Harvesting wheat at Firestone Farm / Photo by Lee Cagle.
Every year, the staff of Firestone Farm go into the fields to harvest wheat. Our living history program at Firestone Farm is set in 1885, and because the area of east central Ohio where the farm originates was not an intense grain-raising area, the latest and greatest harvesting technology was generally not in use. As a result, we use a somewhat older technology—a “self-rake reaper.” Our machine was produced by the Johnston Harvester Company out of Batavia, New York, and was built likely in the mid-1880s.
The machine combines a mowing machine (which cuts down the wheat, gathering it on a large wooden bed) with a raking mechanism (which can be adjusted to sweep the accumulated grain stalks off the bed of the machine into measured piles). It has a wonderful robotic action as it makes it way around the field. The machine is pulled by two large horses and the entire mechanism is powered by them.
The loose piles of wheat then need to be gathered up and tied into bundles. In turn, these bundles are stood up on end with other bundles to create a shock or stook. This allows the grain to finish drying before it is stored or stacked for threshing later in the season. (Threshing is the process of separating the grain from the stems, or straw, and the chaff, or the covering of the individual wheat berries.) This is all done by hand—and it takes many hands. Both men and women would have worked together in the field, but before the age of machines (pre-1840s), men typically did the blade work (using sickles, scythes, and grain cradles) and women did the bundling and shocking.
In 1885, each part of the grain harvest was a separate process, using a different machine. Machines that both cut and tied/bundled the grain began to see more common use at the end of the 1880s. These were called binders, and first used wire, then twine, to do this. Eventually, all the harvest processes, including threshing, were “combined” into one step with the advent of the combine. Early versions were horse drawn, but by the 1930s, self-propelled versions began to be used. The final transition took place after World War II as the horse finally was replaced by the tractor on the American farm.
You can get a quick overview of the many steps in wheat production at Firestone Farm in the video below.
Lithograph, "Strawberries," by Currier & Ives, 1870 / THF624651, detail
By the mid-19th century, true leisure time was a rare commodity among the American population. There were very few “official” holidays on the calendar and a twelve-hour workday, six-day workweek was the norm. For these Americans, bringing and sharing food to an outside gathering, whether it be an excursion to the seaside, to a rustic location, or to enjoy a simple meal after church, was a shared experience, a time to pause and take a breath.
What we call a picnic derives from the 17th-century French word “pique-nique,” a term used to describe a social gathering in which attendees each contribute a portion of food. They ranged from very formal affairs with several courses served by servants to very simple gatherings with the most basic of foods being served.
Mid-June is strawberry time here in Michigan, and strawberry-themed gatherings were a popular entertainment. Period magazines, newspapers, and other sources of the 1850s and 1860s go into great detail about picnic ideas and the logistical requirements for a successful event.
On Saturday, June 12, 2021, step back into the early 1860s to our re-created strawberry party outside the Chapman Home in Greenfield Village from 10 AM to 4 PM. You’ll be able to purchase strawberry hard cider, strawberry shortcake, strawberry pie, and strawberry frozen custard at various locations within the Village to soothe your own strawberry cravings, and can watch historic cooking demonstrations highlighting strawberries at Daggett Farmhouse, Ford Home, and Firestone Farm.
The recipes we’ll be demonstrating at each building are included below. Note that these are historic recipes and some of the measurements and techniques may not be familiar to today's home cooks. For more modern recipes dedicated to all things strawberry, check out Strawberry Love, featured in our Shop Summer 21 catalog.
A Pound Cake
Take a pound of butter, beat it in an earthen pan with your hand one way till like a fine thick cream; then have ready twelve eggs, with half the whites; beat them well, and beat them up with the butter, and work into it a pound of flour, a pound of sugar, and a few carraways, well together for an hour with your hand, or a great wooden spoon. Butter a pan and put it in, and then bake it an hour in a quick oven.
--Susannah Carter, The Frugal Colonial Housewife, 1742, pg. 104
To Make Currant Jelly
Strip the currants (strawberries) from the stalks, put them in a stone jar, stop it close, set it in a kettle of boiling water, half way the jar, let it boil half an hour, take it out, and strain the juice through a course hair-sieve; to a pint of juice put a pound of sugar, set it over a fine clear fire in our preserving pan or bell-metal skillet; keep stirring it all the time till the sugar is melted, then skim the scum off as fast as it rises. When your jelly is very clear and fine, pour it into gallipots; when cold, cut white paper just the bigness of the top of the pot and lay on the jelly, dip those papers in brandy; then cover the top close with white paper, and prick it full of holes; set it in a dry place, put some into glasses, and paper them.
--Hannah Glasse, The Art of Cookery Made Plain and Easy, 1747, pg. 183
2 cups of flour
1 tsp baking soda
1 tsp salt
4 tbsp shortening (1/2 butter)
About 1-1/2 cups sour milk “lobbered”
Sift the flour, salt, and soda together into a bowl and work in the shortening. Make a hole in the center and pour in the milk, stirring the flour into it from the sides with a wooden spoon. The dough should be just about as soft as it can be handled, so the amount of milk is indefinite. Pour it out on to a floured board and then pat it out or roll it gently—handling it just as little as possible—to a cake about three quarters of an inch thick. Put this into a buttered baking tin either square or oblong and bake it on a hot oven (450 degrees) for fifteen minutes. The amount of soda depends somewhat on the sourness of the milk. Do not try to sour pasteurized milk, for it can not be done. It will get "old" but it will not "lobber."
And if you don't know what "lobbered" means, it means thick—the dictionary stylishly calls it "clambered." If you use too much soda, the cake will be yellow and taste like lye. Of course, you may be safer in making a baking-powder dough, in which case you take your regular recipe for biscuits but add another tablespoonful of shortening (using half butter, at least, for the shortening) and bake it the same way.
When your cake is done (and "shortcake" in my kind of recipe doesn't mean "biscuits"), proceed after this fashion: have your strawberries (dead ripe) washed, hulled, mashed, and sweetened, in a bowl... And be sure there are plenty of them. Turn your hot cake out on the platter and split it in two, laying the top half aside while you give your undivided attention to the lower. Spread this most generously with butter just softened enough (never melted) to spread nicely, and be sure to lay it on clear up to the very eaves. Now slosh your berries on, spoonful after spoonful—all it will take. Over this put the top layer, and give it the same treatment, butter and berries, and let them drool off the edges—a rich, red, luscious, slowly oozing cascade of ambrosia. On the top place a few whole berries—if you want to—and get it to the table as quickly as you can. It should be eaten just off the warm, and if anybody wants to deluge it with cream, let him do so. But the memory of a strawberry shortcake like this lies with the cake and not the cream.
--Della Lutes, Home Grown, 1936, p. 128-130
Place strawberries in bottom of jar, add a layer of cinnamon and cloves, then berries, and so on; pour over it a syrup made of two coffee-cups cider vinegar, and three pints sugar, boiled about five minutes; let stand twenty-four hours, pour off syrup, boil, pour over berries, and let stand as before, then boil berries and syrup slowly for twenty-five minutes; put in jars and cover. The above is for six quarts of berries.
--Buckeye Cookery and Practical Housekeeping, Estelle Woods Wilcox, Ed., 1877, p. 268
Fruit Ice Cream
To every pint of fruit-juice, allow a pint of sweet cream. The quantity of sugar will depend upon the acidity of the fruit used. Apples, peaches, pears, pine-apples, quinces, etc., should be pared and grated. Small fruits, such as currants, raspberries, or strawberries, should be mashed and put through a sieve. After sweetening with powdered sugar, and stirring thoroughly, let it stand until the cream is whipped—2 or 3 minutes. Put together and then whip the mixture for 5 minutes. Put into the freezer, stirring it from the bottom and sides 2 or 3 times during the freezing process.
--Mrs. Frances E. Owens, Mrs. Owens’ Cook Book and Useful Household Hints, 1884, p. 301
Jim Johnson is Director of Greenfield Village at The Henry Ford.
This photograph was taken some time between 1905 and 1911. Why? The sign in the front window of the storefront adjacent to the Wright Cycle Shop shows an undertaker’s business run by L.G. Keller. City of Dayton business directories of this period show Mr. Keller in business at 1127 West Third Street during this span of time. Clearly shown is the C .Webbert Block sign on top of the building and the Wright Cycle sign as well. Bicycle production and sales had ceased by 1905, but until 1909, airplanes and airplane engines were being built and partially assembled here. / THF236870
In 1903, the building that houses the Wright Cycle Shop and the undertakers’ establishment of Fetters & Shank was collectively known as the C. Webbert Block. The building was moved to and restored in Greenfield Village in 1937. It’s a very faithful representation of the two-story, two-storefront building that stood at 1125-1127 West Third Street in Dayton, Ohio, restored to appear as it did at the time of the Wright Brothers' first flight. There was one exception, though—the decoratively lettered sign that graced the top of the bracketed cornice spanning the front façade of the building was missing for over 100 years.
