Preserving and Sharing Rhode Island History
At the Varnum Memorial Armory Museum, we have launched an exciting new project to build new, professional exhibit displays. This includes new blackout shades to restricts ultra-violet from damaging our historic documents, dyed textiles, and original photos. We are also laying out displays before the new display cases arrive.
The Varnum Memorial Armory Museum will be closed for tours as we do this work over the next month or so.
Since our founding in 1907, the Varnum Continentals have collected artifacts representative of our national and local military history. For many years, numerous items were simply stored away. In recent years, the board of trustees has made a concerted effort to review the collection, identify items appropriate to our historic mission and present them to our visitors to reflect the chronology of military history from the pre-Revolutionary period to the more recent past.
A key aspect is the conservation of artifacts ensuring they are properly preserved. Our collection includes firearms, bladed weapons, and personal gear used by soldiers. Many soft goods, such as flags and uniforms, require a special type of conservation expertise.
And, it is here that the Varnum Continentals have gained the valued presence Maria Vazquez, a highly skilled textile conservator as a member of our volunteer family.
Serendipity played a role in Maria’s coming to the Varnum Memorial Armory Museum, according to Vice President and Armory Curator Patrick Donovan. “Our good friends at Clouds Hill Victorian House Museum in Warwick, RI, introduced her to me about 2 years ago,” he explained. “The museum owner, Anne Holst, knew that we had many 19th and early 20th century military textiles in need of attention and felt Maria would be interested in helping us since she was looking for volunteer opportunities to build her textile conservation resume.”
Patrick promptly invited Maria to visit the Armory Museum. Their first meeting encompassed more than two hours, during which they reviewed some of the collection and what needed to be done to preserve and improve them. She soon began her conservation of on the Armory Museum’s most historically-important military uniforms and flags.
“Maria ensures all our textiles are being stored and displayed properly” said Patrick. “She not only cleans and performs conservation work on them. She also creates the proper display for each item to exhibit them for the long term without harming the object.” He added that Maria’s presence as a member of the Varnum team has opened a number of doors for the future in terms of cooperation and sharing with some of our State’s and nation’s best institutions including the Naval War College Museum, Gettysburg National Military Park, Pamplin Historical Park, the Rhode Island Historical Society, and others.
In addition to literally saving our museum’s American Civil War uniform collection from devastating moth damage, Maria has been instrumental in our effort to save a group of historic flags from the Town of Bristol including what we now believe to be the oldest Colonial American flag in existence, the silk “Nathaniel Byfield” flag. Dating to circa 1690, this flag was the Colonel’s flag of Company A of the Bristol County Militia when Byfield was its commanding officer. He was an influential and wealthy judge at the time. He was also one of the original founders of the Town of Bristol. Patrick Donovan explained the significance of this acquisition, noting “this flag has been deemed a ‘national treasure’ as so few objects from this early period of our country’s history exist today.” The discovery and Maria’s conservation of this flag is the subject of a Rhode Island PBS documentary that is currently in production. It is expected to be broadcast in May of 2021.
The flag’s fragile condition and its historical importance has made this an extremely challenging project for Maria. But she is doing an amazing job. To help ensure success, the museum has consulted with several world-renowned conservators including the woman who conserved THE Star Spangled Banner itself (now on display at the Smithsonian). Completion of this project will be a tremendous accomplishment for both Maria bringing national attention to the Varnum organization.
Varnum News recently spoke with Maria about her passion for her profession and her contributions to the Armory Museum mission.
VARNUM NEWS: Tell us a little about yourself. Where are you from? Where did you study?
MARIA VAZQUEZ: “I’m originally from Connecticut, but I live in Rhode Island now. I earned my Master of Science in Textile Conservation from the University of Rhode Island. I had applied to the University of Rhode Island to get my Masters in Historic Textiles and a textile conservation class was part of the curriculum. It was love at first sight. I didn’t realize that there were people that took care of these objects after they went into museums, or people that dressed mannequins for display. Organizing exhibitions to bring the stories of these objects to the public makes me really happy. Conservators are the caretakers for objects, but it also feels like we are the last voices these objects have.”
VN: What exactly is the role of a conservator? Are there specialty areas in the field?
