed mug, rural English scene </td><td class="r">6 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Fragment of blue transfer-printed cup or bowl, bucolic scene </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Undecorated ironstone or graniteware nappy </td><td class="r">5 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Undecorated ironstone or graniteware plates </td><td class="r">23 </td><td class="r">4</td></tr> -<tr><td class="l"> </td><td class="l">Undecorated ironstone or graniteware cup </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Molded white ironstone chamber pot </td><td class="r">4 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">English majolica pitcher handle </td><td class="r">1 </td><td class="r">1</td></tr> -<tr class="pbtr"><td colspan="4"> -<span class="pb" id="Page_66">66</span> -</td></tr> -<tr><td colspan="2" class="l">Glass Tableware</td></tr> -<tr><td class="l"> </td><td class="l">“Four Band” style pressed glass tumbler </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Fluted pressed glass tumbler </td><td class="r">2 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">“Thumbprint” style pressed glass tumbler </td><td class="r">5 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Engraved tumbler, floral design </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Wheel-cut champagne flute glass </td><td class="r">2 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">“Almond Thumbprint” pressed wine glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">“Mascotte” pattern pressed wine glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Pressed glass lid </td><td class="r">2 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Cut glass pitcher </td><td class="r">9 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Fluted cut glass decanters </td><td class="r">8 </td><td class="r">2</td></tr> -<tr><td class="l"> </td><td class="l">Free-blown bowls </td><td class="r">75 </td><td class="r">2</td></tr> -<tr class="pbtr"><td colspan="4"> -<span class="pb" id="Page_67">67</span> -</td></tr> -<tr><td colspan="2" class="l">Bottles and Jars</td></tr> -<tr><td colspan="2" class="l">Food Containers</td></tr> -<tr><td class="l"> </td><td class="l">Armour & Co. beef extract jar, white milk glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Olive oil bottles, aquamarine glass </td><td class="r">2 </td><td class="r">2</td></tr> -<tr><td class="l"> </td><td class="l">American preserve jar, clear glass </td><td class="r">4 </td><td class="r">1</td></tr> -<tr><td colspan="2" class="l">Alcohol Bottles</td></tr> -<tr><td class="l"> </td><td class="l">Palmetto Brewing Co. champagne beer bottle, aquamarine glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Export beer bottles, amber glass </td><td class="r">2 </td><td class="r">2</td></tr> -<tr><td class="l"> </td><td class="l">South Carolina Dispensary Jo-Jo flask, clear glass </td><td class="r">4 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">South Carolina Dispensary Jo-Jo flask, aquamarine glass </td><td class="r">3 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">South Carolina Dispensary cylindrical whiskey bottle, clear glass </td><td class="r">2 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Unembossed Union flasks, amber glass </td><td class="r">15 </td><td class="r">2</td></tr> -<tr class="pbtr"><td colspan="4"> -<span class="pb" id="Page_68">68</span> -</td></tr> -<tr><td class="l"> </td><td class="l">Unembossed Union flask, aquamarine glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Rhine Wine sample bottle, amber glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Dark Green wine or spirits bottles </td><td class="r">21 </td><td class="r">4</td></tr> -<tr><td colspan="2" class="l">Medicine Bottles</td></tr> -<tr><td class="l"> </td><td class="l">Panknin Apothecary plate-molded prescription bottles, French Square shape, clear glass </td><td class="r">3 </td><td class="r">3</td></tr> -<tr><td class="l"> </td><td class="l">Panknin Apothecary plate-molded prescription bottles. Philadelphia oval shape, clear glass </td><td class="r">4 </td><td class="r">4</td></tr> -<tr><td class="l"> </td><td class="l">Unembossed French square prescription bottles, clear glass </td><td class="r">20 </td><td class="r">14</td></tr> -<tr><td class="l"> </td><td class="l">Narrow-mouthed round prescription bottles, clear glass </td><td class="r">2 </td><td class="r">2</td></tr> -<tr><td class="l"> </td><td class="l">Narrow-mouthed round prescription bottles, aquamarine glass </td><td class="r">3 </td><td class="r">3</td></tr> -<tr><td class="l"> </td><td class="l">Narrow-mouthed round prescription bottles, light green glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Wide-mouthed round prescription bottles, clear glass </td><td class="r">3 </td><td class="r">3</td></tr> -<tr class="pbtr"><td colspan="4"> -<span class="pb" id="Page_69">69</span> -</td></tr> -<tr><td class="l"> </td><td class="l">Unembossed Baltimore oval prescription bottle, clear glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Unembossed Philadelphia oval