Wednesday, November 26, 2025

Jim Jacobs Canoe Scout

    


    Jim was already dressed when I pulled into the parking lot he had designated, a canoe strapped tightly to the top of his SUV. I stepped out in my modern clothing, and after exchanging pleasantries we hopped back in and made our way to the boat launch. As we drove down the meandering road, the blacktop shifted to gravel—almost a symbolic portal marking our departure from modern things, a quiet slipping into worlds past. The forest around us felt otherworldly, the light filtering through the trees and striking the leaf-covered floor in hues of orange, yellow, and green. My mind was full of thoughts about what we were about to experience, and about what the man beside me had already lived out in this wilderness.


    Jim Jacobs became enamored with the woods and with history at a young age. He told me about roaming the forests with his BB gun, imagining himself a frontiersman like Daniel Boone. When he discovered reenacting, all bets were off; he immersed himself fully into the 18th century. A major inspiration was Mark Baker, who took academic knowledge and turned it into lived experience. That method resonated with Jim, who became enthralled with historical trekking—living as early explorers, Indian traders, and trappers once lived. Over time he developed a reputation for organizing scouts, some of which have become legendary tales told around campfires.

    We arrived at the landing site, and I dressed and unpacked my gear. Jim and I did a bit of trading—a kettle for one of his awls and a tobacco pouch. He also gifted me seeds from his garden, part of his growing historical skillset in 18th-century farming. Something I learned about Jim is that he always brings along a month’s worth of provisions, even for a weekend scout. The idea is twofold: first, to reflect the essential loadout for a long journey of this type, and second, to serve as a practical precaution if circumstances require staying put longer than expected.



Our provisions for the weekend included:

4 lbs of parched corn

4 lbs of cornmeal

2 lbs of beans

A small quantity of jerk and a block of maple sugar

A bundle of Johnny cakes

A sack of ground coffee

½ lb of cut tobacco

A fifth of rum

A bundle of dried mullein leaf

    I brought my own supplies—salt pork, jerk, parched corn, flour, and coffee. With this combined stock, we were well set for an extended stay in the woods.


    We loaded the canoe carefully, tying everything down to prevent loss in the event of a capsize. Jim told me a story of once tipping his boat; though he lost only a glove, the experience sounded miserable. He had managed to get everything ashore, build a huge fire, and dry out. I hoped we’d avoid a similar fate. Once our provisions and accoutrements were aboard, we stepped into the canoe—a modern one, though its modernness quickly faded as we pushed off down the creek.


    The world became quiet. All we could hear were the birds and the soft slosh of our paddles. A beaver to our right sounded its alarm with a tail slap before diving into the water. A heron lifted from the shoreline and glided down the creek ahead of us. We wove our way through deadfall, occasionally brushing submerged logs hidden by the murky water, hoping we wouldn’t have to climb out to free the canoe. Our luck held. Jim described the lay of the land as we approached, but I found myself distracted by the sheer beauty of the place.


     Jim looks like he stepped straight out of a Paul Sandby sketch—his clothing well-worn and lived-in, a look I’ve always admired. His gear shows similar use; these aren’t props for an “impression” but tools for sustaining himself in the woods. He is a living historian in every sense, taking what he finds in dusty tomes and applying it in pursuit of practical knowledge. Jim and his wife Chris were part of a core group in the ’90s who pushed the boundaries of reenacting, transforming it from a periodic costume hobby into something deeper and more lived-in. Many of us have adopted this “lifestyle” approach, where at any given time a friend in the hobby is either making, repairing, or reading something related to their 18th-century persona. Jim and others like him have been major inspirations to me as I pursue firsthand experience of our 18th-century counterparts and their backcountry lives.

