Poesy Ring

One of the most enjoyable aspects of my job as an archaeologist for Colonial Williamsburg is the opportunity to work in a public venue. Aside from talking about what I enjoy doing, I get to field questions from our visitors. Just about every day someone will ask “What is the most interesting artifact you’ve ever found?” You’d think that would be a pretty easy question, but after 40-plus years of excavation, I’ve found A LOT of stuff, so the answer requires some thought and is not always the same. It can depend on the age and demeanor of the person asking and my own state of reflection at the time. One such artifact does come to mind…

Trash feature at Washington Birthplace, Virginia. Photo: Andrew Edwards.

Trash feature at Washington Birthplace, Virginia. Photo: Andrew Edwards.

On a bitterly cold January day in 1975, I was in the process of excavating a pit full of eighteenth-century garbage. It was located about twenty feet from the spot where George Washington was born on Virginia’s Northern Neck. The trash in the pit was likely deposited there in the second quarter of the eighteenth century some years after Washington’s birth in 1722 and was chock-a-block full of refuse. In addition to oyster shell and animal bone, there were 5,119 colonial-period artifacts and 103 deemed Native American. The colonial material included two “И. Pope 1715” wine bottle seals[1], ceramics, pins, buttons, glass and other kitchen-related debris. Much to my surprise, it also contained a tin-plated copper finger ring. The tin plating was corroded and fragile, so I put it in a vial with padding and mailed it off to the William and Mary conservation lab since I was working for the College at the time.

A poesy ring available for sale today at williamsburgmarketplace.com

A poesy ring available for sale today at williamsburgmarketplace.com

Aside from obviously thinking what a cool artifact it was, I forgot about the ring until I received a call from the College’s conservator. He told me that the tin plate was not salvageable, but that there was an inscription on the inside of the ring: “Love is a Jest”. Well, it was found in a pit full of trash. Not terribly surprising that a gift (?) with such sentiment would wind up discarded with the soup bones and broken glass, but it did what archaeology should do: it made me think about the people responsible for all that trash and what their daily lives were like.

A little research found that “poesy” rings were common from the 16th through the 19th centuries and can still be bought today – even at the silversmith’s shop in Williamsburg’s Historic Area. They generally carry more endearing messages, like “You and No Other” or “No Treasure Like a True Friend”, but the “Love is a Jest” phrase debunking love was not without precedent:

In poetry: From Amasia, or, The works of the muses a collection of poems: in three volumes (John Hopkins, c.1700)

Such Jugling Tricks I cannot understand;

You hold, unhurt, Coals burning in your Hand.

Long may you sport in the false Am’rous fit;

Love is a Jest, I ne’er could laugh at yet.

And:

From Matthew Prior’s “Moral of a Tale to a Gentleman in Love”:

Whilst men have these ambitious fancies,

And wanton Wenches read Romances,

Our Sex will – What? Out with it, Lie;

And theirs in equal strains reply.

The moral of the Tale I sing,

(A Poesy for a Wedding-Ring)

In this short verse will be confin’d;

Love is a Jest, and Vows are Wind.

There is also a song, Love is a Jest, written by British composer, John Eccles in 1696.

A bit more positive “Hope is the Life of Love” is the inscription in this modern poesy ring. The laments of unrequited love seem to be universal through the ages. In this case archaeology shines a light on an exemplary case from nearly 300 years ago.

Contributed by Andrew Edwards, Staff Archaeologist.

[1] Nathaniel Pope was a neighbor of the Washingtons and the man for whom Pope’s Creek is named. We’ve found several bottle seals from the time period that used a backwards “N”.

A Salute to All Our Flags

By Ben Swenson

On Flag Day we pay homage to the Stars and Stripes, a banner that adorns flagpoles across the United States and beyond. The U.S. flag is instantly recognizable for modern Americans, although their Colonial ancestors weren’t so familiar with such a standard.

What flags would have been known to residents of 18th-century Williamsburg? Not many, according to Josh Bucchioni, a Colonial Williamsburg Military Programs interpreter who has conducted research on early flags.

“Flags weren’t used as commonly in the 18th century as they are today,” he said. “Flags tend to use large amounts of expensive materials and require a large amount of production time which in turn causes them to be fairly expensive. People in Williamsburg may only have seen a flag on top of the House of Burgesses, maybe the Governor’s Palace or when a military unit came to town.”

Nevertheless, there were a few standards that flew in Williamsburg, and here’s a primer on the ones that graced Williamsburg long ago.

The Red Ensign

The Red Ensign.

Before the outbreak of the Revolutionary War, this is the flag that likely flew over the Capitol in Williamsburg to signify that the building was a seat of British power, according to Bucchioni. Though the Red Ensign originated as a flag flown by the Royal Navy and British merchant ships, the colors were soon adopted on land as well.

The British Grand Union flag, which combines St. George’s Cross and St. Andrew’s Cross, might have flown by itself in some parts of the 13 colonies, but was more often represented in the canton — the rectangle occupying the top corner — of the Red Ensign.