prescription bottles, clear glass </td><td class="r">2 </td><td class="r">2</td></tr> -<tr><td class="l"> </td><td class="l">Unembossed taper neck oval prescription bottles, clear glass </td><td class="r">2 </td><td class="r">2</td></tr> -<tr><td class="l"> </td><td class="l">Neck fragment from round or oval prescription bottle, clear glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Paneled pharmacy bottles, clear glass </td><td class="r">26 </td><td class="r">3</td></tr> -<tr><td class="l"> </td><td class="l">Paneled pharmacy bottle aquamarine glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Free-blown apothecary vials, aquamarine glass </td><td class="r">8 </td><td class="r">4</td></tr> -<tr><td class="l"> </td><td class="l">Maltine Mf’g Co. bottle, double Philadelphia oval shape, amber glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Keasbey & Mattison Bromo-Caffeine bottle, round, cobalt blue </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Rumford Chemical Works Horsford Acid Phosphate bottle, octagonal, blue-green glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr class="pbtr"><td colspan="4"> -<span class="pb" id="Page_70">70</span> -</td></tr> -<tr><td class="l"> </td><td class="l">Bullock & Crenshaw decagonal vial, clear lead glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Unidentified embossed French square bottle, amber glass </td><td class="r">5 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Whitall Tatum quilted poison bottle, cobalt blue </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td colspan="2" class="l">Ointment or Cosmetic Jars</td></tr> -<tr><td class="l"> </td><td class="l">White milk glass patch box with lid </td><td class="r">2 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Aubry Sisters white milk glass screw top ointment pot </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td colspan="2" class="l">Pharmaceutical Accessories</td></tr> -<tr><td class="l"> </td><td class="l">Corks </td><td class="r">2 </td><td class="r">2</td></tr> -<tr><td class="l"> </td><td class="l">Clear glass Lubin stopper </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Clear glass medicine dropper </td><td class="r">2 </td><td class="r">1</td></tr> -<tr><td colspan="2" class="l">Ink, Glue, and Polish Bottles</td></tr> -<tr><td class="l"> </td><td class="l">Clear glass conical ink bottles, machine-made, Carter’s Ink Co. </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Clear glass cylinder ink bottle, machine-made </td><td class="r">1 </td><td class="r">1</td></tr> -<tr class="pbtr"><td colspan="4"> -<span class="pb" id="Page_71">71</span> -</td></tr> -<tr><td class="l"> </td><td class="l">Amber glass conical ink bottle, blow-molded </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Bell mucilage bottle, aquamarine glass </td><td class="r">2 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">British brown stoneware blacking or master ink bottle </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Tappan’s Relucent gold and silver polish bottle </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Ink bottle cork </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td colspan="2" class="l">Lamp Glass</td></tr> -<tr><td class="l"> </td><td class="l">Student lamp chimney </td><td class="r">2 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">“Pearl top” and crimped lamp chimney </td><td class="r">19 </td><td class="r">4</td></tr> -<tr><td colspan="2" class="l">Laboratory Glass</td></tr> -<tr><td class="l"> </td><td class="l">Pontil-marked beaker </td><td class="r">2 </td><td class="r">1</td></tr> -<tr><td colspan="2" class="l">Metal</td></tr> -<tr><td class="l"> </td><td class="l">Pewter Spoon </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Brass curtain rings </td><td class="r">7 </td><td class="r">7</td></tr> -<tr><td class="l"> </td><td class="l">Pill box with lid </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Square-cut spike </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Machine-cut nails </td><td class="r">4 </td><td class="r">4</td></tr> -<tr class="pbtr"><td colspan="4"> -<span class="pb" id="Page_72">72</span> -</td></tr> -<tr><td class="l"> </td><td class="l">Hand-wrought nails </td><td class="r">3 </td><td class="r">3</td></tr> -<tr><td class="l"> </td><td class="l">Hazel hoe </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td colspan="2" class="l">Coins</td></tr> -<tr><td class="l"> </td><td class="l">Liberty head quarters </td><td class="r">5 </td><td class="r">5</td></tr> -<tr><td class="l"> </td><td class="l">Liberty head nickel </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td colspan="2" class="l">Personal Items</td></tr> -<tr><td class="l"> </td><td class="l">French toothbrushes </td><td class="r">2 </td><td class="r">2</td></tr> -<tr><td class="l"> </td><td class="l">Lady’s leather shoe heel </td><td class="r">2 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">White clay pipestem </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td colspan="2" class="l">Other</td></tr> -<tr><td class="l"> </td><td class="l">Isinglass