Charles Webbert, a relative by marriage to Charles Taylor, the Wright Brothers' mechanic, purchased the building in 1896. Mr. Webbert did an extensive addition to the front that created the double storefront we see in historic photographs. The Wright Brothers were his first tenants. Mr. Webbert was a plumbing supplier, a bicycle enthusiast, and, later, a great supporter of the brothers’ flying efforts. He was friends with Orville and Wilbur, and purchased and bartered both bicycles and bicycle repairs. Rent payments were dependent on what bicycle services were provided.
Between 1897 and 1916, the building saw a variety of uses by the Wright Brothers. Initially, the focus was on bicycles, including two lines of hand-built enameled finished bicycles, the Saint Clair and the Van Cleve. In the late 1890s, bicycles were a lucrative business and the proceeds from the Wrights' successful business became the funding source for everything that would eventually allow the Wright Brothers to fly.
Man Working at a Lathe in the Wright Cycle Shop, Dayton, Ohio, 1897 / THF236804
From 1899 until 1909, the building served as the brothers' first experimental laboratory and design studio, dedicated to creating that first flying machine. The first gliders, as well as the first Wright Flyer, were built in sections in the back machine shop, along with the gasoline engines that powered the first flight. For a time, the Wright Cycle Shop was one of the world’s first airplane factories. Following the sale of their first airplane to the U.S. Army Signal Corps in 1908, Orville and Wilbur attracted the attention of New York investors and the Wright Company was formed in 1909. The airplane business quickly outgrew the space, and the assembly of airplanes consequently took place in a rented space in the Speedwell Motor Car Company while awaiting completion of a new factory building. The Wrights broke ground on this new facility on Home Road in Dayton in 1910.
After 1909, though manufacturing and final assembly moved elsewhere, the gasoline-powered engines continued to be machined and assembled in the Wright Cycle Shop. Both brothers also kept offices on the second floor, along with their company files and archives.
Following Wilbur’s death from typhoid fever in May of 1912, Orville took over as president of the company and ran the business alone. In 1915, he sold his interests and retired from the Wright Company. He continued to work on aviation design with his own firm but gave up the lease at the Cycle Shop in November of 1916, permanently moving to 15 North Broadway, a few blocks away.
Based on photographic evidence, the C. Webbert sign remained in place from 1897 until 1919, when significant structural changes took place. These included the addition of another bay and a third storefront, later to become 1123 West Third Street. Historic images show the building in its final iteration, as Henry Ford would have first seen it. By the time of the 1919 renovations, the building needed significant repairs, in part due to a huge flood that ravaged downtown Dayton and its neighborhoods in the spring of 1913. Water levels reached nearly to the second floor of the building. By this time, it’s very likely that the sign had deteriorated to the point where it was not practical to redesign it to fit with the new façade, and so it was likely removed.
This photograph of the vacant building taken in October of 1936 is part of a series taken after Henry Ford purchased the building from Charles Webber, in preparation for dismantling the building and shipping it to Dearborn, Michigan. Its reconstruction in Greenfield Village, without the C. Webbert sign, was completed in the Spring of 1938 with the dedication taking place on April 16, which would have been Wilbur Wright’s 71st birthday. / THF236872
Henry Ford purchased the building from Charles Webbert in 1936 with the understanding that it would be dismantled and moved to Dearborn, where it would be reconstructed in Greenfield Village. For reasons unknown, the sign was never added to the Wright Cycle Shop when it was restored in Greenfield Village in 1937. This is surprising, as it is such a significant architectural element. In 1991, another major restoration of the building took place in the Village, and again, the sign was not included in the project.
As they say, the third time’s the charm.
In 2018, research work began, focused on recreating the sign to more accurately represent the building’s appearance in 1903. In 2019, Mose Nowland, one of our talented conservation department volunteers, created detailed construction drawings based on high resolution scans of original photographs showing the sign still in place. Mose had only a few photographs, taken several years apart, to work with. True to form with his decades of experience, his finished drawings were works of art themselves, and brought to life the exquisite details included in what was the finial crest for the newly-designed façade of the building.
Mose Nowland poses with one of his detailed architectural drawings, which allowed the C. Webbert sign to come to life again after being missing for 100 years. / Photo by Jim Johnson
Using these wonderful drawings, combined with Mose’s sound advice and suggestions, Mike Zemney, one of our talented carpentry staff, began the construction of the sign. The sign was built in sections, with each decorative element individually hand-crafted, just as it would have been in 1897. Mike used a wide range of techniques and materials, with the ultimate goal of making the sign as weather-proof as possible, with a minimal amount of maintenance required. The sign is a combination of several kinds of water-resistant wood species, copper flashing, and cladding, all carefully sealed. The decorative elements are all three-dimensional, and the sign reaches nearly four feet high and over seven feet long, in perfect proportion to the height and width of the building.
Carpenter Mike Zemney with the nearly completed sign he built. In this photograph, the sign has been painted and dry fitted together, with final assembly, sealing, and final painting to take place once it was lifted up onto the building.
Using high-resolution versions of historic photographs, we carefully studied and analyzed these images to determine the color combination to use in painting the sign, along with the rest of the building. What appear to be different colors in some of the photos are actually shadows, as the photographs were taken a few years apart, at different times of the year, and at different times of the day. Based on our analysis, it appears that the building and the entire sign were monochromatic, painted all one color. This was not an uncommon practice for commercial and industrial buildings in the late 19th and early 20th centuries. The sign, therefore, was completely covered in many coats of a high-quality paint by Jeff Serwa, one of our dedicated painters.
There were great hopes of completing this project and having everything installed for the opening of Greenfield Village in April of 2020. As we all know, 2020 took a very different direction, and the actual installation of the sign was delayed.
However, I am very happy to announce that over 100 years later, the Wright Cycle Shop is now complete once again, proudly claiming its rightful place as part of the C. Webbert Block.
The sign is lifted onto the top of the building.
The sign is carefully installed and secured.
The C. Webbert Block sign atop Wright Cycle Shop in Greenfield Village.
Jim Johnson is Director of Greenfield Village at The Henry Ford. Special thanks to the staff and volunteers of The Henry Ford that made this project possible: Mose Nowland, Mary Fahey, Ben Kiehl, Dennis Morrison, Robert Smythe, Mike Zemney, and Jeff Serwa.
Christmas tree in the Wright Home during Holiday Nights in Greenfield Village. (Photo courtesy Jim Johnson)
During Holiday Nights in Greenfield Village, we really enjoy showing how Americans would have celebrated Christmas in the 19th century. In almost all the houses, we use historical primary sources to try to glean out descriptions of what people may have done—but we have almost no concrete visual evidence. However, one huge exception is the Wright Home, the family home of Wilbur and Orville Wright.
We know from various sources that in 1900 there was a big homecoming in Dayton, Ohio. Reuchlin Wright, one of Wilbur and Orville’s older brothers, was returning home from living apart for a very long time, slightly estranged. In celebration, the family decided to put up their first Christmas tree. Wilbur and Orville, who were amateur photographers but probably as good as any professional of the time, documented some of that process.
Within the last decade, we have been able to access a very high-resolution image of the Wright family Christmas tree image from the Library of Congress, and the details just leapt out at us. This photograph, which we know was taken in 1900, documents exactly how the Wright Brothers designed and put up their Christmas tree. We examined all the minutiae in the photo and have attempted to recreate this tree as exactly as possible.
Wright Home Parlor Decorated for Christmas, Original Site, Dayton, Ohio, circa 1900 / THF119489
The toys, the various ornaments—it's all in line with what's typical in the time period. So if you look at the tree in the Wright Home, you’ll see it lit with candles—this is not an electrified house yet in 1900. There's a variety of ornaments designed to hold candies and similar things. It has strung popcorn, which would have been homemade, but it also has store-bought German tinsel garland, glass ornaments (either from Poland or Germany), and all kinds of additional decorations that may have been saved from year to year. There's a homemade star on top that has tinsel tails coming off it.
For many years, we just had a low-resolution, fuzzy photograph of the tree, and we reproduced things as faithfully as we could—for example, what appeared to be a paper scrap-art angel. The first glimpse of the high-resolution photograph absolutely flabbergasted us, because front-and-center on the tree is a little scrap-art of a screaming, crying baby. It must have been some sort of inside joke within the family. We were able to reproduce it exactly as it would have looked on the tree.
The screaming baby scrap-art on the Wright Home Christmas tree, both in the original photo and during Holiday Nights in Greenfield Village.
In keeping with tradition, the tree is also covered with gifts for different members of the family. It seems that the adult gifts were hung unwrapped on the tree, whereas many of the children's things were either wrapped or just placed under the tree, based on the photograph. For example, on the tree, we see a pair of what are known as Scotch gloves—you would have found examples of these in Sears catalogues of the early 1900s. There's also a fur scarf, toy trumpets, and even a change purse, all hung on the tree.
