This year during Salute to America, guest conductor Bob Bernhardt will join the Detroit Symphony Orchestra during The Henry Ford’s Fourth of July celebration in Greenfield Village. I had a chance to ask Bob, the principal pops conductor with the Louisville Orchestra, a few questions about what he’s most looking forward to next week on Walnut Grove. Continue Reading

Michigan, Detroit, summer, holidays, by Sarah R. Kornacki, events, music, Salute to America, Greenfield Village

Although there were no Civil War battles fought in Michigan, and we have not graves to decorate, Greenfield Village has become a place where we commemorate one of the most pivotal time periods of our Nations’ History. Since 1993, The Henry Ford has hosted Civil War Remembrance in Greenfield Village over the Memorial Day weekend to honor the sacrifice of not only those from 1861 – 1865, but of all veterans who have faithfully served in the protection of the United States. Memorial Day’s genesis can be traced to the American Civil War as comrades, families and small towns across the land decorated the graves of recently fallen soldiers.

The Civil War Remembrance program offers an opportunity to journey back in time to a moment when our nation was engaged in a massive civil war affecting lives across thousands of miles. Guests can appreciate and honor the memory of those four defining years where more than 3 million would have fought and over 750,000 will have died – the equivalent of 7.8 million dead today. As we are in the fourth year of the Civil War sesquicentennial years, it's important to reflect and think about this time period 150 years past and how it's relevant to our world today and for our future. One of the ways we make those distant events relevant is through commemoration and programming. Civil War Remembrance is one such way and is an officially recognized event by the Michigan Civil War Sesquicentennial Committee through the Michigan Historical Commission.

It's important that we remember the extraordinary service and paramount sacrifice of the common individual soldier who drew from that large reservoir of bravery and courage to continue onward in spite of almost certain death. To their families and to their generation they were known, for the pain and loss of a loved one was felt directly and with absolute certainty. To us they are unknown in name only as their actions will live forever. And to those families and loved ones who sustained incredible and permanent loss, undue hardships and burdens beyond imagine, we must always sustain and uplift the memory of those contributions that made such an indelible impression on our identity. As a principal defining moment, this monumental conflict put into motion a series of events that has brought us to where we are today as a people and as a nation. Their determination and perseverance wove yards of whole cloth creating a foundation for America’s tapestry that continues to be created.

Civil War Remembrance is one of the most comprehensive programs of its kind – we like to say it's the ultimate tribute to the ultimate sacrifice. This program draws participants, historians and experts from throughout the country. Over the three-day weekend Greenfield Village will come alive with special recognition opportunities, commemorations, musical performances, exhibitions, demonstrations (tactical infantry, artillery and cavalry), dramatic performances, hands-on and participatory activities and much more. One of my favorite program offerings is "Enlist in the Army" where guests can “enlist” in the army receiving a reproduction enlistment form from an 1860’s recruiter at the Phoenixville Post Office. After enlistment, they head to Dr. Howard’s Office to see if they are fit for service (everyone passes with a cursory superficial “if you're breathing you're good” exam), and then they are off to the Logan County Courthouse to be “mustered in” and prepared for military drill and schooling. At this point, the group of guests are commanded by an officer in the Federal army, given wooden muskets and then drilled on the Village Green with commands and movements as new recruits would have received during the war. We only need to figure out how to muster them out of service at the conclusion of the day! This year we have Tim Erikesen and The Trio de Pumpkintown as our primary musical performance with an extended concert Saturday evening with shorter performances both Sunday and Monday. Tim is acclaimed for transforming American tradition with his startling interpretations of old ballads, love songs, shape-note gospel and dance tunes from New England and Southern Appalachia. He combines hair-raising vocals with inventive accompaniment on banjo, fiddle, guitar and banjo sexto-a twelve string Mexican acoustic bass-creating a distinctive hardcore Americana sound. This year marks the 150th anniversary of the 1864 presidential election wherein Abraham Lincoln won a second term in office. We will have a re-created Lincoln Campaign Head Quarters stationed out of the Tintype Studio in Greenfield Village.

