6 ‘Secret’ Google Search Tricks for Genealogy That’ll Help You Find Your Ancestors

Most of us use Google search to look for our ancestors on a regular basis. After all, once we’re done searching our favorite family history sites directly,

Check out this link for good search tips: 6 ‘Secret’ Google Search Tricks for Genealogy That’ll Help You Find Your Ancestors | Family History Daily

History Of The Christmas Wreath

2338441Wreaths are more than just decorations. If you’re driving through town during the Holiday Season, you may see a Christmas wreath on almost every front door. Most people don’t think of the rich history attached to these beautiful Christmas decorations.

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The word wreath comes from the word “writhen” that was an old English word meaning “to writhe” or “to twist.” The art of hanging Christmas wreaths originated from the Romans who hung wreaths on their doors as a sign of victory and of their status in society. Women usually wore them as headdresses as a symbol of pride, and also donned them during special occasions such as weddings. Additionally, the victors of sporting events in ancient Greece were given laurel wreaths; This tradition still being used to this day during the Olympic games in which the medals are engraved with sprigs of laurel.

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Christmas wreaths are made by twisting or bending evergreen branches into a large circle which are then decorated with pinecones and a red bow. The circle shape of the wreath is made to represent Christ’s eternal love, his strength, and the creation of new life. Evergreens are commonly used in the construction of the wreath due to their heartiness throughout harsh winters and that they denote strength as well as immortality. Christmas wreaths in the Catholic tradition had four candles – Three of purple, symbolizing penance, and expectation, and one of pink to represent the coming joy. The four Sundays preceding Christmas day are embodied by the four candles that were lit each Friday of Advent at dinner along with a prayer. Similarly to Catholic customs, traditional Pagan wreaths were also evergreen circles consisting of four candles. These candles represented the elements of Earth, wind, fire, and water. Their wreaths were typically used in rituals that would ensure the continuance of the circle of life.

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Christmas wreaths are a beautiful decoration for your home or office that can really show off your true holiday cheer. Spread that holiday spirit and buy a Christmas wreath for yourself or someone you love!

http://www.dreamstime.com/royalty-free-stock-image-christmas-wreath-image11182426

– Gerry Wilson

Original Story At: http://www.wilsonevergreens.com/christmas-wreath-history/#sthash.LpdyH4E5.dpuf – Written By Gerry Wilson

Victorian Caged Grave

Although this is a bit different from what I usually post, I came upon this picture on the internet and just had to share. I have read and watched a lot on the subject of the undead and vampires, and even read about this cage over graves before. However, I have never actually seen a picture of one before and found it unique. So, I know what your asking, “so what does this have to do with this site and why is it posted?” Well, it has to do with the Victorian era and all of their superstitions and what we now know of as irrational fears.

The caged grave as seen above was used to prevent one of two things. 1: If you were to come back alive and become a walking undead then you wouldn’t be able to remove yourself from this cage and you could be dealt with. 2: If you were a vampire the same situation would apply to you.

I find death during the Victorian era to be fascinating, they seemed to have a love affair with death at least from an onlooker some 100 years in the future. Did you know that many peoples only photograph was taken AFTER they died. Yes, if you came from a poor family and you died, your family could scrape enough money together to have a memorial photo of you by yourself or your body could be “staged” to be in a family photo. This included babies and older folks and these photos were kept in a memorial album.

A memorial album was basically a scrapbook of photos of the deceased. You see, you would have photos of your loved ones, but you would also have memorial cards sent to you with the photos of the deceased person on the front announcing their death. Since everything delivered was delivered very slowly back then from one area of the country to another it might be weeks before you found out someone related to you died. This would announce their death but would give you a keepsake of their death and it would be added to your memorial photo album.

Many of these photos are sought after by collectors and can go for large sums of money. Especially sought after are entire albums, photos that are metal and those of young children and babies.

A good source of these pictures may be found at http://memorialphotosofthedead.wordpress.com/ and if you venture there please be advised as to what you will see. There are photos from the Victorian era as well as posed photos of gunned down armed robbers and pictures of famous people who have died since the Victorian era.

The Victorian era is filled with mysterious ideals and love for long forgotten traditions, still some we are using today.