Scotch gloves hanging on the Wright Home Christmas tree, both in the original photo and during Holiday Nights in Greenfield Village.
Beneath the tree, the arrangement of toys and gifts is quite fun. There’s a pair of roller skates, a little toy train, tea sets, furniture sets, and all kinds of different things geared specifically toward all the Wright nieces and nephews who would have come to visit on that Christmas morning.
There's also a wonderful set of photographs associated with the tree after Christmas. For example, there’s one of Bertha Wright, one of Reuchlin’s middle daughters, in the next room over, sitting playing with her toys. She's clearly been interrupted in her play, and you can see that in the expression on her face: “Okay, let's get this over with.”
Bertha Wright, Age Five, Niece of the Wright Brothers, Daughter of Reuchlin Wright, circa 1900 / THF243319
There are also photos outside the house, featuring the sleigh (which is prominent under the tree in the high-res photograph, stacked with books). Behind them in all these photographs is a little fir tree—the tree that was inside the house for Christmas has now been placed out there and propped up in the corner, probably for the winter season.
Milton, Leontine, and Ivonette Wright at Wright Home, Dayton, Ohio, circa 1900 / THF243321
During Holiday Nights in Greenfield Village, we have a wonderful large high-resolution blow-up of the tree photograph set up in the Wright Home for our guests to compare-and-contrast with the recreated tree in the corner. Be sure to stop by the Wright Home to see it on your next Holiday Nights visit!
The original historic photo of the Wright family Christmas tree, displayed in the Wright Home during Holiday Nights in Greenfield Village. (Photo courtesy Brian James Egen)
This post was adapted from the transcript of a video featuring Jim Johnson, Director of Greenfield Village, by Ellice Engdahl, Digital Collections & Content Manager at The Henry Ford.
"Ghost of Abraham Lincoln" in Logan County Courthouse for Halloween in Greenfield Village, 1982 / THF146345
Our beloved Hallowe’en in Greenfield Village program is celebrating its 40th anniversary this year. It’s been a fascinating journey to have been involved from nearly the beginning, eventually leading the team that plans and produces this very complicated and detailed guest experience.
Throughout the entire history of the event, the true star of the show has been Greenfield Village after dark. I know of no better palette for our amazing creative team to have at its disposal to work magic year after year.
The year 2020 and its COVID-19 pandemic will be looked back on as a turning point for not only the Hallowe’en in Greenfield Village program, but for all of The Henry Ford. The need for a safe environment and the resources available have forced the team to take a fresh look at the event and view things from a very different perspective. We are excited and invigorated by the plan we have brought forth and we hope our guests are too.
The Beginnings of Halloween in Greenfield Village
The Greenfield Village Halloween program began as an experience shared through our Education Department’s catalogue of classes and courses. This new concept of a family-based, Halloween-themed experience was first developed as a scary wagon ride experience, with stops and treats at various buildings in Greenfield Village. There were other fun seasonal activities, including dunking for apples, a costume parade and contest, and refreshments in Lovett Hall. The wagon ride was carefully planned out and tapped into Village stories, going as far as having as having a staff member’s child on board as a designated kidnap victim--a sign of the different times that were the early 1980s.
"Trick or Treat" at Wright Home in Greenfield Village, October 1982 / THF146356
This program was presented on an ambitious scale. It was offered one night only and served a remarkably large audience. It was wildly popular and showed what future possibilities and demand lay ahead for the Halloween season. (You can read more about this very first Greenfield Village Halloween program here.)
A series of events led to the next phase of the Greenfield Village Halloween program. The Tylenol poisoning scare in the fall of 1982 changed people’s view of the safety of trick-or-treating. This, combined with new staff and reorganized Village Programs and Special Events departments, brought forth the novel idea of opening Greenfield Village at night as a safe place for trick-or-treating. Thus, the foundation for Hallowe’en in Greenfield Village was born: the basic format of the program we have used until now.
This first Village trick-or-treat Halloween program drew an unexpectedly huge crowd of over 5,000 people. No control measures for timed or paced entry times were put in place and the event was open to the public. As expected, the supply of treats ran out quickly and drastic measures had to be put in place to try and keep pace. I remember working at the first treat stop, the Loranger Gristmill. We gave out handfuls of loose candy corn (a nice thematic connection to the gristmill). I remember it being a very chaotic experience and the porch of the gristmill being coated in smashed candy corn, which could not be seen—only felt—under my feet. In the light of the following day, I was amazed to see single pieces of candy corn that had been pressed out to the size of my hand, still retaining their original shape and color!
"Trick or Treat" at Heinz House in Greenfield Village, October 1982 / THF146374
Many lessons were learned that opening weekend. Moving forward, Halloween in Greenfield Village became a members-only event and entry times were established to slow and control the flow.
Developing the Program in the 1980s and 1990s
Halloween would remain a members-only event for the next 20 years. The first few years, Halloween only took place for one weekend in October. This would continue through the 1980s. By the early 1990s, the still members-only program would expand to two weekends and eventually three. During this time, staff were allotted a certain amount of free tickets, but were required to show up on a set day and time and stand in a very long line to get their tickets. Member tickets for the limited number of program days typically sold out very quickly.
In the first era of the program, there was a lot of emphasis put on the treats and their thematic connection to the Greenfield Village sites from which they would be given out. Different treats were picked out each year.
The inside of the brochure for 1983’s “Family Halloween in Greenfield Village” lists the thematic connections for each building treat stop. / THF146311
Connecting the trick-or-treat path were a variety of Halloween-themed vignettes or interactions, associated with historical events and characters with a nod to scary stories of the past. The effects were low-tech and, in some cases, took inspiration from the emerging haunted house industry. First seen in the 1970s, these haunted houses were grassroots amateur efforts, often sponsored and produced by local Jaycees, Elks, and other fraternal organizations as fund raisers. They relied on cheap scare tactics that involved being jumped out at, grabbed, and sometimes gory scenes. For years, we used some of these very same techniques. The Ackley Covered Bridge was notorious for this.
"Gorilla" on Ackley Covered Bridge during Halloween in Greenfield Village, October 1982 / THF146372
When it came to infrastructure, the Greenfield Village of the 1980s and 1990s basically resembled the Greenfield Village of 1929. There were very few, if any, streetlights and limited access to power to add additional lighting. Until the restoration of 2003, Halloween in Greenfield Village was very dark. Because of this, the jack-o’-lantern pumpkin path played an important role in lighting the way through the experience. A continuous thread to today’s program is the large number of hand-carved and candlelit jack-o’-lanterns that line the path—though now, they serve more to create ambience and atmosphere. Over 1,000 pumpkins are now hand-carved each week to achieve the continuous path.
Volunteers Carving Pumpkins for Family Halloween Jamboree in Greenfield Village, October 1981 / THF146327
Throughout the 1990s, the Family Halloween program, still a members-only event, continued to grow in popularity and had become a yearly tradition for many. Creative collaborations between the Special Events, Village Programs, and AV teams continued to improve the experience, and serious work and experimentations began with lighting and visual effects. A huge breakthrough was the discovery that Tim and Tom, the Firestone Farm black Percheron horses were decent riding horses. It was not long before the Headless Horseman made his debut in the front fields of Firestone Farm. He was soon joined by Ichabod Crane and a Halloween in Greenfield Village favorite was born.
By 2001, though the sophistication and fit and finish of Halloween in Greenfield Village had evolved dramatically from its early years, there was still great potential for growth. Previously, costuming had mainly been reworked or cast-off bits and pieces from the period clothing inventory, décor was minimal, and aside from the hundreds of pumpkins on the jack-o’-lantern path, the main emphasis remained on treats.
The New Millennium Brings a Turning Point to the Program
Workers Laying Conduit in Greenfield Village during Infrastructure Restoration, January 2003 / THF133585
In 2002, the big news around Greenfield Village was the impending massive infrastructure restoration that would begin to take place in the fall. The Village would close at the end of September and not reopen until the following June. Halloween would take a hiatus that year as the huge project gained steam. This would be a turning point and a newly imagined program soon emerged, keeping in step with the newly imagined Greenfield Village.
By the summer of 2003, a cross-functional team began planning the work. The team very quickly established a back story that would guide what the new Halloween would and would not be. The shock and gore, now so prevalent in haunted houses, was removed from the mix. Instead, there was a move toward a family-friendly experience that would rely on the power of Greenfield Village after dark and scary and adventure-based stories that fuel the imagination and Halloween spirit.
Another important inspiration was Halloween party guides, published from the early 1900s through the 1950s, in the collections of The Henry Ford. These handbooks gave endless advice on how to decorate, what games to play, what food to prepare and serve, and a whole host of other miscellaneous tips on how to throw the best Halloween party. Among the most useful and inspirational were the series of yearly Bogie Books, published by the Dennison paper and party goods company from 1912 through 1935. These pamphlets were filled with illustrations, some in color, that featured the huge array of crepe paper and other party products produced by the Dennison Manufacturing Company. Elaborate costumes and party décor were shown—along with the list of Dennison products one would need to replicate the awe-inspiring ideas featured. The colors, textures, and techniques guided our teams in both costuming and decorating throughout the Village.