For 2014, The Henry Ford is very pleased to have partnered with the National Park Service in delivering special presentations and outreach programming through the Fredericksburg and Spotsylvania National Battlefield relating to the 150th Anniversary of General Grant’s Overland Campaign of 1864. For the highlight of this partnership, The Henry Ford will take part in Reverberations, an innovative program initiated by the National Park Service connecting three national parks in Virginia and eight communities around the country to illustrate the devastating impact of the Civil War on communities across the country. Greenfield Village in Dearborn, Michigan is one of those communities.

This special candlelight illumination ceremony with John Hennessy, Civil War historian and chief historian/chief of interpretation at the Fredericksburg & Spotsylvania National Military Park, will be simultaneously conducted by the partner communities both North and South. This ceremony will culminate in taps being played in Greenfield Village and echoed to these other locations virtually as the event will be streamed live in conjunction with the other ceremonies. The activities will ultimately conclude with a grand illumination ceremony the Fredericksburg National Cemetery in Virginia.

Civil War Remembrance Weekend takes place in Greenfield Village Saturday, May 24, through Monday, May 26, with a special late night Saturday evening. Learn more about the program by visiting our event page.

Brian James Egen is Executive Producer at The Henry Ford.

Dearborn, 21st century, 2010s, Michigan, holidays, Greenfield Village, events, Civil War Remembrance, Civil War, by Brian James Egen

 

Easter greeting card, circa 1885. Featuring a spray of lilies, a Bible quotation, and the Christian cross, the greeting reads, "A Happy Easter to You. (THF114187)

 

After a long winter, we all naturally welcome the signs of spring! I've selected these greeting cards and photographs from our collections that represent a return to warm weather and new growth in nature.

Easter greeting postcard, circa 1920. Artwork shows biblical story of three women and angel at the tomb of Jesus Christ. The message reads, "May this Easter be for you A time of Joy and Gladness." (THF114197)

Many people celebrate the Easter holiday as a time to attend church followed by a family gathering. Easter, a Christian ceremony observing the resurrection of Jesus Christ, has also become popular as a secular celebration of the arrival of spring.

Trade card advertising Rosenbloom Brothers business establishment of Providence, Rhode Island, 1882. The artwork features children playing around a gigantic egg, decorating it with a flower garland, ribbons and a U.S. flag. (THF114209)

Mailing family and friends Easter greeting cards and children waking up the morning of Easter to eggs and candy brought by a rabbit are two examples of activities that became popular in the United States by the 1880s.

Oval-shaped photographic print mounted onto gray cardboard, circa 1895. The photo depicts two young children, probably a sister and brother, holding Easter baskets full of candy in rabbit and egg forms. (THF114216)

 

Snapshot photograph printed April 1957. Featuring a man and baby girl, probably dad and daughter, dressed in their Easter best with a fancy Easter basket. They are outdoors in a yard with daffodils in bloom. (THF114228)

Publishers made greeting cards with themes of a religious nature, but many cards reflected less spiritual, earthly themes of flowers, eggs, rabbits, baby animals and birds that signaled the return of spring.

Easter greeting card, used April 12, 1936. Artwork shows a rabbit holding a radio script and talking into a broadcasting microphone. The message (starting on the front and continuing onto the inside) reads, "I'll Tell the World / I'm Wishing You a Real Happy Easter!" (THF114175)

 

Easter greeting card, made circa 1950. Featuring an Easter basket overflowing with spring flowers and a sleeping kitten, the greeting reads, "From Friend to Friend an Easter Wish." (THF114172)

For more examples of Easter images, go to our online collections and search Easter. I hope this brief journey through time with Easter-related images brings you a breath of springtime!

Cynthia Read Miller is former Curator of Photographs and Prints at The Henry Ford.

