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Boys knitting, crocheting, & painting shells for Chirstmas gifts in the 1880s

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American Life Histories: Manuscripts from the Federal Writers' Project, 1936-1940
Interview from the the Living Lore section.

Interview with Alan Wallace in 1938 about Christmas as a child in the 1880s.

"Yep, that's what my mother always said, You see, when she was a kid - she was born - oh, I guess about 1858, I'm not sure just when exactly but along there somewhere, her family made practically all their gifts. The Civil War came & they couldn't afford to spend money on anything but food. The habit stuck to her & so, when my brothers & I came along she taught us to do many things that ever since makes Christmas to me."


"Well, we boys, used to gather things to make fancy pillows, we'd start as early as August so when Mother was ready to use them they were dry & fragrant, things like fir tips, pine needles & sweet fern leaves.

"It usually went to the seashore for two weeks every summer & half the fun of going was the finding of shells to take home to make into Christmas presents. We'd pick up the prettiest clam shells & scallop shells, a whole basket full, & then when we got back home, we'd paint them in the evenings - make ash trays, pin trays & - & - oh, yes, paper weights & sometimes door stops.

"As I look back on it now I realize that some of them were pretty awful but Mother always seemed delighted with our efforts, no matter how feeble they proved to be. Honestly we got so we could all paint fairly well - you know, birds & butterflies & flowers.

"We had scads of relatives & by the time we had painted something for everybody we should have been fairly proficent. We used to make canes for Father & there was, of course, always a great deal of rivalry among us as to which cane he would like the best, so, to spare our feelings, he would carry mine today, Stuarts', my oldest brother, the next day & Jim's, the youngest brother, the third day & he would be equally enthuiastic about each one.

"We always gave him something for his desk. He finally accumulated so many of our gifts he put a good-sized table in his room & all of our efforts were laid out to show them to the best advantage. I don't mind telling you we were mighty proud of that collection.

"Mother taught us each to knit & I realize as I look back how patient she was for we were so clumsy - but we got so we could knit wristlets that really looked all right.

"I remember one night Mother had the dining room table strewn with clothes pins & some paint cans & brushes. She was making dolls out of the pins. She put dresses on them & she painted the end where the little knob is - that was the head, you know. We were wild to try our hand on painting the faces & she finally let us - we thought we had done pretty well but we were very crestfallen when Mother remarked that it was most evident there were no portrait painters in her family.
"We all three learned to crochet - & we had more fun than you can imagine crocheting ribbons to tie around our packages.

"The evenings would fly by all too fist & how sensible my Mother was keeping three big boys so enthused over Christmas that they rarely wanted to go out at night. We were boys, too, real tough 'he' boys, & the funniest part of the whole thing was, none of the boys in the neighborhood ever kidded us. In facts most of them spent half their time at our house.

"Mother always caught the Christmas spirit early & she used to spread it around which made our Christmas last longer than most people.  So many don't commence to think anything about it until two or three days before Christmas Eve.

"We used to cut our trees out in some nearby pasture & was that a ceremony. Sometimes we would spend weeks making the proper selection & there were many serious arguments before we were all satisfied. We would be all ready to set it up a week or ten days before Christmas.
"We decorated it with strings of cranberries & pop corn, then we'd paint silver stars & tuck them in & out of the branches. We put a few little candles, here & there. Not many, Mother had a deadly fear of fire. Everybody had a stocking hung on the tree, even our animals.

"We had our gifts Christmas morning but Christmas Eve we always had a 'taffy pulling'. All our pals were invited, no one was allowed to bring a present. A number of the older people would come, too, & sometimes bring something for Mother & Dad  We didn't call him Dad in those days, it would have been considered disrespectful...

"We had our gifts early in the morning & then we'd pitch in & help with the last minute preparations for dinner & what a dinner it would be. The table fairly groaned as the newspapers say.