Easter Egg Roll

Mark on the table, or on the floor, if preferred, with chalk, four parallel lines, eight or ten feet long, and four or five inches apart. Thus there are three narrow spaces. At the end of each space make a circle, numbering the middle one 10, and the other two, 5. The middle space is marked 3, and the other two, 1.

The object of the game is to have each child roll five eggs, one at a time, down the middle space to the circles at the ends. If the egg goes into the middle circle, it counts 10, but if it stops in the middle space, it counts only 3, and so on, counting the number of the place where it stops.

Tally is kept for each child, the one scoring the most points wins the game.

Victorian Hats

Throughout the half century, bonnets and hats, apart from sporting styles, were lavishly trimmed, and hair was invariably decorated with flowers, jewels or feathers for evening. Indoor caps were gradually discontinued, by the 1870s worn only, perhaps, with a tea-gown or breakfast jacket and by elderly ladies; servants and country folk wore them well into the 20th century. The variety of millinery styles throughout this period was enormous, and it is only possible to indicate the main shapes, which were dictated by the hairstyles. During the 1850s bonnets became shallower and set further back on the head, developing in the early 1860s into the spoon bonnet, which had a narrow brim close to the ears, rising vertically above the forehead in a spoon-shaped curve and sloping down behind to a very small crown, edged with a bavolet at the back. Bonnet strings (or ribbons) were wide, and often not tied but held by a brooch or pin under the chin, occasionally with a tiny bunch of artificial flowers. A curious addition to the bonnet between 1848 and 1864, appropriately called an ugly, was an extra brim resembling the front of a calash, made of half hoops of cane covered with silk and worn round the front as a protection against the sun; when not in use it could be folded flat. The most romantic-looking hat of the 1850s was a leghorn straw with a very wide brim dipping down at the back and slightly at the front and a high or low crown, trimmed with a lace or tulle veil, ribbons orflowers, or possibly all three; it appears to have been more popular in France and Germany, but was certainly adopted with slight variations in England and America for children’s wear.

With the massive arrangement of hair at the back of the head in the late 1860s and early 1870s, bonnets had to be worn further forward, the front curving fronijust above the hair-line to behind the ears where the ribbons were attached, the back cut away to allow the hair to flow freely. At this time hats were also perched on the forehead; a pillbox shape is sometimes referred to as a casquette, a name also applied to a hat following the lines of the Scotch glengarry cap. The Lamballe bonnet or plateau (named after the Princesse de Lamballe) might be classified as a bonnet or hat – worn in the same way as the pill-box, it closely resembled it but was more oval in shape and tied on by strings under the back hair or chignon or, when curved down slightly at the sides, would have ribbons tied in a large bow under the chin.

Small-brimmed hats, slightly wider in summer, toques and tiny bonnets set on top of the head above the close, high-dressed hair and fringe, helped to increase height in the late 1870s and 1880s; crowns rose, with a flower-pot shape appearing in the late 1880s. Trimmings, arranged to give a vertical line, could be elaborate and even bizarre: small birds, feathers, feather wings, aigrettes, beetles, flowers, fruit and vegetables intermingled with loops of fancy ribbon, velvet and/or tulle. Fur decorated some winter hats, and toques made of sealskin became very popular. At the same time, for country and sporting activities, plainer and rather masculine hats were in vogue. Boaters, introduced as early as the 1860s, continued to be worn, straight or tilted, into the 20th century. The Fedora felt hat, similar to a Homburg, was named after the heroine in a play by Sardou in which Sarah Bernhardt scored a success. Yachting caps were worn for sailing or at the sea-side. The tam-o’-shanter, for country wear, was a soft, round, flat cap or hat with no brim and a bobble in the centre of the crown; in the 1880s it might be made of velvet, plush, cloth or crochet; a knitted version became usual later.

During the 1890s, bonnets lost favour with the fashionable although still worn by some elderly ladies, even after 1900, and for mourning with a long crape veil. Hats became wider-brimmed, worn high on the head over the fuller hairstyle; even toques were often quite large, draped or ruched in velvet, silk or tulle. Trimmings, ribbons, flowers and feathers still emphasized a vertical line

Valentines Day Card History

Valentine greetings have been popular since the Middle Ages, a time when prospective lovers said or sang their romantic verses. Written valentines began to appear after 1400. Paper valentines originated in the 1500s, being exchanged in Europe and being given in place of valentine gifts and oral or musical valentine greetings. They were particularly popular in England. The first written valentine (formerly known as “poetical or amorous addresses”) is traditionally attributed to the imprisoned Charles, Duke of Orleans, in 1415. While confined in the Tower of London after the Battle of Agincourt, the young Duke reportedly passed his time by writing romantic verses for his wife in France. Approximately sixty of the Duke’s poems remain and can be seen among the royal papers in the British Museum. They are credited with being the first modern day valentines.