Dennison's Bogie Book: Suggestions for Halloween & Thanksgiving, circa 1925 / THF96746
Trick-or-treating would remain the main vehicle for moving guests through the experience on a set path, but the look and feel of the treat stations would begin to change dramatically. The Period Clothing Studio became very involved and began to design a spectacular series of costumes to bring the gothic, fairytale, and adventure storybook characters to life—with a nod to costumes of the 1910s and 1920s. By 2005, these characters would become the treat station hosts, with their own stages and stage lighting. Other favorite characters, like the Woman in White, the Dancing Skeletons, the live scarecrow, and, of course, the Headless Horseman and Ichabod Crane, made triumphant returns with new costumes.
Costume Studio Preparing for Halloween in Greenfield Village, October 2005 / THF12490
Another significant change at this point was the shift from Hallowe’en being a members-only event to a public event. Members still had first-pick when ticket sales opened, as they do now, but after a certain date, the public was invited to purchase tickets. As the popularity of the event continued to grow, so did attendance capacities.
The creative work to improve costumes, set designs, and theatrical lighting continued. Through the 2010s, staged theatrical performances of Edgar Allan Poe’s “The Tell-Tale Heart” and other fun, but dark fairytales, such as “Hansel and Gretel” and “Little Red Riding Hood,” were added to the mix. To set up the live Headless Horseman experience, Washington Irving’s “The Legend of Sleepy Hollow” was also performed. Along with the dramatic presentations, live Halloween-themed musical performances featuring a vampire trio, the Potion Sisters, and a musical pirate review rounded out the offerings. To top it off, the Top Hat Side Show became a fixture on Washington Boulevard, anchoring the 1920s carnival theme in that area.
The Top Hat Side Show performing at Hallowe’en in Greenfield Village for the first time in 2015. (Photo by KMS Photography)
By 2019, the Hallowe’en in Greenfield Village experience had hit its full stride and welcomed a record number of guests. There were now several different ways to experience the program with the addition of evening dining opportunities, including the children-themed “Fairytale Feast” and the 1850s Eagle Tavern Harvest Supper.
Rethinking Hallowe’en in Greenfield Village in 2020
Signage outside the main entrance of Henry Ford Museum of American Innovation in March 2020, announcing the closure of our venues due to the worldwide COVID-19 pandemic. (Photo courtesy Ellice Engdahl)
Planning for the 2020 Hallowe’en program was well underway when the world as we knew it came to a screeching halt—and along with it, the entire summer calendar of Greenfield Village special events. As we cautiously reopened the Village and Museum over the Fourth of July weekend, The Henry Ford continued to learn and understand how safety measures should work, what the scale of program offerings needed to be, and what the future might bring. By the end of the summer, it was clear that we could consider a Halloween program in October. We knew it would need to be reimagined and presented in a very different way in order to comply with safety measures while at the same time allowing our guests to have a fun and enjoyable experience.
Based on decades of experience in planning and producing large scale public events, the Hallowe’en planning team took a fresh look at the program. It was immediately apparent that the entire concept of lining up for treats would have to be eliminated. Without the need for a set prescribed route, new possibilities opened, and the Holiday Nights model of enjoying the evening at one’s own pace and experiencing program elements in any order became the logical approach. Greatly reduced attendance capacities and timed entry would ensure a safe experience. Unfortunately, we were not able to offer our evening dining experiences this year, but happily, many familiar and favorite characters and experiences made a return.
A witch and the Hallowe’en Express welcome guests to Hallowe’en in Greenfield Village in 2020. (Photo courtesy Jim Johnson)
A very exciting addition for 2020 is the Hallowe’en Express, a brand-new Halloween-themed train ride that makes a round trip excursion from the “Brimstone” Station at the front of the Village. Guests encounter all sorts of sights and sounds along the way. The presence of a live steam locomotive in the Village, with an eerie whistle created just for this occasion, adds an entirely new dimension to the overall experience for our guests.
Over the past 40 years, Hallowe’en in Greenfield Village has steadily grown and evolved. There have been many turning points in its long history, and 2020 will rank among the most significant. New beginnings can often be viewed as painful endings, but the Hallowe’en in Greenfield Village planning team is fully embracing this new beginning and is very excited to share the path we have taken.
Jim Johnson is Director of Greenfield Village and Curator of Historic Structures & Landscapes at The Henry Ford.
A Half Century in the Making, the Journey from Yuletides to Holiday Nights
What we know and love today as Holiday Nights did not spontaneously appear in 2000 when we first opened Greenfield Village on December evenings for an immersive holiday experience. Holiday Nights has evolved and grown based on many experiences and inspirations from decades of village “Christmases past.” and the work of many talented people.
The ability to transport our guests to a different time and place is most powerful after dark as the modern world that constantly pushes closer to our borders can be temporarily pushed away. When all is said and done, Greenfield Village provides the most perfect “set” in which to bring the past alive. With over 300 years of history represented, the possibilities are endless; a world where Charles Dickens’, A Christmas Carol, and It’s a Wonderful Life can seamlessly collide. A place where a small town from the distant past comes to life for several hours on December evenings, bringing forth the magic of the holiday season.
Holiday Nights in Greenfield Village is a classic example of “if you build it, they will come.” What began with conservative hopes for several hundred people in attendance has continually grown year after year.
Information Booklet, "Christmas at Greenfield Village 1964." THF112439
The holiday experience in Greenfield Village has a long history. As early as the mid-1960s, Village buildings were decorated both inside and out for the holiday season. Historic Christmas recipes were prepared in the village kitchens in fireplaces and wood burning stoves. Early on, all the guest experiences were limited to daytime and varied from guided tours, to full access, to tour on your own. Decorations were very elaborate, and included many collection items, but were not always based on sound historical research. Every building got a bit of Christmas, whether it would have been celebrated or not. During this period, attendance was vigorous, especially on December weekends.
Guests at Clinton Inn (Eagle Tavern) During "Yuletide Evening in the Village," 1975. THF144738
By the mid-1970s, new evening holiday experiences, called Yuletide Evenings, were introduced. Guests had the choice of a formal dinner in either the newly constructed Heritage Hall (now the Michigan Café) or the Clinton Inn (now the Eagle Tavern).The experience included horse drawn wagon, or if conditions allowed, sleigh rides into the Village, and depending on which package was purchased, a tour of 4 different decorated historic buildings, either before or after dinner. By the early 1980s, the Clinton Inn became Eagle Tavern, and the evening program changed to become an immersive 1850 dining experience much like the program offered today. Eventually, the Village tour portion of the evening was discontinued, offering a dinner only experience.
In the early 1990s, a concerted effort had been made for some years to reinvigorate the daytime program. By paying attention to historical accuracy, but at the same time, broadening the scope and allowing for a wider interpretation of how Americans began to celebrate Christmas in the 19th century, more engaging programs were offered. Hundreds of artifacts were chosen to fit out the dining rooms, parlors, and where appropriate, Christmas trees. Additional research was also done to lift-up the historic cooking programs and infuse a “living history” approach to the historic structures with the addition of period clothing. All this further supported the stories of the diversity of the American Christmas celebration. This work laid the foundation for the core content of Holiday Nights that we rely on today.
By the late 1990s, for a variety of reasons, the daytime visitation to the Greenfield Village Holiday Program had begun to decline while the evening program attendance remained strong. Based on the inspiration and fond memories of the wonderful candle and lantern lit buildings decorated for the holidays, a new program was proposed to re-create that opportunity through the Educational Programs class offerings. Though on a very small scale that served less than 100 people, this program reminded us of what could be possible and got the creative process rolling.
Brochure, "Twelve Nights of Christmas" in Greenfield Village, 2003. THF144736
The Twelve Nights of Christmas, what would later be called Holiday Nights, debuted for the Christmas season of 2000. The daytime “Holiday” program remained in place, and the evening program was basically an evening version. This early version was very quiet, and very dark, as none of the village restoration had taken place yet. Most of the activities were based inside the buildings. Despite the slow start, the potential was fully realized, and creative and physical growth began. With the village closed for the holiday season of 2002 for the renovation, there was time to regroup, brainstorm, and make plans. The new and improved version for the “new” village in 2003 saw expanded outdoor activities, more music, and an ice rink that featured an artificial ice surface. Even with enhanced programming elements, the program was still not really filling the space as it could.
Musicians Performing at "Twelve Nights of Christmas" in Greenfield Village, 2003. THF133593
During these early years, it was apparent to the village programs team that to achieve the level of experience we were aspiring to, the event would need to be broken down into production areas, and each would need its own level of care and attention to detail. Decorating the village, designing and deploying the lighting, planning the historic food demonstrations, food sales and retail, staffing and training, musical and dramatic program casting and rehearsing, dressing an army of staff, firewood, lanterns, and communicating the entire thing, all was captured and pulled together with the Holiday Nights manual. This work became the go-to document for what needed to be done when and where, once preparation for the evening program began. This tool also became invaluable in planning and producing subsequent years of the program. So, as ideas came forth as to how to expand and improve the Holiday Nights guest experience, the program manual format made it possible to incorporate the new elements and move the experience forward.