MV: “A textile conservator’s role is as a custodian for textile objects. We analyze the objects to see if they need conservation, cleaning, or reversal of previous conservation in order to prevent deterioration and elongate the life of the objects we care for. We are trained to know what is best for these objects as far as their environment and hazards that might destroy them. Within textile conservation, you can specialize in various centuries of textiles. For instance, my area of expertise is textiles from 1780-1940. My concentration is in women’s clothing during that time period, but I’m learning a lot about men’s military uniforms and flags now as well.”
VN: What attracted you to working with the Armory collection?
MV: “Although my specialty has been with women’s clothing, military uniforms have always fascinated me because of the designs of the objects and what they have been through. I was eager to expand my expertise and try out a new area of my field.”
VN: How do you collaborate with the curator and other volunteers at the Armory?
MV: “Patrick, Tim Jackson, and I bounce ideas off of each other for fantastic things that we could do for exhibits as new objects come in and how we can help the public understand what people actually looked like from the various wars and time periods. We want to make their experience at the armory as immersive as possible, which tends to push us to make bigger and better displays: for instance, with the Lyman Aylesworth exhibit.”
“Patrick said that they had other pieces that belonged to him besides his coat, and I pointed out that we could mount them with the coat. When we needed a mount or stand made to help support the objects, we turned to Andy Santilli for his building skills and ingenious ideas. Patrick, Tim, Andy, and I come together to confer about ideas that we have for advanced displays, and there’s always someone with the expertise or an idea to solve any problem we’ve come up against. It’s a wonderful working environment of very supportive and caring individuals who are very passionate about this field. Another interesting item to restore was the saddle blanket used by (General Thomas) Chace.” (an East Greenwich resident, who commanded the 4th Brigade of the Rhode Island Militia in the 1870’s).
VN: In acquisition of a potential artifact, is there a role for the conservator before the item is actually acquired?
MV: “Patrick will usually tell me about an object and any concerns he has for it before he acquires it. Sometimes, I can give him verification on an item’s authenticity or explain things that might make him hesitant. Most of the time, I need the object in front of me to confirm details about it because pictures can hide a lot.”
VN: The Armory has a number of uniforms, flags, etc., in storage at present. How do you go about choosing what item or artifact you want to work with?
MV: “Patrick has a spreadsheet of objects that are waiting for conservation in order of importance. When I first arrived, he wanted me to work on several Civil War uniforms and since then I’ve mostly had smaller projects to work on that can be completed within ten hours of work or so. That means that as new exciting objects come in to the museum, I can get them vacuumed, conserved, and mounted relatively quickly so they can go out on display.”
“After I finish the major flag project, I will have an opportunity to pick the new direction for my conservation at the museum. I’ll talk it over with Patrick and see what is in most dire need of re-mounting, but I’ll probably move on to working on all the dress forms in the World Wars Room. The Civil War Room required the most conservation time, so everything else will be less time consuming and go by more quickly. We have big plans for a LOT of uniforms being on display in the armory in the near future, so stay tuned.”
VN: Can you expand on a conservator’s role is determining what items can be conserved and to what degree? For example, to what degree is conservation appropriate and how do you decide?
MV: “Conservators consult with curators when conserving objects in order to understand the object’s history and how they want the object displayed, and whether it is possible or depending on the fragility of the object and how long it will be on display. For instance, a two-hundred-year-old uniform that has seen a lot of damage shouldn’t be mounted in a position where any of the seams are strained and might give out while on display. If a uniform has a bullet wound, it needs to be stabilized to prevent gravity from making the hole bigger or misshaping it, but the stabilization could be done in a contrasting color to highlight the hole, which allows it to be more obvious to the public, but also for the object to be safe for long-term display.”
VN: What is the most interesting, or perhaps unusual, project you have been involved in at the Armory?
MV: “We have a lot of objects with amazing stories that made them a pleasure to work with and bring to life. My favorite object is probably the wedding dress of Jesse Whalley’s wife. A local man who served in the Army in World War One, he was blinded in combat. His story is so moving that when his descendant mentioned some conservation necessary on the wedding dress, it was a pleasure to repair the modern damage done so that the dress can continue to be loved and passed down through their family. A kitten had gotten at the silk wedding dress, pulling at the belt, buttons, and pulling holes into the seams and skirt. I stitched a sheer silk organza behind the damaged areas to prevent them from getting worse and make it look like the damage never happened.”