By the Sixteenth Century, written valentines were commonplace and by the Seventeenth Century, it was a widespread tradition in England and other Western countries for friends and sweethearts to exchange gifts and notes on February 14. During the early 1700s, Charles II of Sweden brought the Persian poetical art known as the “language of flowers” to Europe and throughout the Eighteenth Century, floral dictionaries were published, permitting the exchange of romantic secrets via a lily or lilac, for example, culminating in entire conversations taking place within a bouquet of flowers. The more popular the flower, the more traditions and meaning were associated with it. The red rose, for instance, believed to be the favored flower of Venus, Roman Goddess of Love, became universally accepted to represent romantic love. Thus, the custom of giving red roses on Valentine’s Day quickly gained popularity.

Some time after 1723, the popularity of valentine cards in America began to grow with the import from England of valentine “writers.” A “writer” was a booklet comprised of a vast array of verses and messages which could be copied onto gilt-edged paper or other type of decorative sheet. One popular “writer” contained not only “be my valentine” types of verses for the men to send to their sweethearts, but also acceptances or “answers” which the ladies could then return. Late Eighteenth Century and Early Nineteenth Century valentines were often religious in nature and it is possible that the “Sacred Heart” often depicted on these cards eventually became the “Valentine Heart” with the customarily accompanying Angel eventually becoming “Cupid.” It is believed that the earlier versions of these religious valentines may have been made by nuns who would cut-out the paper lace with scissors. It is thought the process probably took many days since the cards had every appearance of being machine-made.

One popular style of early American card from 1840 to approximately 1860 was the “Daguerreotype,” a photographic process using old-time tintype in the center of a card surrounded by an ornametal wreath. Another was the “Mirror Valentine,” which contained a small mirror placed in the center to reflect the face of the recipient. However, the sending of valentine greetings in America did not become a true tradition until around the time of the Civil War (1861-1865) when valentine cards often depicted sweethearts parting, or a tent with flaps that opened to reveal a soldier. These were known as “windows.” In peace time, the “window” would be a church door opening to reveal a bridge and groom. Another Civil War valentine novelty was for the card to have a place for the sender to include a lock of hair. By the early 1800s, valentines began to be assembled in factories. Such early manufactured valentines were rather simplistic, composed of black-and-white pictures painted by the factory workers. Fancy valentines comprised of real lace and ribbons were introduced in the mid-1800s. Paper lace began to be introduced to the cards later in the 1800s, These valentines also contained delicate and artistic messages with pictures of turtledoves, lovers’ knots in gold or silver, bows and arrow, Cupids and bleeding hearts.

During the Victorian Era and its printing advances, Valentine cards became even more popular and the modern postal service of the age implmented the “penny post,” which made it easier to mail written valentines. (Prior to that time, postage was so expensive that most cards were hand-delivered and usually left on doorsteps.) Known as “penny postcards” (because they were mailed with a one-penny postage stamp), these valentine greetings were very popular from around 1890 to 1917. During this time, it was also considered “proper” to collect and display collections of postcards and trade cards in the Victorian and Edwardian parlor. Friends and guests would be invited to sit for hours, leafing through albums while they visited. This custom gained so much popularity that photographers, studios, printers and business continually strived for new and exciting subjects to satisfy a public which was anxious for innovative items in order to impress their acquaintances. To make their cards stand out, people often sought for real photographic postcards. As opposed to mass-produced lithographs, these were actual photographs made with a postcard-printed back. The photography studios frequently employed women to hand-tint and color the black-and-white images. Some of the best of these cards came from Germany…famous for its detailed and colorful lithography. Popular subjects included women, children, flowers and couples, posed and arranged in an effort to portray the idealized virtues of the Era. Indeed, it was in England that the first commercial-type valentine was produced on embossed paper, later perforated to make a lace-type design. Some of these cards contained tiny mirrors with the message: “Look at my Beloved,” while others were called “Cobweb Valentines” because the center could be lifted by a tassel to reveal a cobweb effect of paper and underneath, a picture of a couple or a romantic message.