A very memorable off site staff mini-retreat to a local book store cafe in 2004 laid the foundation for the program we know today. Building on the sound historical content of our village holiday celebration, our success with Holiday Nights thus far, along with a commitment from the institution, we created and refined the combination of guest experiences that today, makes Holiday Nights truly one of the nation’s greatest holiday experiences. The fireworks finale, the end of the evening procession and sing-a-long, a visit from Santa, a real ice skating rink, immersive food and drink stalls in the center of the Village, a greens market, storytellers, over 100 staff in period dress as well as a wide variety of additional dining experiences and top quality live music, has put Holiday Nights on the map over 20 seasons.
The program continues to grow and evolve. For my part, it’s been a privilege and source of pride to see how far we have come and how we have come together to achieve such greatness. I look forward to the road ahead and what the next 20 years may bring.
Inspired by the evolution of Holiday Nights? See it for yourself - limited tickets for 2019 remain.
Jim Johnson is Curator of Historic Structures and Landscapes at The Henry Ford and Director of Greenfield Village.
The Logan County Courthouse, a fixture on the Village Green in Greenfield Village, will has reached the milestone of having been here in Dearborn for as many years as it was in Postville, Illinois - 89 years.
Abraham Lincoln featured prominently in Henry Ford’s plans for Greenfield Village, which revolved around the story of how everyday people with humble beginnings would go on to play important roles in American history. Lincoln epitomized Ford’s view of the “self-made man,” and he made a significant effort to collect as many objects as possible associated with him. By the late 1920s, Henry Ford was a “later comer” to the Lincoln collecting world, but with significant resources at his disposal, he did manage to secure a few very important items. The Logan County Courthouse is among them.
It has taken nearly all the 89 years to achieve this, but an original feature, long absent from the courtroom is making a return. The bar now stands again. Using the original set of spindles, we have re-created our interpretation of what the rail, or the bar, that divided the courtroom may have looked like in the1840s. By referencing images of other early 19th century courtrooms, and studying architectural features represented in Greenfield Village, a typical design was created.
The stories associated with the Logan County Courthouse are fascinating. As it turns out, the story of how the original spindles from the original bar finally made their way back into the courthouse is fascinating as well.
Authenticated objects, related to Lincoln’s early life, were especially scarce by the late 1920s. There seemed to be an abundance of items supposedly associated and attributed to Lincoln, especially split rails and things made from them, but very few of these were the real thing. For Ford, the idea of acquiring an actual building directly tied to Lincoln seemed unlikely.
But, by the summer of 1929, through a local connection, Ford was made aware that the old 1840 Postville/ Logan County, Illinois courthouse, where Lincoln practiced law, was available for sale. The 89-year-old building was used as a rented private dwelling, and was in very run-down condition, described by some as “derelict.” It was owned by the elderly Judge Timothy Beach and his wife. They were fully aware of the building’s storied history, and had made several unsuccessful attempts to turn the historic building over to Logan County in return for taking over the care of the building. Seeing no other options, the Beaches agreed to the sale of the building to Ford via one of his agents. They initially seemed unaware of Ford’s intentions to move the building to Greenfield Village, assuming it was to be restored on-site much like another historic properties Ford had taken over.
This image shows the state of the building when it was first seen by Henry Ford’s staff in late August of 1929. Not visible in the large shed attached to the rear of the building. THF238386
The local newspaper, The Courier, even quoted Mrs. Beach as stating that, “she would refund to Mr. Ford if it was his plan to take the building away from Lincoln, as nothing was said by the agent about removal”. By late August of 1929, the entire project in West Lincoln, Illinois, had captured the national spotlight and the old courthouse suddenly had garnered a huge amount of attention, even becoming a tourist destination. By early September, local resistance to its removal was growing, and Ford felt the need to pay a visit to personally inspect the building and meet with local officials, and the Beaches. He clearly made his case with the owners and finalized the deal. As reported, “Ford sympathized with the sentiment of the community but thought that the citizens should look at the matter from a broader viewpoint. He spoke for the cooperation of the community with him in making a perpetual memorial for the town at Dearborn, where the world would witness it. My only desire is to square my own conscience with what I think will be for the greatest good to the greatest number of people."
Henry had made his case and the courthouse would indeed be leaving West Lincoln. Immediately following the final negotiations, Henry Ford’s crew arrived to begin the process of study, dismantling, and packing for the trip to Dearborn. Local resistance to the move continued as the final paperwork was filed to purchase the land. By September 11, the resistance had run its course and the dismantling process began. It was also revealed that the city, county, several local organizations, and even the state of Illinois had all been offered several opportunities to acquire the building and take actions to preserve it. They all had declined the various offers over the years. It was then understood that Judge & Mrs. Beach, in the end, had acted on what was best for the historic building and should not be “subjected to criticism.” Judge Beach would die on September 19, just as the last bits of the old courthouse were being loaded for their journey to Greenfield Village.
Reconstruction, which included the fabrication of many of the first-floor details and a new stone chimney and fireplaces, began immediately. In roughly a month’s time, the building was ready for the grand opening of Greenfield Village on October 21, 1929.
Nine years later, in 1938, Eugene Amberg sent a letter to Ford describing an interesting discovery. Mr. Amberg was a native of what was now Lincoln, Illinois and worked as a railroad ticket agent. He had a great interest in the local history and was a collector of local artifacts. As he writes in the letter dated February 8, 1938:
Several years ago, you purchased the Old Postville Court House here in Lincoln, Ills from Mrs. T Beach. At the time the Court House was made into a dwelling the railing that separated the judges desk from the main court room was torn out by my father (John Amberg) who was doing the remodeling, this he stored in the attic of his home, recently my mother died and while cleaning out the attic we came across these spindles, which are the original 28 spindles that the hand railing rested upon. The hand railing was of walnut, out of which was carved some arm rests that are now on some of the pews in St. Mary’s, a church here.
Would appreciate a line from you as to whether or not you would be interested in these spindles, have had numerous offers for them, inasmuch as they are part of the original court house I feel they should be with it, in your Dearborn Village.
Dated February 7, 1938, this is the initial letter from Gene Amberg to Henry Ford offering the 28 original spindles for sale. Despite several letters back and forth, a price could not be settled upon, and the transaction never took place. THF288006
This drawing was sent by Gene Amberg, as a follow-up to his first letter offering the spindles for sale. The artist, Mary Katherine, was Gene’s 14 year old daughter. THF288012
Negotiations evidently faltered, as a price was not agreed upon, and the spindles were never sent. Fast forward 71 years to 2009 when an email arrived from Carol Moore and her brother, Dennis Cunningham, the grandchildren of Eugene Amberg. They had no idea that their grandfather had begun this process, and were amazed when we produced the original correspondence from our archival collection. As it turns out, their story was almost identical to Eugene’s. As Carol wrote their mother, “Patricia Amberg Cunningham died March 1, 2008. While cleaning her house in Delavan, Illinois to prepare for sale, we found 28 old wooden spindles and a newspaper article believed to be from the Lincoln Courier indicating that the spindles are from the original Postville Courthouse in Lincoln, Illinois. It is our desire to donate them to the original Postville Courthouse.”
She was very familiar with Greenfield Village, and had visited the courthouse here. Jim McCabe, the Buildings Curator at the time, gladly accepted the donation.
Clipping from the Lincoln Courier ca. 1934, noting the 28 spindles from the “old Postville courthouse” in the possession of Gene Amberg. THF288016, THF288017
In 1848, the county seat moved from Postville, to Mount Pulaski. At that time the courthouse was decommissioned, and the county offices moved to a new courthouse. After a legal battle between the County, and the original investor/builders of the building, it was sold to Solomon Kahn. None other than Abraham Lincoln successfully represented the County in the matter.
Understanding the local history helps to also understand the changes that took place to the building. It explains how and why portions of the building were altered, parts removed, and eventually separated.
By the late 1840s, changes had taken place on both the exterior and interior. The most significant of these was the move off its original foundation, 86 feet forward on the lot. Mr. Kahn converted the building into a general store, and ran the local post office. It was he who moved the building to its new location. In doing so, it was lifted off its original limestone foundation, and the original single limestone chimney and interior fireplaces were demolished. A new brick lined cellar and foundation were created, along with updated internal brick chimneys on each end of the building, designed to accommodate cast-iron heating stoves.