VN: As noted earlier, the Varnum Memorial Armory Museum has entered into an agreement with the Town of Bristol to take custody of a number historic flags for restoration and then permanent loan to the museum. What is your role in this project?
MV: “The most impressive object that I’ve worked on is what we’re calling the Byfield Flag, which is purportedly the oldest Colonial American flag known to exist. The silk was shattering and badly wrinkled from being wrapped around its flag pole for forty years. The flag needed to be humidified before it could even be unrolled to allow the fibers to unroll flat without damaging the material. It then needed to be vacuumed delicately to prevent the loose pieces from moving away from their positions. The flag then needed to be pressed flat to move the weave back to where it wanted to lay without straining the seams and fringe. The flag was then sandwiched between two layers of silk crepe line so the damaged areas could be stabilized, the fringe could be straightened and the flag could be displayed flat.”
(Ed. Note: this project will be covered in the RIPBS documentary mentioned earlier).
VN: What tools and equipment are required for your work? What kind of environment is needed to conserve an item and how do you prepare an artifact to work on?
MV: “There are some unique tools, threads, and fabrics used specifically for conservation. All of the materials used for conservation have been tested by the AATCC (a national organization) to prove they won’t off-gas or deteriorate and cause damage to the textiles they are used with. Textiles need to be kept in a low relative humidity environment, ideally between 40 and 45%. Too low a humidity can caused textiles to break apart and too high can cause mold. Temperature is less important than humidity, but needs to be kept constant so the fibers aren’t expanding and contracting, which causes mechanical deterioration. I look over all the objects I work on to see if there’s any conservation necessary or new details about the object that I might notice and someone else hasn’t. I then clean off anything that won’t be picked up by a vacuum and vacuum it before conservation takes place and the object is mounted for display.”
VN: Are you also working with other organizations?
MV: “I am contacted by a variety of organizations such as museums, libraries, preservation societies, universities, colleagues, and auction houses for assistance with objects found or exhibits they want to put on display. For instance, the Bristol Historical Preservation Society asked me to organize, document, mount, and properly box their textile collection so that it could be displayed for exhibits, stored, and put into their database for easy searching. This led to the discovery of very special objects that they didn’t even know they had because they didn’t have a complete inventory.”
“The biggest museum I’ve ever done work for was the New York Historical Society that had me install a dress, wig, and turban for the Dolley Madison exhibit (2016). I custom made the wig to match one of Dolley Madison’s portraits and the experience was pretty epic.”
VN: What has working here at the Armory Museum meant to you?
MV: “Working at the Varnum Armory has given me a chance to network with a wide range of individuals and organizations, which has also helped museums across Rhode Island. Small organizations don’t have access to their own textile conservators; helping the history of the entire state of Rhode Island, instead of just one small part of it, is extremely rewarding. All of these interactions have benefitted me professionally because they have gotten my name out there for work and got me jobs to work on which are historically, extremely significant, and that has led to being a part of several PBS television shows catapulting my career further. I appreciate the Varnum Armory, and all its volunteers, for everything they do for me and I hope to continue to give back to the museum for many years to come.”
Patrick Donovan emphasized the importance of Maria’s presence on the Varnum team. “A key function is to ensure all the museum’s textiles and are being restored, and either stored or safely and properly displayed,” he said. “Her great experience gives our organization a lot of credibility in the museum and conservation world. This is opening a lot of doors for us,” added Patrick. “Maria’s contribution as a conservator, caring for the Varnum collection, is not only an important aspect to the Continental’s mission to preserve and share RI military history. It also allows us to serve as a preservation resource for other local organizations.”
Patrick emphasized the significance of having a conservator explaining that it is part of his effort as Curator to further professionalize the museum. It has drawn the attention of libraries, historical societies, and other museums in the area. “By amplifying these capabilities through our social media channels with the important help of Varnum Trustee and Webmaster, John D. Harvey, our reputation as a serious and capable institution has really blossomed,” he said. “By showing how truly important we are to the education and preservation of an important and interesting segment of Rhode Island’s history, we increase the public value of our organization. And this will only help us when it comes to funding and applying for grants in the future.”