     We reached the landing spot and eased the canoe against the bank. I found a solid foothold, stepped out, and tied us off to a sapling. Jim suggested we scout for a campsite before unloading. He prompted me to load my gun, and he loaded his while still standing in the canoe. I helped him ashore, and we headed into the trees. We found a few promising areas. For shelter we carried a 9×9 tarp, blankets, a buffalo robe, and a bearskin. We discussed possible setups—lean-tos, tarp shelters, or simply bedding down against one of the many fallen logs that littered the forest floor, forming natural windbreaks. Jim told me of past nights spent with nothing more than leaves piled for a bed. Farther up, he showed me a forked tree designated years ago as “Jacobs Station.” Eventually we settled on a site and returned to unload, but not before Jim paused for a smoke, sparking one of many conversations we’d share that weekend.

    Jim is old enough to be my father, something he acknowledges with grace. Our mutual respect was obvious. We talked about how reenacting remains one of the few places today where young and old meet with shared purpose. He said it warms his heart to see younger folks pushing the hobby in ways he could only have dreamed of in the ’90s. I told him how much men like him have inspired me, how their stories fueled my own fire. We talked, too, about how the internet has strained relations between generations—older hobbyists feeling threatened, younger ones feeling frustrated. Yet out there in the woods, we defied that dynamic completely.



    We hauled our gear to camp and set up the lean-to. A tumpline strung between two perfectly spaced trees supported the 9×9 tarp. We lashed the back edge to a log, angled the front, and used three poles and a rope to stake it down. Inside we laid our buffalo robe, blankets, and bearskin. I used cedar bark I had harvested earlier as tinder and soon had a fire going. After collecting more firewood, we had enough for the day and night. Jim had brought fresh buffalo meat, and we feasted on it along with the pone. It was some of the best meat I’ve ever tasted—tender, juicy, and rich with flavor.

    We spent the evening talking and getting to know each other. I sewed repairs into my spare moccasins and read from the Virginia Gazette. I had also brought Robinson Crusoe and letters from Eileen. She’s made a habit of slipping letters into my knapsack before I leave, for me to discover later; this trip was no exception.

    Jim has been coming to this area since the early ’90s—sometimes with Chris, “the first woman of the woods,” as Jim called her, and sometimes with larger groups. He’s camped here in every month of the year and learned much from the variety. One story that stuck with me was his tradition of spending a week or two in the woods before Thanksgiving as a kind of spiritual and physical reset. He said he knew he had truly adjusted when Thanksgiving dinner tasted extraordinary after a week of jerk meat and pone. I’m tempted to adopt that tradition myself.

    We talked about what this hobby offers and whether it’s worth pursuing amid modern pressures. The conversation grew philosophical—religion, politics, what it means to be human. We agreed, we disagreed, and in the end respected each other even more. As the fire dimmed, we turned in for the night.

    I never sleep well in the cold, and despite the buffalo robe I tossed and turned. Jim seemed to fare better, his soft snoring proof enough. I finally rose around six, stoked the fire, and stretched out beside it until the sun began to creep over the trees across the creek. Jim stirred, retrieved his blanket coat from behind the shelter, and slipped back under the blankets before rising again. We sat by the fire discussing the day’s plans. I cooked salt pork in my frying pan and shared it with him. He had hoped to take me up the ridge to overlook the area, but said his body wasn’t up to the climb. He suggested I go alone while he tended camp and prepared our gear for the return trip. Rain was coming, and we agreed it would be wiser to leave Saturday evening rather than Sunday morning. Better to know your limits than try to impress someone. The thought of loading a canoe on a wet, slippery bank didn’t appeal to either of us.

      I set off to scout the ridge while Jim worked around camp. Though he’s less active these days, the spark in his eye—the passion for this era and for lived experience—remains strong. He emphasized the importance of humility, curiosity, and the willingness to admit when you don’t know something. I’ve tried to adopt the same principles: to make what I do about others, to inspire folks to get involved, and to use what little knowledge I have to encourage exploration. I don’t know as much as others, and I try not to pretend otherwise.