stove windows </td><td class="r">3 </td><td class="r">3</td></tr> -<tr><td class="l"> </td><td class="l">Delft tile fragment </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Terracotta drainpipe fragment </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Window glass </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td class="l"> </td><td class="l">Slate tile fragment </td><td class="r">1 </td><td class="r">1</td></tr> -<tr><td colspan="2" class="l">TOTAL </td><td class="r">473 </td><td class="r">164</td></tr> -</table> -<div class="pb" id="Page_73">73</div> -<h2 id="c21"><span class="small">SELECTED BIBLIOGRAPHY</span></h2> -<p>The information contained in this booklet is a -partial synopsis of archeological reports published by -the Institute of Archeology and Anthropology, University -of South Carolina, as Numbers 148 and 174 of the -<i>Research Manuscript Series</i>. For a detailed treatment -of the history and archeology of Middleton Place, and -a complete listing of bibliographic sources, the -reader is referred to <i>Middleton Place: initial archeological -investigations at an Ashley River rice plantation</i> -by Kenneth E. Lewis and Donald L. Hardesty -(1979), and <i>The Middleton Place privy: disposal behavior -and the archeological record</i> by Kenneth E. Lewis -and Helen W. Haskell (1981). General reference works -on historical archeology and artifacts are listed below.</p> -<dl class="undent"><dt>Baron, Stanley</dt> -<dd class="t">1962 <i>Brewed in America: a history of beer and ale in the United States.</i> Little, Brown, & Co., Boston.</dd> -<dt>Cheves, Langdon</dt> -<dd class="t">1900 Middleton of South Carolina. <i>South Carolina Historical and Genealogical Magazine 1:(3)</i>: 228-262.</dd> -<dt>Collard, Elizabeth</dt> -<dd class="t">1967 <i>Nineteenth century pottery and porcelain in Canada.</i> McGill University Press, Montreal.</dd> -<dt>Cox, Warren E.</dt> -<dd class="t">1970 <i>The book of pottery and porcelain.</i> Crown Publishers, New York.</dd> -<dt>Daniel, Dorothy</dt> -<dd class="t">1971 <i>Cut and engraved glass, 1771-1905.</i> William Morrow & Co., New York.</dd> -<dt class="pb" id="Page_74">74</dt> -<dt>Douglas, R. W. and S. Frank</dt> -<dd class="t">1972 <i>A history of glassmaking.</i> G. T. Foulis & Co., Henley-on-Thames.</dd> -<dt>Godden, Geoffrey A.</dt> -<dd class="t">1974 <i>British pottery: an illustrated guide.</i> Barrie & Jenkins, London.</dd> -<dt>Huggins, Philip K.</dt> -<dd class="t">1971 <i>The South Carolina dispensary.</i> Sandlapper Press, Columbia.</dd> -<dt>Hughes, G. Bernard</dt> -<dd class="t">1960 <i>English and Scottish earthenware 1660-1880.</i> Abbey Fine Arts, London.</dd> -<dt>Lee, Ruth Webb</dt> -<dd class="t">1960 <i>Early American pressed glass.</i> Northboro, Massachusetts.</dd> -<dt>Lehner, Lois</dt> -<dd class="t">1980 <i>Complete book of American kitchen and dinner wares.</i> Wallace Homestead, Des Moines.</dd> -<dt>McKearin, George P. and Helen McKearin</dt> -<dd class="t">1966 <i>American glass.</i> Crown Publishers, New York.</dd> -<dt>McKearin, Helen and Kenneth M. Wilson</dt> -<dd class="t">1978 <i>American bottles and flasks and their ancestry.</i> Crown Publishers, New York.</dd> -<dt>Munsey, Cecil</dt> -<dd class="t">1970 <i>The illustrated guide to collecting bottles.</i> Hawthorn Books, New York.</dd> -<dt>Noël Hume, Ivor</dt> -<dd class="t">1969 <i>Historical archaeology.</i> Alfred A. Knopf, New York.</dd> -<dd class="t">1970 <i>A guide to artifacts of colonial America.</i> Alfred A. Knopf, New York.</dd> -<dt class="pb" id="Page_75">75</dt> -<dt>Revi, Albert C.</dt> -<dd class="t">1964 <i>American pressed glass and figure bottles.</i> Thomas Nelson & Sons, New York.</dd> -<dt>Russell, Loris</dt> -<dd class="t">1968 <i>A heritage of light.</i> University of Toronto Press, Toronto.</dd> -<dt>Scoville, Warren C.</dt> -<dd class="t">1948 <i>Revolution in glassmaking: entrepreneurship and technological change in the American glass industry, 1880-1920.</i> Harvard University Press, Cambridge.</dd> -<dt>South, Stanley A.</dt> -<dd class="t">1977. <i>Method and theory in historical archeology.</i> Academic Press, New York.</dd> -<dt>Toulouse, Julian H.</dt> -<dd class="t">1969a A primer on mold seams. <i>Western Collector</i> 7(11): 526-535.</dd> -<dd class="t">1969b A primer on mold seams. <i>Western Collector</i> 7(12): 578-587.</dd> -<dt>Wetherbee, Jean</dt> -<dd class="t">1980 <i>A look at white ironstone.</i> Wallace Homestead, Des Moines.</dd> -<dt>Wright, Louis B.</dt> -<dd class="t">1976 <i>South Carolina, a bicentennial history.</i> W. W. Norton & Co., New York.</dd></dl> -<h2 id="trnotes">Transcriber’s Notes</h2> -<ul> -<li>Silently corrected a few typos.</li> -<li>Retained publication information from the printed edition: this eBook is public-domain in the country of publication.</li> -<li>In the text versions only, text in italics is delimited by _underscores_.</li> -</ul> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE MIDDLETON PLACE PRIVY HOUSE ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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