The Armory Vice President expanded on the value of an in-house conservator. “We are now frequently involved with consulting and conservation services for other organizations since the word has gotten out that we have this in house expertise. It also gives donors and lending institutions confidence in our ability to properly care for our museum collection,” he said. “It is a sign of maturity. Having a textile conservator as part of our team has directly led to the acquisition of some major new Rhode Island military history artifacts. In fact, we just closed a long term loan with a family in Tennessee for an epic collection of Rhode Island artifacts from the Civil War.” He added that it was the ability to do conservation on uniforms that really helped convince the family to make the loan to the Varnum Armory Museum.
Lonnie G. Bunch III, Secretary of the Smithsonian Institution in a recent commentary on the role of conservators said that the preservation of vital artifacts is “a complex process involving intensive cleaning, painstaking repair, (and) storage in a controlled and safe environment.” This is now possible right within the Varnum Armory Museum (and the Varnum House Museum) thanks to our dedicated volunteer team. The importance of Maria Vazquez in this process is reflected in Secretary Bunch’s remarks speaking to the much larger conservation commitment of the Smithsonian. “Conservation ensures that our cultural and natural heritage will come alive for future scholars, students and citizens.” And that, thanks to Maria Vazquez, is now reflected right here within the Varnum organization. The Varnum Conservation Lab is, in effect, a new branch of the Varnum Continentals that we can all be very proud of.
The Varnum Continentals‘ mission since 1907 has been to preserve and share Rhode Island’s rich military history and heritage. Our ultimate goal is to promote and encourage service – service of all kinds – to our state, country, and local communities.
This rare presentation sword was carried by James H. Allen (12th Rhode Island Infantry Regiment) in combat at the Battle of Fredericksburg during the American Civil War. It is a powerful symbol of the sacrifice and service that Rhode Island made during the War to preserve the Union and to end the ugly institution of slavery.
The Varnum Continentals have the chance to acquire this rare and special sword and put it on display at the Varnum Memorial Armory Museum. Please help us save Rhode Island’s military history!
Our preservation production team is putting the finishing touches on a custom dress form for a rare New Jersey American Civil War uniform. This dress form shows the infantryman in motion and highlights a wound from being shot through the thigh at the Battle of Chancellorsville in 1863.
Click here to see images from earlier in this process.
There’s nothing like a good detective story. When coupled with the history of an American Revolutionary War weapon, it gets even more interesting.
In a rack atop the 19th-century glass-front bookcase in the Varnum Commander’s Office is a rare English Carbine, a scaled-down version of the British Land Pattern Musket, commonly known as the “Brown Bess”. From 1722 to 1838, the British Army used the Land Pattern worldwide and some were used by colonists as well.
In the colonies, if you needed a musket, you were pretty much on your own. Fortunately, there were upwards of 3,000 gunsmiths scattered about the colonies and a number were here in Rhode Island. Many guns were made from parts of other weapons or from castings based on (or “patterned after”) earlier weapons. In fact, hanging on the wall just above the English Carbine is a pre-Revolutionary war era fowler (a musket used primarily for hunting) owned by Thomas Gould of Quidnessett. It is a perfect example of a gun made from various parts of different weapons. However, the story of the Gould fowler is for another time.
Smooth-bore flintlock muskets in this period were not particularly accurate over distance. At a range of up to 50 yards, they could hit a man-sized target (weapons with rifled barrels had a much longer range and greater accuracy). Muskets were relatively easy to load and could be fired up to four times a minute by a skilled foot soldier. Many variations were produced, including lighter-weight models called carbines, many of which were carried by non-commissioned officers.
Prior to the introduction of these weapons, up through the 17th century, a non-commissioned officer (NCO) in a European army would usually carry a weapon called a halberd or pike, a two-handed pole-arm. They were essentially a symbol of rank, but as evident by the sharpened tip on the example displayed in the Varnum Armory’s Commander’s Office, they could also be used to prod a recalcitrant soldier into action or as a weapon in its own right. During the French and Indian War, sergeants would frequently cast aside their halberd and take up the more practical musket. Since NCOs were charged with maintaining order in the firing lines, they were often in positions of close combat.
Hence, the need for a smaller, lighter weapon (which was not fitted with a bayonet). In 1770, a new Pattern Carbine was developed for non-commissioned officers in British grenadier and light infantry companies (again, the term “pattern” simply means the weapon was replicated from an original design, although mass production as we know it was still not in use). In a typical British regiment of 500 men, only about a half-dozen carbines were issued.