"And no one seemed to hurry - no one rushing & dashing around like mad as they do today. Everybody was smiling. To Father & Mother Christmas meant love & love means happiness - doesn't it?"


Winter in 19C America - 1879 Riding horse home in snow

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A Pleasant Ride Home.  June 7 1879

Winter in 19C America - Warming Hands

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John George Brown (1831-1913) Isn't It Cold 1876

Winter in 19C America - Fur Muff

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John George Brown (1831-1913) The Fur Muff 1864

Winter in 19C America - Delivery Boy

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John George Brown (1831-1913) Delivery Boy 1863


In the midst of our 3rd snowfall this week.  Lots of snow on the ground and the trees.  Birds are fighting over the seeds in the birdfeeders.  Winter is on the way.

Winter in 19C America - Tones of Snow by George Inness (1825-1894)

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George Inness (American Hudson River School & Tonalist Painter, 1825-1894) Home at Montclair


George Inness (American Hudson River School & Tonalist Painter, 1825-1894) Winter Evening

George Inness (American Hudson River School & Tonalist Painter, 1825-1894) Winter, Close of Day

George Inness (American Hudson River School & Tonalist Painter, 1825-1894) Christmas Eve

Winter in 19C Canada - by Dutch-born Cornelius Krieghoff 1815-1872

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Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Early Canadian Homestead 1859


Cornelius Krieghoff was born in Amsterdam, spent his formative years in Bavaria, and studied in Rotterdam & Dusseldorf. He traveled to the United States in the 1830s, where he served in the Army for a few years. He married a young woman from Quebec and moved to the Montreal area, where he painted genre paintings of the people & countryside of Canada. According to Charles C. Hill, Curator of Canadian Art at the National Gallery, "Krieghoff was the first Canadian artist to interpret in oils... the splendour of our waterfalls, and the hardships and daily life of people living on the edge of new frontiers" Krieghoff moved to Quebec from 1854-1863, before he came to Chicago to live with his daughter.


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Death of the Moose at Sunset, Lake Famine, South of Quebec


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) After the Ball, Chez Jolifou


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) A Winter Incident


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Bargaining for a Load of Wood


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Crossing the Saint Lawrence from Levis to Quebec on a Sleigh


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Breaking up of a country ball in Canada in the early morning 1857


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Sleigh Race across the Ice 1861


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Bilking the Toll


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Bringing in the Deer


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Ice Bridge at Longue Point 1847


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Harnessing up


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) The Toll Gate 1861


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) At the Blacksmith's Shop 1871


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Following the Moose 1860


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) The Blizzard 1857


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Indian Woman Moccasin Seller


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) The Habitat Farm 1856


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Winter Landscape 1849


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Winter Landscape Laval 1862


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) The River Road 1855


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Habitants on a Trip to Town


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) In the Jardin de Caribou, 59 miles below Quebec


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Indians Hunting a Caribou


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) J B Jolifou, Aubergiste


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Log Hut on the St Maurice


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Habitant Family with Horse and Sleigh


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) In the Jardin de Caribou, below Quebec Detail


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Log Cabin, Winter Scene, Lake St Charles


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Lt Alfred Torrens and His Wife in Front of the Citadel


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) On Lake Laurent


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Playtime, Village School


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Return from the Hunt


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Settler's House


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Settler's Log House


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Sleigh Race Across the Ice


Cornelius Krieghoff (Dutch-born Canadian painter, 1815-1872) Sleigh Race on the St Lawrence at Quebec


Winter in 19C America - Boston & New York City by American Arthur Clifton Goodwin 1864-1929

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Arthur Clifton Goodwin (American artist, 1864-1929) Looking Down Tremont, Boston


Arthur Clifton Goodwin (American artist, 1864-1929) A View of the Plaza from Central Park, New York City


Arthur Clifton Goodwin (American artist, 1864-1929) The Wharf and Custom House Tower, ca. 1915