This is the earliest known photograph of the Logan County Courthouse taken some time between 1850 and 1880. This photograph shows the building in its second location, 80 feet forward from its original foundation, at the crest of a small rise. The original window and door configuration remain intact. The original single stone chimney, now restored to the left side of the building, has been replaced by two internal brick chimneys designed for cast-iron heating stoves. Though not visible in the photograph, the building now sits on a new brick foundation and cellar. The items sitting near the doorway speak to the building’s new life as a store. THF132074
By 1880, the old courthouse had been converted from a commercial building into a private dwelling, and that was the state in which it was found by Ford’s crew in 1929. The doorway and first floor interior had been radically changed. Later, a porch was added to the front entrance, and a shed addition was added to the rear. Photographs taken in September of 1929 during the dismantling, show the outline of the original chimney on the side of the building where it has been re-created today. Further discoveries revealed the original floor plan of a large single room on the first-floor, and the original framing for the room divisions on the second. Second floor photographs show the original wall studs, baseboards, chair rails, window, and door frames, all directly attached to the framing, with lath and plaster added after the fact. The framing of the walls on the first floor were all clearly added after the original build.
This post 1880 view of the Logan County Courthouse shows its transformation into a two- family dwelling. Note the single doorway is now two, the second now taking the place of a former window opening. THF238350
This image shows further remodeling of the front of the building. This photo ca.1900 shows the addition of recessed covered porch with some decorative posts and millwork. This is the iteration in which the building was found when it was sold to Henry Ford in September of 1929. THF238348
These three images show the re-modeled interior of what was the original courtroom, now serving as the kitchen, dining room, and parlor. These photos were taken by Henry Ford’s staff just prior to the dismantling of the building in September of 1929. THF238580
The sub-divided first floor courtroom. THF238600
View of the cellar entrance under the stairway in the sub-divided courtroom. THF238598
We have no evidence that tells us what if any interior changes Mr. Kahn may have made when he relocated the building around 1850. The earliest photograph we have of the building shows it in its new location, but except for its new brick chimneys, it retains what appears to be its original door and window configuration. We can only assume that Mr. Kahn had kept the rail in place, which may have proved useful in the building’s new configuration as a store and post office. No photographs of the original courtroom exist and extensive changes made first in 1880, and then when the building was dismantled and reconstructed in Greenfield Village, further comprised any original evidence.
This view of the dismantled second floor shows matching trim and chair rail connected directly to the studs indicating this as the originally installed woodwork from 1840. The wall partition studs are also notched to meet the ceiling joists, showing that they are also part of the original framing configuration of the second floor. All the trim work, including the doors were made of walnut. THF285571
Based on the evidence we do have about these changes, it is very likely that at the time of the building’s conversion into a private dwelling, around 1880, the decorative hand-turned spindles and walnut hand rail would have been salvaged as the first floor of the building was sub-divided into a duplex. As stated in the family history, the walnut top rail was re-purposed and used in St. Mary’s Catholic Church (which burned in 1976), and the spindles saved for a future project.
Analysis of the original spindles showed that they were poplar, a wood commonly used for turning and as a secondary wood in the mid-19th century. Based on what we knew, we decided to use a combination of woods for the reconstruction of the bar rail. Walnut was used for the top rail and column caps, and the remainder of was done in poplar. Though refinished in 1929, the original walnut trim throughout the building was used as a guide for the color and sheen of the final finish. Reproduction hardware, again based on the existing hardware, mainly on the second floor, was used to mount the center gate.
Mose Nowland, conservation team volunteer at The Henry Ford, works on the design rendering for the bar. (Photo by Jim Johnson)
Mose Nowland and other members of The Henry Ford Conservation Team with the newly installed bar. (Photo by Bill Pagel)
The design of the physical installation of the rail and gate was robust. Each of the support columns is supported within by a steel post that runs through the floor joists and into the cellar floor. With over a half million guests visiting Greenfield Village each year, we thought this important. The design also offers some degree of protection to the original spindles that are centered within the top and bottom rail. This is a permanent installation, and we wanted to be sure it would stand up to the test of time.
Views of the newly re-created bar at the Logan County Courthouse in Greenfield Village. (Photos by Jim Johnson)
A huge thank you to Mary Fahey and Dennis Morrison for stewarding the project. Also to Mose Nowlin, our extraordinary volunteer with The Henry Ford’s Conservation Team, who lead the charge in creating the design, and produced beautifully detailed drawings. Ken Gesek, one of our Historic Buildings Carpenters, built the rail, Cuong Nguyen and Tamsen Brown, with the help of rest of THF Conservation Team, oversaw the restoration of the original spindles. Tamsen also developed the formula to match the stain and finish to the existing woodwork in the courthouse. Jason Cagle, from the Painting Staff, skillfully applied the finish. Many other people worked to move the project forward as well.
This true team effort resulted in the original spindles finally being reunited with the Logan County Courthouse after an absence of nearly 140 years.
Logan County Courthouse as it appears today in Greenfield Village. (Photo by Jim Johnson)
Jim Johnson is Director of Greenfield Village at The Henry Ford.
Logan County Courthouse Spindle Accession File, 2009.111, items 1-28, Archival Collection of the Benson Ford Research Center, The Henry Ford.
Logan County Courthouse Building Files including original correspondences, records, photographs prior to dismantling in September of 1929, photographs of dismantling process, September 1929, reconstruction photographs, Greenfield Village, September 1929, 19th century photographic images, Benson Ford Research Center, The Henry Ford.
The Herald, vol. 5 n.3, The Edison Institute Press, March 4, 1938.
Illinois, Logan County, Postville, 1840 U.S. census, population schedule. NARA microfilm publication, Washington, D.C.: National Archives and Records Administration
Illinois, Logan County, Postville, 1850 U.S. census, population schedule. NARA microfilm publication, Washington, D.C.: National Archives and Records Administration
Stringer, Lawrence B, The History of Logan County, Illinois, A Record of its Settlement, Organization, Progress and Achievement, Pioneer Press, Chicago, 1911.
“The Story of the Purchase of the Logan County Courthouse and its Removal to Greenfield Village by Mr. Henry Ford, as told in the columns of the Lincoln Evening Courier, 8/19/29-10/21/29”, compiled by Thomas I. Starr, Aug 1931. Logan County Courthouse Building Files, Benson Ford Research Center, The Henry Ford.
”We are Bound for Glory with a Fair Wind, Nothing but Working and Fighting Ahead.” – Samuel Chapman Armstrong, Lt. Col., 9th USCT, between Hilton Head, South Carolina and Petersburg, VA, 1864
The American Civil War was the seminal event affecting daily life and ideals about freedom and citizenship during the 1860s and beyond. People coped with the reality of war-time devastation in a variety of ways. As the Civil War generation passed during the late 1920s and 1930s, when the collections of The Henry Ford were forming, the sacred family mementos that associated with personal memories of pride, honor and glory became part of this great museum of the American experience. Even though The Henry Ford is not a military history museum, the collections are rich with Civil War photographs and letters, battlefield relics, and even a medal of honor. The war is deeply imbedded in the collective memory of 19th and early 20th century Americans, and it was so often included in the “archives” of their lives that, by default, their mementos became part of our collections.
Henry Ford’s own interest in documenting the lives of his parents and his own childhood and young adulthood, caused him to collect his own family’s rich Civil War stories. Two of Henry’s mother’s brothers, John and Barney Litogot, served in the storied 24th Michigan. John was killed near Fredericksburg, Virginia, and Barney survived to fight in many battles, including Gettysburg. He also served in the honor guard at Abraham Lincoln’s funeral.
John and Barney Litogot at the time of their enlistment, August, 1862. THF 226852
The variety of Civil War objects in the collection is amazing, and represents both Union and Confederate perspectives.
Keeping troops in the field proved challenging for the Confederacy and the Union. A broadside confirms pay scales for Union troops and employees of the United States Army.
Recruiting Broadside, United States Army, c1863. THF 8551
Lackluster enlistment, however, prompted both armies to institute conscription. The Confederacy did this in April 1862 and the Union followed in March 1863.
The U.S. Army issued broadsides to recruit soldiers, including men of African descent, after passage of the Emancipation Proclamation. One broadside in the collection depicts a white male standard bearer front and center and elevated above others in the scene. He is armed with a sword and the banner, “Freedom to the Slave.” To the left sits a public school and a black man reading a newspaper rather than manning the plow. This implied that education and literacy could free people from manual labor. To the right, a black soldier aids black women and children recently freed from the shackles of slavery while black troops fight in the background.
“Freedom to the Slave. . . Fight for the Stars and Stripes,” 1863-1865. THF 118383
Black men had opportunities to serve in the Union forces before the Emancipation Proclamation. In fact, in May 1862, General David Hunter, in command of occupying forces in Hilton Head, South Carolina, organized the First South Carolina Volunteer Infantry. He acted without permission of the War Department and reputedly impressed men enslaved on plantations in the occupied territory into service. This sparked controversy about whether contraband of war, the enslaved in occupied territory, could, or should, serve in the military. The regiment disbanded in August 1862
Wood Engraving, First and Last Dress Review of 1st Regiment South Carolina (Negro) Volunteers, 1862. THF 11672.