    When I returned, we broke down camp and carried our provisions to the boat. Before pushing off, we held a little informal shooting match. My gun wouldn’t fire—just a flash in the pan. I assumed the charge was wet. Jim suggested a trick I’d never considered: fill the pan, then use the vent pick to push powder through the touchhole until it’s full. Sure enough, the gun fired immediately. I was glad I didn’t have to pull the ball.

    We set off again, weaving through the deadfall. On a long straight stretch, Jim complimented my paddling rhythm. We reached the forks and spotted a heron rookery to our right. We drifted there a while, smoking our pipes as the boat slowly spun in the still water.

    Suddenly the modern world reappeared—the cars, the parking lot. We unloaded, strapped the canoe to the SUV, and ignored the curious looks from passersby. Jim gave me a share of the buffalo meat, and we went off to have a meal together before heading home to our wives.

    I love this hobby and always will. Experiences like this one—with Jim, who after all these years still carries a twinkle in his eye—fuel my passion and stoke my flame a little brighter. We already have more plans in the works, and I can’t wait. 



Sunday, October 26, 2025

The Petticoat Mess: Essentials for a Basic Late 18th Century Women’s Kit Part II Outer Garments

 Here it is nearly a full year after my first post, so much for expeditiously! My apologies, this year has been quite full and busy. Let’s get right to it, shall we?


    Now that you have on your shift, stockings, garters, shoes, and cap it is time to put on the outer layers of your 18th Century clothing. The next thing you are going to want to put on is your petticoat. A petticoat is what we would call a skirt today. For the perfect 18th c silhouette, it is recommended that you always wear at least two petticoats. Petticoats tie around the waist making them incredibly versatile for changing figures. The most common materials are wool, linen, silk, and cotton. The one pictured here is made from a cotton fabric called matelasse. It mimics a quilted petticoat and gives the outer petticoat a bit of “oomph.” The fabric was purchased from Renaissance Fabrics here: 

    https://renaissancefabrics.com/product/white-cotton-matelasse/ 

    Petticoats are incredibly easy to make and are a great first project for the aspiring sewist! They are two lengths of fabric sewn up the sides until about 9” from the waistline. The length is dependent on taste and impression. The waist is pleated to half your total waist measurement both front and back. The pleats are secured to ties that are similar to an apron. You tie the back half of the petticoat on first, and then the front. Poke around online to find a tutorial.  




    The next step is to tie on your pocket. If you’ve ever wondered how Lucy Locket lost her little pocket in the nursery rhyme, well that was because it was tied around her waist and came loose. I typically only wear one but it is period correct also to wear two. Pockets typically do NOT show. There are some Sandby prints of street peddlers where the pockets are showing but this is probably because she needs easy access to her money so she can make change for customers. This pocket is made from an 18th c. reproduction printed cotton, bound with linen tape and backed with a strong linen fabric. You’d be surprised how much you can fit in these things!








    On top of that you’ll wear your outer petticoat. As for the under petticoat fabrics include natural fibers such as linen, wool, cotton, and silk with linen and wool being the most common. Pay careful attention to color choice. Read runaway ads, search old newspapers, see what colors the majority of folks were wearing. 






    If you’re just starting out in living history I highly recommend starting with a bedgown for your first outer garment. The bedgown is great for an everyday person's impression.They are comfortable and very forgiving. The tutorial I used to make mine is the period pattern as described in the Encyclopedia laid out by Garsault: 

    https://www.marquise.de/en/1700/howto/frauen/18mdelit.shtml 








    Don’t be daunted by the use of the metric system, your measuring tape no doubt has cm, but feel free to convert if you wish. I made this one from wool, but I also have one made of linen for hotter days.The bedgown is held closed by tying an apron on top of it. The whole look is then topped with a handkerchief. This one came from Burnley and Trowbridge who have a handkerchief to suit every taste. 

The next, and most common outer garment, is the gown. This gown is a stomacher gown which is suitable for impressions from the 1760s to the 1770s. Towards the 1780s you see the rise of the center front gown sans stomacher. This pattern came from one of my favorite places to get patterns, At the Sign of the Golden Scissors. 