Arthur Clifton Goodwin (American artist, 1864-1929) Busy Winter Day, Tremont and Park Streets, Boston


Arthur Clifton Goodwin (American artist, 1864-1929) Copley Square, Boston 1908


Arthur Clifton Goodwin (American artist, 1864-1929) Copley Square, Boston


Arthur Clifton Goodwin (American artist, 1864-1929) Misty Winter Morning


Arthur Clifton Goodwin (American artist, 1864-1929) Tremont Street, Boston, 1911


Arthur Clifton Goodwin (American artist, 1864-1929) Park Street Church in Winter



Winter in 19C America - New England by George Henry Durrie 1820–1863

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George Henry Durrie (American artist, 1820–1863) Going to Church 1853


George Henry Durrie was an American artist whose rural winter scenes became popular during the Civil War era. Durrie was born in New Haven, Connecticut, where his father was an emigrant from England, & his mother was a descendant of Governor William Bradford, a Mayflower pilgrim. Durrie taught himself to paint in his teens. In 1839, Durrie & his brother John began 2 years of artistic instruction from Nathaniel Jocelyn, a local engraver & portrait painter. Much of Durrie’s early career was spent as an itinerant portrait painter, traveling over the countryside in search of commissions in rural areas. In 1839, Durrie traveled to Hartford & Bethany, Connecticut; and 1840-1841, he worked in Naugatuck & Meriden, Connecticut, and in Freehold & Keyport, New Jersey. After 1842, he settled in New Haven with his new wife & growing family; but he made painting trips to New Jersey, New York, & Virginia. His account book shows at this time his portraits were between $5 to & $15 each. To supplement his income, Durrie did other painting jobs such as altering portraits, varnishing, & painting decorative motifs on window shutters. Around 1850, he began painting genre scenes of rural life & winter landscapes; as portrait painters began to lose business to the camera. An advertisement in the New Haven Daily Register reads: “Having engaged for a few months past in painting a number of choice Winter Scenes, [G. H. Durrie] would offer them at public sale to the admirers of the fine arts… It is needless to add that no collection of pictures is complete without one or more Winter Scenes.” Four of his prints were published by Currier & Ives between 1860 & the artist's death in New Haven in 1863; & 6 additional prints were issued after his death.


George Henry Durrie (American artist, 1820–1863) A Cold Morning


George Henry Durrie (American artist, 1820–1863) Gathering Wood for Winter 1855


George Henry Durrie (American artist, 1820–1863) Hunter in Winter Wood


George Henry Durrie (American artist, 1820–1863) Farmstead in Winter 1860


George Henry Durrie (American artist, 1820–1863) Farmyard in Winter 1862


George Henry Durrie (American artist, 1820–1863) Yellow Farmhouse in Winter 1859


George Henry Durrie (American artist, 1820–1863) Wintertime on the Farm


George Henry Durrie (American artist, 1820–1863) Winter Scene New Haven Connecticut 1858


George Henry Durrie (American artist, 1820–1863) Winter Scene in New England 1859


George Henry Durrie (American artist, 1820–1863) Winter Scene 1857


George Henry Durrie (American artist, 1820–1863) Winter Landscape


George Henry Durrie (American artist, 1820–1863) Winter Landscape with Log Cart 1855


George Henry Durrie (American artist, 1820–1863) Winter in the Country the Old Grist Mill 1862


George Henry Durrie (American artist, 1820–1863) Winter in the Country on a Cold Morning 1861


George Henry Durrie (American artist, 1820–1863) Winter in the Country Getting Ice 1862


George Henry Durrie (American artist, 1820–1863) Winter in the Country Farmyard 1858