Our carbine belonged to the 24th Regiment of Foot, one of the British units that fought in the Battles of Saratoga. Originally formed in 1689, it was initially sent to Quebec in 1776 following the outbreak of war in America. By 1777, the regiment was part of the British effort to cut off New England from the rest of the colonies.
A complicated series of campaigns culminated with the Battles of Saratoga (September 19 and October 7, 1777) in which the British were defeated. British General John Burgoyne led his force down from Canada with the intention of joining with other forces marching northward and eastward and cutting off the New England colonies, but those troops never met up with him. Thus, cut off by a superior colonial force under General Horatio Gates, Burgoyne surrendered some 5000 English and Hessian troops who remained prisoners until the end of hostilities in 1783. At the surrender, the British troops stacked their weapons and marched away, leaving behind a trove of muskets for the colonial forces. Among those weapons was the carbine which is the subject of this story.
So, what do we know about our carbine? Quite a bit: still visible on close inspection of the lock is a stamp with a crown over the letters “GR” and “Dublin Castle”. This tells us the weapon was made in the Dublin Castle Armory in Ireland. The barrel is stamped with “24 REG” (later called the South Wales Borderers). The carbine weighs 7.2 pounds (as opposed to 10.4 pounds for a long Land Pattern musket) and fires a .68 caliber projectile (as opposed to a .75 caliber ball used in the standard-length weapon).
On our carbine is an oval escutcheon on the top of the stock behind the lock marked with a “4” over “2”. This identifies the carbine as belonging to the 4th company of the regiment with a rack number of 2. Since we know the 24th Regiment fought at Saratoga, it is likely that this weapon was one that was captured at that time. Now, our detective story gets even more interesting.
Rhode Island historian and author Don Hagist has a particular interest in British soldiers who fought in the American Revolution. Thanks to his research, assignment of the carbine can likely be traced down to one of three NCOs in the 24th Regiment of Foot. On a visit to the Varnum Memorial Armory Museum one day, Don noticed the carbine hanging on the wall. Recognizing that he was looking at a rare weapon, he asked to take a few photos and then started investigating. “I found this to be a rare Pattern 1770 Grenadier Sergeant’s Fusil, one of only a few thousand made at the Tower and Dublin Castle Armories,” he told us. Only about 100 of these carbines would have been among the thousands of muskets surrendered at Saratoga. What makes this weapon especially interesting are the two numbers on the wrist plate, as explained above. “British commanders were financially responsible for arms issued to their companies. Marking the weapons identified their unit assignment facilitating accountability,” Don explained.
Don used a muster roll of the 24th Regiment to trace the likely user. “There were ten companies in the regiment,” he said, “composing grenadier, light infantry and artillery.” Don noted that grenadiers were usually larger and stronger and were often used in assault operations. They were considered elite units as such. “The grenadier company was fourth in seniority (in the regiment), based on the rank and commission date of the company commander,” he said. The number “4” on our carbine corresponds to this fact. There were three sergeants in the grenadier company when the carbine was issued in 1771. The second of the three, according to the muster roll, was James Hughes. He was most likely issued the carbine marked “2”. “By 1777,” Don said, “Hughes was the company’s First Sergeant. There is no reason to think that he would have given up this weapon with his change in seniority.” While there is certainly some possibility that Sergeants Thomas Ford or Henry Fogg might have carried carbine 4/2, Don’s investigation indicated Hughes to be the most logical individual. He also found that Hughes was captured at Saratoga and repatriated to England after the war. Records indicate he applied for a soldier’s pension in 1784 at the age of 52, following some 29 years in the British Army.
One unanswered question is exactly how our Pattern Carbine came into the Varnum Memorial Armory Museum’s collection. No organized Rhode Island forces fought at Saratoga. However, it is possible some individuals from this area were likely there. The carbine could have come home with them or with one of the many other New Englanders who participated in the battles. Needless to say, with our Museum’s outstanding collection, there are countless stories yet to be told.
Special thanks go to Varnum Armory VP and Museum Curator Patrick Donovan, to Varnum member and arms expert Russell Malcolm, and to American Revolutionary War historian Don Hagist for their help on this story.