    This pattern walks you through all the steps necessary to make a perfectly fitting gown by hand. I made this gown from a brown wool “stuff” from Burnley and Trowbridge














    Linen, cotton, and silk would also be appropriate depending on your impression. First you pin the stomacher on, working the pins horizontally through your stays. Next, you put the gown on and pin it vertically to the stomacher, hiding the pins under the robings. I always keep a pin ball handy (I’ll talk more about this in the next post on accouterments) in case any pins work themselves free during the course of the day. You’d be surprised how common this is.

    I can’t stress enough that the best thing you can do is start with your impression and build from there. Who were you? What were your life circumstances? Go online and look at museum collections. Check out period prints and art. Notice details. Paul Sandby is great for seeing how everyday people dressed. Fine arts like paintings typically show us what people with the means to commission paintings were wearing. Check out books from the library and read them. I will be including a list of my favorite books that deal with 18th c fashion in the next iteration of the Shirttail Mess zine out soon, so if you are interested in that, click the link to “buy me a coffee” and subscribe so you won’t miss it.

    I plan to finish this series next with a post on accessories and accoutrements. I will endeavor to have this out in the next month or so, for pre-living history season sewing fun!


Yr obedient servant,


Mrs. Jacob Book


Monday, August 18, 2025

Getting People into the Hobby or Shooting a Flintlock is a gateway drug

Gabe firing his Brown Bess

        Have I mentioned I love reenacting and living history? What an awesome thing it is that we do. But what is even cooler, is watching someone have an experience for the first time. 
Several years ago, I was needing a haircut and I punched in "barber shops" on my phone and found myself headed into downtown Dayton. I pulled up to the place and went inside. I love barber shops. Just the whole ritual of having your hair cut, the conversation, the vibe. It's all good. My barber introduced himself as Gabe. When you meet Gabe you'll notice right away that he's a rock and roll dude. Jackboots, slim black jeans, band t-shirt, tattoos, you get the idea. But there's always some subtle thing about people that you just get a good vibe off of. Gabe and I became instant friends and over the course of the next handful of haircuts we realized that we had a major thing in common. We both LOVED history. 

    Gabe, like a lot of young people grew up with a fascination for World War 2 and with his punk rock dystopian vibe, that post Industrial Revolution warfare is a likely choice. He's always had a keen interest in the bolt action firearms of the era. And so our conversations centered somewhat around that, and I told him that myself and some friends were doing Irish Republican Army 1920s reenacting and he should check it out. 

Gabe, IRA

    I really wish everyone you meet and try to drag into reenacting was like Gabe, cause when you set him on the path, he's like a hound dog and he'll just get what you recommend and then add some of his own research to it and come up with a lot of stuff on his own. Pretty soon, his kit was more complete than mine! His first living history events were with the IRA group, and we had an absolute blast. 

Myself, Tony and Gabe

    Eventually the conversations turned towards the 18th century and he expressed an interest due to some family history. I started sending links, he started purchasing things and then I became aware of a brown bess for sale. He jumped on it and I picked it up at the CLA show. I then reached out to Tony Bertolino about making a bag. We decided that the three of us would meet up at my place to pick up and drop off the items Gabe needed. After everyone arrived, I suggested we shoot. We walked out into my back yard pointing towards the field and I set up a board against the burn pile. I showed Gabe the loading process and walked him through it. He put the gun up to his shoulder, pulled the trigger and that oh so familiar sound of the slight hesitation between the flash and the BOOM echoed around the property. I wish I had filmed his first reaction because he was enraptured and let out a cackle of excitement and pure joy. I think it's safe to say at that moment, he was hooked. Gabe will be attending his first 18th century event in September. 

    I am telling this little tale, not to embarrass my friend hopefully, but to encourage you that love of history is out there, you just have to find it and cultivate it. One of the common things I hear from new people is that they had wanted to get into living history for a long time, but just never knew how. Be that contact point. Don't be ashamed to tell people what you do for fun on the weekend, because you never know when you might run across a guy or gal who's been wanting to get into this but just doesn't know where to start. And it doesn't hurt to get their hands on a flintlock, "an elegant weapon, for a more civilized age." Bonus points if you can tell me what that reference is from. 