George Henry Durrie (American artist, 1820–1863) Winter in the Country 1861


George Henry Durrie (American artist, 1820–1863) Winter in the Country 1857


George Henry Durrie (American artist, 1820–1863) Winter in New England 1852


George Henry Durrie (American artist, 1820–1863) Winter Farmyard and Sleigh


George Henry Durrie (American artist, 1820–1863) Winter Farm Yard 1855


George Henry Durrie (American artist, 1820–1863) The Halfway House 1861


George Henry Durrie (American artist, 1820–1863) Seven Miles to Farmington


George Henry Durrie (American artist, 1820–1863) Red Schoolhouse Winter 1858


George Henry Durrie (American artist, 1820–1863) On the Road to Boston


George Henry Durrie (American artist, 1820–1863) New England Winter Scene 1858


George Henry Durrie (American artist, 1820–1863) Ketcham Farm in Winter, New Haven


George Henry Durrie (American artist, 1820–1863) Jones Inn Winter 1855


George Henry Durrie (American artist, 1820–1863) Jones Inn in Winter 1853


George Henry Durrie (American artist, 1820–1863) Feeding the Sheep 1862

Winter in 19C America - New York City by Herman N. Hyneman 1849–1907

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Herman N. Hyneman (American artist, 1849–1907) Woman in Snow


Herman N. Hyneman (American artist, 1849–1907) Winter Hat


Herman N. Hyneman (American artist, 1849–1907) Lady in Winter in New York.


Winter in 19C America - by Louis Rémy Mignot (American Hudson River School painter, (1831-1870)

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Louis Rémy Mignot (American Hudson River School painter, (1831-1870) Winter Skating Scene

Winter in 19C America - by Louis Rémy Mignot (American Hudson River School painter, (1831-1870)

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Louis Rémy Mignot (American Hudson River School painter, (1831-1870) Hunters in Winter Landscape

Winter in 19C America - Charles Herbert Moore (American painter, 1840-1930)

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Charles Herbert Moore (American painter, 1840-1930) Winter Landscape, Valley of the Catskills 1866

Winter in 19C America - Edward E. Simmons (American painter, 1852-1931)

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Edward E. Simmons (American painter, 1852-1931) Boston Public Garden 1893

Winter in 19C America - Edward Moran (American painter, 1829-1901)

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Edward Moran (American painter, 1829-1901) Winter at the Farm


Winter in 19C America - John La Farge (American painter, 1835-1910)

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John La Farge (American painter, 1835-1910) Snow. January. Southerly Wind, Cloudy Sky and Sunlight.

Winter in 19C America - Regis-Francois Gignoux (French-born American Hudson River School Painter, 1816-1882)

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Regis-Francois Gignoux (French-born American Hudson River School Painter, 1816-1882) Winter Sports

Winter in 19c America - Regis-Francois Gignoux (French-born American Hudson River School Painter, 1816-1882)

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Regis-Francois Gignoux (French-born American Hudson River School Painter, 1816-1882) Skaters by the Mill

Winter in 19C America - Regis-Francois Gignoux (French-born American Hudson River School Painter, 1816-1882)

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Regis-Francois Gignoux (French-born American Hudson River School Painter, 1816-1882) View Near Elizabethtown, N. J

The Christmas Poinsettia

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I was going to write a history of the traditional Christmas poinsettia plant this year, but then I remembered the 2011 myth-breaking article by Joel T Fry, curator at Bartam's Garden in Philadelphia. (Joel T. Fry, B.A., Anthropology, Univ. of Penn. M.A., American Civ./Historical Archaeology, Univ. of Penn.)  I could not write a better history than his, so I will present it here.  See his original here.

America's First Poinsettia: The Introduction at Bartram’s Garden
Poinsettia's first public display was in 1829 at the PHS Flower Show
by Joel Fry, Curator, Bartram's Garden - 12/12/2011

Color plate illustrated in Paxton's Magazine of Botany 1837
 
"It is a little known fact that the poinsettia was introduced to the gardening world from the Bartram Botanic Garden in 1829. This international symbol of winter cheer was first successfully grown outside its Mexican homeland by Robert and Ann Bartram Carr at the Bartram’s Garden in Philadelphia.