The Grand Union

The Grand Union flag.

When Americans began fighting against the British in 1775, they acknowledged their British heritage, and the slim possibility of reconciliation, by adding six white stripes to the Red Ensign.

The 13 stripes that resulted were a symbol of the united effort to resist tyranny. This coincidentally bore a strong resemblance to the flag of the British East India Company, a merchant shipping union.

The first time American soldiers raised the Grand Union around Boston, some confused British adversaries mistakenly thought the gesture was an attempt to surrender.

The Gadsden Flag

The Gadsden flag.

The yellow flag sporting a serpent and the iconic slogan “Don’t Tread On Me” has made a resurgence in recent years. It’s a symbol that has been largely adopted by the Tea Party movement. But Bucchioni explained that the elements included on that flag — the snake and slogans that promote liberty and resistance — were among the motifs on perhaps hundreds of different military standards flown during the war, some of which came through Williamsburg.

The specific combination of the serpent and “Don’t Tread On Me” on a yellow field was the designation, oddly enough, for the Commodore of the American Navy.

The Hopkinson Flag

The Hopkinson Flag.

On June 14, 1777, the Continental Congress, enacting a design created by Francis Hopkinson’s committee, stipulated that “the flag of the thirteen United States be thirteen stripes, alternate red and white; that the union be thirteen stars, white in a blue field, representing a new constellation.”

Bucchioni said it is important to note that the description of the stars in the blue field did not mention a specific arrangement or star shape. For a century-and-a-half, the growing number of stars in the canton took all sorts of configurations—circles, squares, whatever fancied the designer’s whimsy.

Not until June 14, 1923, with the passage of the United States Flag Code, would a uniform flag fly over the United States.

Virginia

This 1776 Virginia treasury bill worth five dollars featured the new state seal.

Richard Henry Lee, George Mason and George Wythe were aflame with revolutionary fervor when they created an early design of Virginia’s state seal showing virtue conquering tyranny.

Later, when this design began to be included on flags representing Virginia, the motto Sic Semper Tyrannis, or Thus Always to Tyrants, was added to underscore the hostility toward unjust rule in the commonwealth.

Although Virginians would have seen this seal on a few military flags in the 18th century, they saw it more often on the state’s paper currency.

Becoming a Citizen in the Place Where It Started

D2013-DMD-0809-2124Colonial Williamsburg hosts naturalization ceremonies twice a year. The following remarks were delivered by Elisabeth Reiss, wife of the Foundation’s new president, Mitchell Reiss, at a recent ceremony at Williamsburg’s Capitol. Elisabeth Reiss was born in England and became an American citizen in 1998.

Read More »

Chefs on Deck: Chef Keith Shows Us How to Grill Fire & Spice BBQ Chicken!

chef-keiths-chickenWe’re back for round two of our summer grilling series—Chefs on Deck! Today, we’re tackling one of my cookout favorites, barbecue chicken. Watch our video to learn how to grill a delicious (and spicy) version and as a bonus, enjoy some tips on the best way to grill corn on the cob.

Read More »

Bring History Home with These New 18th-century Inspired Wallpaper Designs!

wallpaperAre you ready for a behind-the-scenes glimpse at Colonial Williamsburg’s world-class design archives? We are going to take you inside the hallowed spaces where you can look but can’t touch (at least not without gloves!). So turn off your camera flash, leave your bags at the door, and join us for this rare and exclusive opportunity….

Read More »

Mastering a Fife and Drum Standard

By Ben Swenson

How many 18th-century fife and drum tunes can you name? Go on, count them. Ten? Five? Two?Recruits_Fife_and_Drum

If you’re like most folks, you might struggle beyond “Yankee Doodle” to whistle popular Colonial music. Put yourself in early Americans’ shoes, though, and you would have been familiar with a much larger stable of standards.

The Sound of Battle

Want to know more about the music of the fifes and drums? Listen to this podcast about the physics of sound, including an experiment that allows you to hear for yourself how well the fife and drum punch through loud noise.

One such tune was “Road to Boston,” which Americans heard often during the Revolutionary War. Copped from a British tune called “Road to London, the Americanized version, which went by other names such as “March to Boston,” was a nod to all the Patriots who flocked to Boston to offer resistance to the British forces occupying the town. The tune is now the official ceremonial march of Massachusetts.

“Road to Boston” is also popular in the 21st century with recruits of the Colonial Williamsburg Fifes and Drums. “Road to Boston” is among the first tunes the blossoming musicians play as an ensemble because the level of skill required to play it matches that of most recruits. The fact that the march is so well documented in early manuscripts makes it a good choice for the Fifes and Drums’ commitment to historical and musical accuracy.

Let’s eavesdrop on recruits as they rehearse “Road to Boston.”

[brightcove videoID=4260162616001 playerID=3703125019001 height=315 width=560]