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Monday, July 28, 2025

"Chief Joseph Brandts field..." or Living Between Worlds

     I think one of the great things about our hobby is the way in which we as reenactors, some of us anyway, exist between two worlds. In the 18th century, the two worlds were European and Native. For us, we certainly still have that dynamic happening, but we also have our existence in this modern world, and our fascination and recreation of the old world. It's between these two worlds that we find ourselves when we clock in for the 9-5 while our head is full of old world knowledge, quotes from narratives, projects we have on the horizon or events we can't wait to attend. It happens when we drive down the road in our car, and stare off into a field or wooded area and imagine ourselves traveling through with our gear and think about going in the woods soon to "get away from it all". Our ancestors of course never thought about camping in the woods as "getting away from it all." But none the less, the forest has become our last bastion of peace and quiet in an ever busy and loud world and it's the nearest and closest thing at hand to experiencing life "back then". Rarely do we have a town or old house from the era to "play" in, so the woods will have to suffice. 

Guy Johnson by Benjamin West
    

Living in between worlds was a theme of a recent trip to New England, which I will spare a lot of the details accept what is relevant to this particular post, but suffice to say, it was a splendid time and got me thinking a lot about this phenomenon in the past and in the present. The first big stop on the trip and the focus of this post was "Johnson Hall" in Johnstown NY. Built in 1763, this site was the definition of "between two worlds". Sir William Johnson was the Superintendent of Indian Affairs during the French and Indian Wars up until his death in 1774. His consort, Molly Brandt, a native woman and sister of Joseph Brandt is a fascinating example of the these worlds coalescing. As we were informed by Wade Wells, the site manager, Johnson Hall was a place of constant activity and especially when it came to native visitors. There were many councils held there and Johnson was constantly entertaining. 

    From a living history portrayal standpoint this becomes a very fascinating intersection of cultures. We have many examples of captives and other people going to live with natives, maybe staying a while and then leaving in the case of someone like James Smith or William Wells. But we rarely have a man of such prominent means living with a native woman who is running the household, a very European household, while also maintaining her cultural identity and manner of dress. 

    For us as reenactors, I think this can serve as a great introduction into how we think about our kit. In the early 1770s, the year Sir William dies and the subsequent years, we have Nicholas Cresswell, a man of moderate means traveling in the backcountry. Cresswell encounters along the way natives who give him clothing and goods. And it's in this context that we can build a case for the exchange of cultures in various circumstances. In 1774 Cresswell writes : 

"Saw four Indian Chiefs of the Shawnee Nation, who have been at War with the Virginians this summer, but have made peace with them, and they are sending these people to Williamsburg as hostages. They are tall, manly, well-shaped men, of a Copper colour with black hair, quick piercing eyes, and good features. They have rings of silver in their nose and bobs to them which hang over their upper lip. Their ears are cut from the tips two thirds of the way round and the piece extended with brass wire till it touches their shoulders, in this part they hang a thin silver plate, wrought in flourishes about three inches diameter, with plates of silver round their arms and in the hair, which is all cut off except a long lock on the top of the head. They are in white men's dress, except breeches which they refuse to wear, instead of which they have a girdle round them with a piece of cloth drawn through their legs and turned over the girdle, and appears like a short apron before and behind. All the hair is pulled from their eyebrows and eyelashes and their faces painted in different parts with Vermilion. They walk remarkably straight and cut a grotesque appearance in this mixed dress. Got to Mr. Gibbs's in the evening." 


    Cresswell also buys some goods and "some silver trinkets to barter with the Indians". So there is an expectation that he may want to trade with them while on the journey. It's little details like this one that are so cool and offer a good addition to your kit if you're someone traveling in the manner of Cresswell and his companions in the backcountry. Getting these details right and balancing them in a manner that keeps you from standing out as "unique" is the key. Basically, that rule of thumb of who, what, where, and when. 