The plant now known as poinsettia, Euphorbia pulcherrima, is native to the pacific coast of Mexico and has an ancient history of human use. It was almost certainly seen by early European explorers and colonists, but somehow never entered cultivation in Europe. It was re-discovered or at least brought to the attention of the outside world in the 1820s by an American, Joel Roberts Poinsett (1778-1851).

"Poinsett, a native of Charleston, South Carolina, held various diplomatic and political positions through his life, but always continued a strong interest in natural science and horticulture. He first served as a special envoy to Mexico in 1822-1823, and when the new Mexican Republic was recognized in 1824, Poinsett was first U. S. Minister Plenipotentiary. He resided in Mexico from 1825 to early 1830. During this period, perhaps in the winter of 1827-1828 Poinsett encountered the unnamed plant that now bears his name.

"As part of his mission to expand cooperation between the two countries, Poinsett shipped plants and seeds between Mexico and the United States. At present there is evidence that four different collections of seeds and plants were sent from Mexico to Bartram’s Garden in Philadelphia in the period 1828-1829. Poinsett was elected a member of the American Philosophical Society in Philadelphia in early 1827, and this seems to have cemented his connection with the Philadelphia scientific community and with Bartram’s Garden .In early 1828, William Maclure, a longtime friend of Poinsett, and Thomas Say, a Bartram nephew, travelled to Mexico, visiting Vera Cruz and Mexico City. William Keating, a geologist from the University of Pennsylvania also traveled to Mexico in 1828 to prospect for American mining interests. Poinsett, Maclure, Say, and Keating all arranged for Mexican seeds of plants to be sent to Bartram’s Garden.

"Thomas Say sent over a hundred varieties of seeds from Mexico, “of my own collecting” in a letter to Robert Carr dated July 23, 1828. This list is in large part made up of fruits and vegetables offered in the markets in Mexico, but some trees, shrubs, and herbaceous plants from the wild were included, notably several forms of cactus. William Maclure returned briefly to Philadelphia in the fall of 1828, and he brought yet more Mexican seeds and plants with him. This is the most likely route for plants of the poinsettia to Bartram’s Garden.


Engraving of poinsettia at Chatsworth UK in 1837 courtesy Joel Fry Bartrams
 
"Robert Buist, a Philadelphia nurseryman, remembered seeing the first poinsettia roots unpacked at Bartram’s Garden in 1828: “On my arrival in this country from the Royal Botanic Gardens in Edinburgh, in 1828, I paid a visit to the famed “Bartram Botanic Garden,” and there saw two cases of plants which had just arrived from Mexico. Among the contents were the stumps of a strange-looking Euphorbia, which, after a few months’ growth, showed some very brilliant crimson bracts.” (The young Buist soon built a very successful career on the new scarlet plant, and as a result he was credited with the introduction of the poinsettia to Europe in 1834.)

"The paper trail of the poinsettia next appears at “The first semi-annual Exhibition of fruits, flowers and plants, of the Pennsylvania Horticultural Society,” held June 6, 1829. This was the first public show of the PHS, a tradition continued today as the Philadelphia Flower Show. One of the noteworthy exhibits was “A new Euphorbia with bright scarlet bracteas or floral leaves, presented to the Bartram collection by Mr. Poinsett, United States Minister to Mexico.” There can be no doubt that this was the poinsettia, now known as Euphorbia pulcherrima. The plant on display, apparently the original sent from Mexico, was still colorful in early June. And while we now take for granted the connection of poinsettias and Christmas, it would take a while for nurserymen to reliably flower the new scarlet plant in time for the early winter holidays.