The Militia Act on July 1, 1862 made it legal for the U.S. President, as commander in chief, to accept “persons of African descent” into the Union military or navy. The Militia Act authorized their pay and rations equivalent to that of soldiers already serving, but instead of $13 per month, they received $10 per month, with the remaining $3 paid in clothing). It also allowed persons of African descent to work for the Union, performing camp service and building fortifications.
Union officers reorganized the First South Carolina Volunteer Infantry in November 1862, in conjunction with the Port Royal Experiment to redistribute lands on the Sea Islands of South Carolina to the formerly enslaved. Company A, under command of Charles T. Trowbridge, became the first official regiment of U.S. Colored Troops (USCT) on January 1, 1863, the same day that officials read the Emancipation Proclamation for the first time, in Beaufort, South Carolina, on Port Royal Island, just south of Fort Sumter. The First South Carolina was renamed the 33rd U.S. Colored Infantry in 1864 and remained in service until January 31, 1866.
"Dress Parade of the First South Carolina Regiment (Colored) near Beaufort, South Carolina," 1861-1865. THF 8221
Stories of tragedy and triumph abound in the history of the USCT, including experiences lived by residents on our own Susquehanna Plantation.
Susquehanna as it appears in Greenfield Village today. THF 2024
Morris Robertson, an enslaved carpenter, left Susquehanna and enlisted with the Federal Army on October 25, 1863. He became a member of the 9th USCT, Company C. This regiment was organized at Camp Stanton, Benedict, Maryland, from November 11 to December 31, 1863. They saw service in South Carolina and Virginia, including Petersburg and Richmond. Following the end of hostilities, the regiment was moved to Brownsville, Texas, where it remained until September 1866. The 9th was ordered to Louisiana in October and mustered out at New Orleans, November 26, 1866. Sadly, it was in Brownsville, Texas, very near the end of his term of service that Morris Robertson died of cholera on August 25, 1866. We would like to think that Morris’ brief time of freedom, though under frequent periods of extreme danger, gave him some joy. It is troubling to know that though free, he would never see his family again.
Service Record for Morris Robertson from the Company Descriptive Book. (Library of Congress)
Other objects in the collections document USCT in several other states, and confirms their service across the Confederate States from Virginia to south Texas. Examples include the 54th Massachusetts, perhaps the most well-known USCT regiment. It received national media attention in July 1863 for its “gallant charge” on rebel-held Fort Wagner, on Morris Island in the Charleston, South Carolina harbor.
Lithograph: GALLANT CHARGE OF THE FIFTY FOURTH (COLORED) MASSACHUSETTS REGIMENT / On the Rebel Works at Fort Wagner; Morris Island near Charleston, July 18th 1863, and the death of Colonel Robt. G. Shaw. THF 73704
USCT saw action in the Gulf of Mexico. Evidence includes a portrait of J.D. Brooker. Inscriptions on the back of the photo matte indicated that Brooker served with the Corps d’Afrique, 79th Regiment of Infantry. U.S. Army recruiters worked at the parish-level in occupied Louisiana, to attract volunteers. Troops saw heavy action during the Port Hudson campaign, May through July 1863. Major General Nathaniel P. Banks praised the Corps--"It gives me great pleasure to report that they answered every expectation. In many respects their conduct was heroic. No troops could be more determined or more daring."
Portrait of J.D. Brooker, soldier with the Corps d'Afrique 79th U.S. Colored Troops from Louisiana. THF 93151
Fragments of “our flag” were glued to the back of J.D. Brooker’s portrait.
Collections include portraits of white commanding officers of black troops.
Union Army Colonel Bernard Gains Farrar, who assisted in the siege of Vicksburg, recruited African-American troops from the area after Vicksburg fell. He commanded the 6th U. S. Colored Heavy Artillery.
Portrait of a Union Army Colonel Bernard Gains Farrar, 1862-1864. THF 6229
Lieutenant Andrew Coats, served with the 7th Colored Infantry Regiment and as Acting Assistant Adjutant General for the District of Florida. In 1864, the 7th Colored Infantry Regiment was part of the 10th Army Corps, located in the area of Hilton Head and Beaufort, South Carolina.
Portrait of Lieutenant Andrew Coats, 7th Colored Infantry Regiment, 1864. THF 57539
Americans of African descent remained the fulcrum around which debates about status and citizenship revolved. An 1864 print by Currier and Ives, conveyed this debate graphically as a contrast between the George B. McClellan, the Democratic presidential candidate, who wanted to restore the Union, but not abolish slavery, and the incumbent, Abraham Lincoln, author of the Emancipation Proclamation. If McClellan won the election, the CSA president, Jefferson Davis, would slit their throats. If President Lincoln retained his seat, black soldiers could stand at Lincoln’s right hand, defending the Union of States against CSA president Davis, in rags and on his posterior and held at bay by Lincoln. Black soldiers, however, remained culturally distinctive in the Currier and Ives depiction, as the dialect in the captioning re-enforced.
“Your Plan and Mine,” Political Cartoon, Presidential Campaign, 1864. THF 251879
Our collections also document post-war service of USCT. The Muster Roll for Company E, 46th Regiment of United States Colored Infantry confirmed the presence of men serving in the Regiment between April 30 and June 30, 1865. It also included names of at least fifteen men who had been taken as prisoners of war and men who had been discharged and deceased. The roll may have been used to keep track of soldiers after the war, perhaps for pension applications. Some annotations are dated 1885 and 1890. The Company E, 46th Regiment USCT saw action in Arkansas and the Mississippi Delta.
Another muster roll, confirmed the presence of thirteen soldiers in Company G, 25th Regiment of United States Colored Infantry, on April 12, 1865. Col. F.L. Hitchcock, commanding officer of the troops in Fort Barrancas, Florida, signed the roll. It includes details about each soldier:
Name; Rank; Date mustered in; Place mustered in; Mustered in by [name]; How long in service; Hair color; Eye color; Complexion color; Height (feet and inches); Where born; Age; Occupation; Pay information.
The 25th Regiment USCT was on garrison duty at Fort Barrancas, Florida, when these soldiers were recruited, and remained on garrison duty until December, 1865, never seeing action. During the spring and summer of 1865 about 150 men died of scurvy, the result of lack of proper food. Col. Hitchcock wrote:
"I desire to bear testimony to the esprit du corps, and general efficiency of the organization as a regiment, to the competency and general good character of its officers, to the soldierly bearing, fidelity to duty, and patriotism of its men. Having seen active service in the Army of the Potomac, prior to my connection with the Twenty-fifth, I can speak with some degree of assurance. After a proper time had been devoted to its drill, I never for a moment doubted what would be its conduct under fire. It would have done its full duty beyond question. An opportunity to prove this the Government never afforded, and the men always felt this a grievance."
Muster Roll of 13 Soldiers in Company G, 25th Regiment of United States Colored Infantry, April 12, 1865. THF 284824
As we pause to celebrate Memorial Day, a holiday with its origins linked to the Civil War, we need to pause to also honor all those who have given their lives in service, and all those who have, and continue to, serve to protect our freedoms. Americans did not agree on the meaning of freedom during the 1860s, and the evidence indicates that Americans of African descent were not given their freedom by white Americans. They fought during the Civil War to attain it.
Jim Johnson is Curator of Historic Structures and Landscapes at The Henry Ford. Debra A. Reid is Curator of Agriculture and the Environment at The Henry Ford.
As we look forward to the Greenfield Village opening of 2017, our guests and staff alike enjoy reconnecting with our amazing array of historic buildings. Each of them not only represent different periods of American history, they also hold so many fascinating stories. Among the more interesting, are how they came to have new lives here in Greenfield Village. The Logan County Courthouse’s story is among my favorites.
Abraham Lincoln featured prominently in Henry Ford’s plans for Greenfield Village which revolved around the story of how everyday people with humble beginnings would go on to play important roles in American history. Henry Ford was a “later comer” to the Lincoln collecting world, but with significant resources at his disposal, he did manage to secure a few very important items. The Logan County Courthouse is among them.
Logan County Courthouse as it stands today in Greenfield Village.
Authenticated objects, related to Lincoln’s early life, were especially scarce by the late 1920s.There seemed to be an abundance of items supposedly associated and attributed to Lincoln, especially split rails and things made from them. But very few of these were the real thing. For Henry Ford, the idea of acquiring an actual building directly tied to Abraham Lincoln seemed unlikely.
Logan County Courthouse September of 1929.
But, in the summer of 1929, through a local connection, Henry Ford was made aware that the old 1840 Postville/ Logan County, Illinois courthouse, where Lincoln practiced law, was available for sale. The 89-year-old building, was used as a rented private dwelling, and was in run down condition, described by some as “derelict”. It was owned by the elderly Judge Timothy Beach and his wife. They were fully aware of the building’s storied history, and had made several unsuccessful attempts to turn the historic building over to Logan County in return for funding the restoration, and taking over its on-going care and maintenance.