    Now, living in these two worlds. I have found that for us as modern reenactors, the struggle as I mentioned above is between the modern and the old worlds. I don't think it's some desire to go back wholesale to some pre-technological time, although some technologies we'd probably be better off without. I think what is actually at play is a desire to get in touch with things that aren't part of our daily life anymore but at one time were. Hunting, going to the woods for extended periods, sewing, gardening, and learning other crafts is a way of connecting. 

    For Cresswell and the natives he encountered, the connection was in sharing and learning each others customs. He writes of his time in Ohio near the Moravian settlement : "At Coashoskis. Mr. Anderson could not find his horse. Sold all my goods for Furs. In the afternoon rambled about the Town, smoking Tobacco with the Indians and did everything in my power to make myself agreeable to them. Went to see the King. He lives in a poor house, and he is as poor in dress as any of them, no emblem of Royalty or Majesty about him. He is an old man, treated me very kindly, called me his good friend, and hoped I would be kind to my Squaw. Gave me a small string of Wampum as a token of friendship. My Squaw uneasy to see me write so much.

    Back to our modern world. Reenacting seems like a relatively new phenomena, but it's actually really old. I would say it's new in the sense that we now care about the accuracy and details, but the idea of dressing up and commemorating long ago events isn't new at all. Indeed, ancient tribes gather at times to commemorate valiant deeds and events in their oral traditions and act them out. I think people have always been interested in their past. I think what is new is the amount of leisure time we have. Those of us who are into this weird history stuff fill that leisure time with recreating a time that had less leisure. Always with this dichotomy. 



     At the height of Cresswells living between worlds, he participates in a dance of which the viewers are very amused to see him attempt their ways. "At Coashoskin Mr. Anderson found his horse. Saw an Indian Dance in which I bore a part. Painted by my Squaw in the most elegant manner. Divested of all my clothes, except my Calico short breechclout, leggings, and Mockesons. A fire was made which we danced round with little order, whooping and hallooing in a most frightful manner. I was but a novice at the diversion and by endeavouring to act as they did made them a great deal of sport and ingratiated me much in their esteem. This is the most violent exercise to the adepts in the art I ever saw. No regular figure, but violent distortion of features, writhing and twisting the body in the most uncouth and antic postures imaginable. Their music is an old Keg with one head knocked out and covered with a skin and beat with sticks which regulates their times. The men have strings of Deer's hoofs tied round their ankles and knees, and gourds with shot or pebblestones in them in their hands which they continually rattle. The women have Morris bells or Thimbles with holes in the bottom and strung upon a leather thong tied round their ankles, knees and waists. The jingling of these Bells and Thimbles, the rattling of the Deer's hoofs and gourds, beating of the drum and kettle, with the horrid yells of the Indians, render it the most unharmonious concert, that human idea can possibly conceive. It is a favourite diversion, in which I am informed they spend a great part of their time in Winter. Saw an Indian Conjuror dressed in a Coat of Bearskin with a Visor mask made of wood, frightful enough to scare the Devil. The Indians believe in conjuration and Witchcraft. Left the Town, went about two miles. Camped by the side of a run. A young Indian boy, son of one Baubee a Frenchman, came after us and insists on going with us to Fort Pitt. Find myself very unwell this evening, pains in my head and back. Nancy seems very uneasy about my welfare. Afraid of the Ague."



    What an amazing description. He also recounts a sweat lodge later in the journal. 

    I think you get the idea. I love the idea that we live in between the modern and the old and reenacting, between the European and the Indigenous. I think it helps me appreciate the clash of worlds that was happening in the 18th century. I certainly enjoy getting out into the woods or to an event to pretend for a few days that I'm someone else in a different time, but I also enjoy that after event pizza or cheeseburger with a tall glass of soda. What can I say...



    Thanks for reading. 

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