"A year later, in July 1830 a committee of the PHS, For visiting the Nurseries and Gardens in the vicinity of Philadelphia,” made particular note of the “Euphorbia heterophylla, with its large scarlet flowers,” as well as “some curious species of Cactus, lately received from Mexico”at the Bartram Botanic Garden. At this early stage, the appropriate scientific name for the poinsettia was still in doubt. Poinsettia resembled a known North American native, Euphorbia heterophylla and so for a time it was referred to under that name. Philadelphia nurserymen also used the name “Poinsett’s euphorbia” and around 1832 Robert Buist began using “Euphorbia poinsettia” for the new plant. Between 1833 and 1836 the poinsettia went through a rapid series of scientific names as it was described and published in the US and Europe—first Pleuradena coccinea, then Poinsettia pulcherima, and finally Euphorbia pulcherima. (Although there is still some debate whether some North American Euphorbia species should be split off into a new genus Poinsettia.)

"In the summer of 1833, the botanist Constantine Rafinesque published the first scientific description of the poinsettia in Philadelphia, for his Atlantic Journal. Rafinesque recorded the brief history of the plant in Philadelphia to date: “The Botanical Garden of Bartram received some years ago from Mr. Poinsett our ambassador in Mexico, a fine new green-house shrub, akin to Euphorbia, with splendid scarlet blossoms, or rather bracts. It has since been spread in our gardens near Philadelphia, and is know in some as the Euphorbia Poinseti; but appears to me to form a peculiar genus or S. G. at least

"In the early 1830s Robert Buist began sending plants or cuttings of poinsettia to Europe, and particularly to his friend James McNab at the Edinburgh Botanic Garden. Buist had trained at the Edinburgh garden, and he returned to Scotland in 1831 to acquire stock for his new nursery business. James McNab also visited Philadelphia, and Bartram’s Garden in the summer of 1834, and probably took the first successful poinsettia plants back with him to Edinburgh in the fall.

"The poinsettia flowered in Edinburgh for the first time in the spring of 1835, but imperfectly. When it flowered again in 1836 it was drawn for Curtis’s Botanical Magazine. The new euphorbia was re-named Poinsettia pulcherrima by Robert C. Graham, Regius Professor of Botany at Edinburgh, in an article prepared both for Curtis’s and the Edinburgh New Philosophical Journal. The modern common name “poinsettia” arose from Graham’s description, and as the plant spread rapidly in cultivation in the UK and Europe it was known under the name poinsettia. Unfortunately for history, Graham relied on Buist’s own incorrect account of the introduction of the plant, and omitted any mention of the Carrs or Bartram’s Garden. (Graham’s new genus Poinsettia has since been returned to Euphorbia.)

"It has long been the story that Poinsett personally introduced the poinsettia first to Charleston, bringing the plant on his return from Mexico, and from there it was discovered or sent to the Carrs in Philadelphia. This is impossible for the poinsettia was shown to the Philadelphia public in June of 1829, over six months before Poinsett returned from Mexico. All available evidence suggests that the poinsettia was first sent to the Bartram Garden in Philadelphia in the fall of 1828. The successful transport of live plants from Mexico to Philadelphia in 1828 was almost certainly due to the fact that a number of friends of Bartram’s Garden were on the scene in Mexico. After the new scarlet euphorbia was introduced to the public in 1829, the plant was widely propagated, and became a popular mainstay of the Philadelphia florist trade. The young gardener, Robert Buist, returned to Europe in 1831 and found the scarlet flower was unknown. Buist was a great popularizer of the new plant, but has undeservedly received major credit for its introduction. When Poinsett began to grow his namesake plant in Charleston after his return, it probably returned to him via the Philadelphia nursery community."

 A little more to the tale...

Poinsettia plants are native to Central America, especially an area of southern Mexico known as 'Taxco del Alarcon,' where they flower during the winter. The ancient Aztecs called them 'cuetlaxochitl'. The Aztecs had many uses for them including using the flowers (actually special types of bright leaves known as bracts rather than flowers) to make a purple dye for clothes & cosmetics The milky white sap, latex, was made into a medicine to treat fevers.