Although pre-Victorian valentines are virtually unavailable today, but cards have survived over a century due chiefly to the fact that they began to be mass-produced around 1850. However, the majority of early Victorian valentines were customarily made by hand from honeycombed tissue, watercolors, paper puffs, colored inks, embossed paper hearts and exquisite lace. These were truly beautifully-created small works of art, often adorned with silk or satin (in addition) to lace, flowers or feathers and even gold leaf. Such fragile honeycomb designs remained the vogue until around 1909. Some of the most unusual valentines were fashioned by lonely sailors during this time…unique cards sporting seashells of various sizes employed to create hearts, flowers and other designs, or to cover heart-shaped boxes. Sailors also sent what were known as “Busk Valentines,” rounded long sticks fashioned from ivory or wood, somewhat resembling a tongue depressor but approximately five time longer. Upon these sticks, the sailor would carve hearts and other loving designs. The “Busk Valentine” was worn by the sailor’s sweetheart inside her corset. It was not unusual for a manufactured valentine of this era to cost as much as a month’s earnings, particularly the “proposal valentines” which were very popular and might contain the depiction of a church or a ring. In keeping with Victorian etiquette, it was considered improper for a lady to send a valentine greeting to a man.

Victorian Valentines History

The true origin of Valentine’s Day may never by known, since it is only legend that tells of the Christian martyr, Valentinus, who sent a letter of affection to his jailer’s daughter on the eve of his execution.  There is no historical evidence to back up the legend, as romantic as it is, but it seems the romanticism itself is enough to give credence to the origin of this holiday.  We do know, however, that the Romans celebrated the pagan festival of Lupercalia on February 14, commemorating the rural god Faunus, patron of husbandry and guardian of the secrets of nature. It is believed that birds chose their mates for the coming season on this day.

The earliest known (proven) valentines are poems, composed for the Valentine’s Day festivals for the courts of 14th-century England an France.  These poems celebrated ‘joyous recreation and conversation about love’. It is believed that this is when the custom of drawing lots for valentines began.  Girls drew boys’ names and boys drew girls’ names so everyone had a pair of valentines to choose from.  Whether the drawing itself resulted in many love affairs, or the lotteries were fixed in advance (which was not uncommon,) we shall never know.

By the 17th Century, lotteries were less common, and selections more deliberate.  It also became customary to present a gift along with the valentine card.  These gifts ranged from love-knots of plaited straw to the opulent jewelry showered upon royal mistresses.

By the mid-18th century, costly valentine gifts were being replaced by elaborate versions of written love messages.   Ideally, these were poetic compositions. But while the artistic embellished their poems with lace and drawings, the malicious embellished theirs with vulgar or cruel greetings which they sent to the ill-favored, long-unmarried or deformed.  Thus, valentines were usually sent anonymously.  Both to protect the giver and the receiver.

Valentine’s Day reached its height of celebration in the Victorian Era.

Valentine cards were more cherished that Christmas cards (which weren’t printed commercially until 1846), perhaps because of the sentimentality attached to them.  Due to this popularity, designing cards became a highly competitive market, with a vast array of motifs and verses.  Suddenly, cards were being produced in tens of thousands, from whimsy and slightly vulgar, to truly sentimental, their designs included lace paper, embossed envelopes, glass or metal mirrors, ribbons, dried ferns and fake advertisements, bank notes and marriage licenses.

Valentine cards were so popular that their production became a flourishing trade amongst cheapjack printers in central London.  Commercially printed valentine cards quickly superseded home-made offerings of earlier times.  They reached the height of their popularity during the 1870s and 80s.  Yet even though they were mass-produced, they still featured birds with real feathers, posies of dried flowers and spun-glass hearts, all trimmed with ribbons and gold lace.

Some valentines were so thick with embellishments, they came in presentation boxes. Some unfolded like fans, while mechanical valentines had levers or disks which made figures dance, hands move and birds flutter their wings.

The lyrics in these cards were as effusive as the decorations.  Whether sent by a steady beau or a secret admirer, these cards were unabashedly sentimental, pleading for affection and pledging undying devotion happily ever after.  Even men kept these tokens of affection hidden in their bureau drawers.

But as times changed, so did customs.  And as less became more on the advent of World War I, valentine cards became a dying art.