View of rear section of building with shed addition, September 1929
Seeing no other options, the Beaches agreed to the sale of the building to Henry Ford via one of his agents. They initially seemed unaware of Henry Ford intentions to move the building to Greenfield Village, assuming it was to be restored on-site much like another historic properties Ford had taken over. The local newspaper, The Courier, even quoted Mrs. Beach as saying “she would refund to Mr. Ford if it was his plan to take the building away from Lincoln, as nothing was said by the agent about removal”. By late August of 1929, the entire project in West Lincoln, Illinois, had captured the national spotlight and the old courthouse suddenly had garnered a huge amount of attention, even becoming a tourist destination.
View of side currently adjacent to Dr. Howard’s Office, September, 1929. This view shows evidence of filled in window openings. The window currently behind the judge’s bench was restored.
By early September, local resistance to its removal was growing, and Henry Ford felt the need to pay a visit to personally inspect the building and meet with local officials, and the Beaches. He clearly made his case with the owners and finalized the deal. As reported, “Ford sympathized with the sentiment of the community but thought that the citizens should look at the matter from a broader viewpoint. He spoke for the cooperation of the community with him in making a perpetual memorial for the town at Dearborn, where the world would witness it. My only desire is to square my own conscience with what I think will be for the greatest good to the greatest number of people.”
Views of partitioned first floor, summer 1929.
The courthouse would indeed be leaving West Lincoln, and by September 6, Henry Ford’s crew arrived to begin the process of study, dismantling, and packing for the trip to Dearborn. Local resistance to the move continued as the final paperwork was filed, and the newly purchased land was secured by Ford’s staff. By September 11, the resistance had run its course and the dismantling process began. It was also revealed that the city, county, several local organizations, and even the state of Illinois had all been offered several opportunities to acquire the building and take actions to preserve it. They all had declined the various offers over the years. It was then understood that Judge & Mrs. Beach, in the end, had acted on what was best for the historic building and should not be “subjected to criticism.” Judge Beach would die a week later, on September 19th.
The dismantling and discovery process was closely covered by the local newspapers, and as the building came apart, its original design was revealed.
Beginning as early as the late 1840s, changes had taken place on both the exterior and interior of the building. By 1880, the building had been converted from a commercial building into a dwelling and that was the state in which it was found by Ford’s crew in 1929. The doorway and first floor interior had been radically changed and eventually, a covered porch was added to what is now the main entrance, and a shed addition to the rear. But, the most significant change, was the move off its original foundation, 86 feet forward on the lot.
In 1848, the county seat moved from Postville, to Mount Pulaski. At that time the courthouse was decommissioned, and after a legal battle between the County, and the original investor/builders of the building, it was sold to Solomon Kahn. None other than Abraham Lincoln successfully represented the County in the matter. Mr. Kahn converted the building into a general store, and ran the local post office within. It was he who moved the building to its new location. In doing so, the old limestone foundation was left behind, and the original limestone chimney and interior fireplaces were demolished. A new brick lined cellar and foundation was created, along with updated internal brick chimneys on each end of the building, designed to accommodate cast-iron heating stoves. This took place before 1850.
The oldest know photograph of the Logan County Courthouse c.1850-1880. The original door arrangement remains in place.
Photographs taken in September of 1929, show the outline of the original chimney on the side of the building where it has been re-created today. Further discoveries revealed the original floor plan of a large single room on the first-floor, and the original framing for the room divisions on the second. Second floor photographs show the original wall studs, baseboards, chair rails, window, and door frames, all directly attached to the framing, with lath and plaster added after the fact. The framing of the walls on the first floor were all clearly added after the original build. The oldest photograph of the courthouse shows it on its second site with its original window and door arrangement still in place, but with new brick chimneys. The photo dates from between 1850 and 1880.
It was some of the older inhabitants of the area that alerted Henry Ford’s staff as to the original location of the foundation. Once located, the original foundation revealed the dimensions of the original first-floor fireplace. All the stones were carefully removed and shipped to Dearborn. The courthouse rests on this foundation today. The local newspaper also reported that while excavating the foundation, a large key and doorknob were found at the edge, aligned where the front door would have been located.
View of side that currently faces Scotch Settlement School, September, 1929. Shadow of original stone chimney is visible. Patched sections of siding show that originally, the stone would have been flush with the siding until approximately the top third, which would have extended out from the building like the entire chimney currently does. The window and door are late additions.
By September 20th, the building, consisting of two car loads of material, was on its way to Dearborn. Reconstruction in Greenfield Village began almost immediately at a frenzied pace. Finishing touches were still being applied right up until the October 21st dedication of Greenfield Village. Edward Cutler oversaw the final design elements needed to restore the building along with the actual work of reconstructing it. All the first- floor details, including the fireplace, mantle, and judges bench had to be re-created. The first-floor interior trim was reproduced in walnut, and was based on the original trim that survived on the second floor. The second floor, using a large amount of original material, including flooring, was also restored to its original appearance. Even the original plaster was collected, re-ground, and used to re-plaster the interior walls.
Views of the excavated original foundation, located 86 feet back from building’s second location. Lower view shows foundation for the original fireplace. September, 1929.
Based on the oldest of the original photographs, all new windows and exterior doors were also reproduced. Where possible, the original exterior walnut siding was also restored, and re-applied to the building and secured with brass screws.This was not a period technique, but rather a solution by Cutler to ensure the original siding with its worn nail holes, would stay in place.
The result was a place where Henry Ford could now display, and share his collection of Lincoln associated artifacts, including the most famous of all, the rocking chair from the presidential booth in Ford’s theater where Abraham Lincoln was sitting when he was shot by John Wilkes Booth in April of 1865.
Re-construction well under way in Greenfield Village on October, 2, 1929. The building would be complete for the October 21, dedication. The Sarah Jordan Boarding House can be seen in the distance.
The completed Logan County Courthouse in Greenfield Village as it appeared for the October 21 dedication.
The newly unpacked Ford’s Theater rocking chair in the Logan County Courthouse, January of 1930.
The interior of the completed Logan County Courthouse c.1935. It featured a display of Abraham Lincoln associated objects including Springfield furniture and the rocking chair from Ford’s Theater.
From 1929 until the mid-1980s, the building was left almost untouched as a shrine to Abraham Lincoln.
It was not until the mid-1980s that the research material was re-examined, primarily for preparations for much needed repairs to the now 50 plus year old restoration. In 1980, prior to the restoration work, the Lincoln assassination rocking chair was removed from the courthouse and placed in Henry Ford Museum. In 1984, the building underwent a significant restoration and was re-sided, the first- floor flooring was repaired, and extensive plaster repair and refinishing took place. In addition, a furnace was added (inside the judge’s bench), to provide adequate heat.
The interpretation of the building also was redefined and was re-focused away from the Abraham Lincoln shrine and more toward the stories of the history of our legal system and the civic lives of Americans in the 1840s. Gradually, many of the Lincoln artifacts were removed to appropriate climate controlled storage or display in Henry Ford Museum.
That brings us to the Greenfield Village opening of 2017. The Logan County Courthouse has now stood as long in Greenfield Village as it did in Postville, 88 years. It has had an interesting and storied history in both locations. Both the curatorial team, and the Greenfield Village programs team are excited to continue the process of ongoing research and improving the scholarship of the stories we tell there. We are working on some projects to accomplish just that for the near future and are looking forward to sharing all the details.
Many of the homes of Greenfield Village are often admired for their architectural design and the historic furnishings displayed within them, but the really true connections are made when all of this can be combined with the stories of the people who actually lived there. The Noah Webster House, originally from New Haven, Connecticut, is no exception.
This was home to Noah Webster’s family, and their descendants for nearly 100 years. It was purchased by Henry Ford in 1936, dismantled and shipped to Dearborn to become part of his collection of historic buildings. Greenfield Village combines the homes and workplaces of both notable Americans and those that lead everyday lives. Most show life as it was before fame. In the case of the Webster House, the opposite is true.
By the time Noah had the house built in 1822, the American Revolution was nearly 50 years past and he was among the last of the old patriots. He was viewed as one of the great American scholars and intellectuals, and a true celebrity. The Websters' New Haven home, through the 1820s and well into the 1830s, was essentially an American salon, welcoming notables in the worlds of politics, art, education, and literature. According to recent biographer Harlow Giles Unger, during the early 1830s “the Webster home was a center of social activity-for the Yale faculty, for visiting clergymen, the old Federalists, and for noted figures.” In a letter written by Rebecca Webster to her daughter she states, “I have had a large party with as many of the faculty as we could cram in. The party went off well, for all seemed happy.” In addition to notable guests, a growing brood of Webster grandchildren (20 by 1836) came for frequent and extended visits. When the oldest grandsons attended Yale starting in the early 1830s, Rebecca entertained them and their friends with musical parties, “old-time frolics”, and at least one costume ball.