Poinsettias were cultivated by the Aztecs of Mexico long before the introduction of Christianity to the Western Hemisphere. These plants were highly prized by Kings Netzahualcyotl & Montezuma, but because of climatic restrictions could not be grown in their capital, which is now Mexico City.

Perhaps the 1st religious connotations were placed on poinsettias during the 17C.  Because of its brilliant color & convenient holiday blooming time, Franciscan priests, near Taxco, began to use the flower in the Fiesta of Santa Pesebre, a nativity procession.  The poinsettia may have remained a regional plant for many years to come had it not been for the efforts of Joel Roberts Poinsett (1779 – 1851). The son of a French physician, Poinsett was appointed as the first United States Ambassador to Mexico (1825-1829) by President James Madison. Poinsett had attended medical school himself, but was a dedicated, almost obsessive botany-lover.

A German botanist, Wilenow, named it Euphorbia pulcherrima (most beautiful) in 1833, the correct scientific name to this day.  The common name we use today was believed to have been coined around 1836.  Philadelphia nurseryman Robert Buist 1st sold the plant as Euphorbia poinsettia, although a German botanist had already given the plant the botanical name Euphorbia pulcherima.

The Poinsettias native to southern Mexico & Mesoamerica, unlike today’s commercial cultivars, grow into straight & tall trees. Often these trees can reach heights up to 10 feet tall. Through selection & breeding by growers, many cultivars have been developed in the United States & Europe.

After its introduction in Philadelphia, the poinsettia was shipped around the country during the 1800's, usually as an outdoor plant for warm climates.  Around 1920 in southern California, a horticulturist named Paul Ecke became the next key person to promote the poinsettia.  He felt this shrub growing wild along roadsides would make a perfect Christmas flower, so set about producing these in fields in what is now Hollywood.  A few years later, due to the commercial & arts development in Hollywood, he was forced to move south to Encinitas where the Paul Ecke Ranch continues to produce poinsettias today.  Through the marketing efforts of Paul Ecke and his sons, the poinsettia has become symbolic with Christmas in the United States.  An Act of Congress has even set December 12, the death of Joel Poinsett, as National Poinsettia Day to commemorate a man and his plant.


Notes: Joel T. Fry has served as curator for Bartram’s Garden, the home of John and William Bartram in Philadelphia, PA, since 1992. He first became involved in archaeological research at Bartram’s Garden in 1975, and has participated in a number of archaeological and historic research projects at the garden site since. He studied anthropology, historical archaeology, and American Civilization at the University of Pennsylvania, and has written extensively on the history of Bartram’s Garden and the Bartram family plant collections. 
Recent publications include: “America’s ‘Ancient Garden’: The Bartram Botanic Garden, 1728-1850” in Amy R. W. Meyers, ed., Knowing Nature: Art and Science in Philadelphia, 1740-1840. Yale University Press, New Haven, 2011; work as associate editor, and author of “William Bartram’s ‘Commonplace Book’ and ‘On Gardening’ in the volume, William Bartram, The Search for Nature’s Design: Selected Art, Letters, and Unpublished Writings. Thomas Hallock, and Nancy E. Hoffmann, eds., University of Georgia Press, Athens, GA, 2010; “William Bartram’s Oenothera grandiflora: ‘The Most Pompous and Brilliant Herbaceous Plant yet Known to Exist,’” in Fields of Vision: Essays on the Travels of William Bartram, Kathryn E. Holland Braund and Charlotte M. Porter, eds. The University of Alabama Press, Tuscaloosa, 2010; and “Historic American Landscapes Survey, John Bartram House and Garden (Bartram’s Garden), HALS No. PA-1, History Report,” U.S. Department of the Interior, National Park Service, HABS/HAER/HALS/CRGIS Division, Washington, DC, 2004.
Bartram’s Garden, 54th Street & Lindbergh Blvd., Philadelphia, PA 19143 
 
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