Easter, photographs, holidays, correspondence, by Cynthia Read Miller, archives

The collections of The Henry Ford include many artifacts related to famous innovators and revolutionary inventions, but we also include humbler artifacts that tell the story of day-to-day life in America. With the Easter holiday approaching, we’ve just digitized a number of related items, as selected by Cynthia R. Miller, Curator of Photographs and Prints. Her choices include this 1973 photograph of young boys wearing bunny ears, as well as additional photographs, greeting cards and postcards, advertisements, and other items. View all of this newly digitized material by visiting our digital collections.

Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.

Easter, holidays, digital collections, by Ellice Engdahl

Love Tokens in the Late 18th and Early 19th CenturiesAs we celebrate Valentine’s Day, many of us eagerly anticipate tokens of affection from our loved ones. These may take the form of a simple Valentine card, flowers or perhaps, chocolates. The luckier among us may receive something more expensive and lasting, such as a piece of jewelry. Jewelry presented as an expression of love has a long historical precedent and is well represented in the collections of The Henry Ford.

The most fascinating form of jewelry created as a love token started as what we would describe as a “fad” in the late 18th century. Today we might consider these disembodied eye portraits as bizarre or jarring. But they get at the heart of the very private nature of the intensity of feelings between two people, by means of an individualized portrait of a beloved’s eye. The idea was that a sweetheart would be reminded of their lover’s watchfulness. Throughout human history eyes have always symbolized mirrors to the soul. They are as intimate a token as two people could find.

The story begins with British royalty. In 1784, George, the Prince of Wales, son of George III, later to become the Prince Regent, eventually George IV, became enamored of a young Catholic widow, Maria Fitzherbert, whom he was forbidden to marry, both by law and by his father. Against her wishes, he pursued her. Recognizing the impossibility of the match, she fled to France for a year, believing that her absence would lessen the Prince’s amorous feelings. To the contrary, the Prince became more infatuated and more determined to marry Mrs. Fitzherbert. At the end of the year he sent her a marriage proposal. Instead of including a ring, he sent a miniature portrait of his eye. Apparently, she was so taken with his gift that she immediately returned and married the Prince in a secret ceremony, late in 1785. Shortly after the marriage, Maria commissioned the same miniature artist to paint a portrait of her eye for her new husband. This created a fashion among British aristocrats for eye portraiture. Of course, when King George III discovered the illegal marriage, he immediately annulled it. Thus, the eye portraits became even more important as symbols of intimacy and perhaps, forbidden love. As a coda to the story, although forced to marry another, George remained in contact with Maria for the rest of his life. It is said that George is buried with Maria’s eye portrait.

The popularity of eye portraits extended beyond the shores of the British Isles. In France, they took on political connotations and were said to function as discreet symbols for meetings of revolutionaries. Few eye portraits were made for Americans – they were associated with the hated British monarchy in the decades following the Revolution. Today, scholars estimate that there are no more than 1,000 of these tiny pins extant.

This eye portrait, when magnified, appears to be a male. The carelessly drooping hair of the eyebrow appears to be a characteristic associated with a man. A lady would have presented herself in a much more genteel manner. We will never know the identity of this person. That is the essential enigma of the piece – and of eye portraits in general.

The Henry Ford jewelry collection holds a number of other, less obvious love tokens. Roughly contemporaneous with the eye portrait, these tokens were likely shared between lovers while alive, and after the death of one likely served as a memorial pin. This oval pin portrays a young lady carrying a wreath, a symbol of eternity, to an altar with the inscription “To Love.” On the altar are two cups, perhaps loving cups. Above, two birds hold a loosely knotted ribbon or string binding them together. Perhaps the most telling element of the piece is the inscription on the back reading “My love is true to none but you.”

The imagery on these pins also seems to relate to love tokens, visually suggesting that “my heart burns for you.” They are painted in different styles; the image at the left is much more finished. The image at the right has the inscription “Sincerity” on the altar.

In the centuries before the development of modern medicine, death came quickly and often. Because of this fact, the line between tokens of affection and mourning pieces became blurred. In most cases, love tokens hold signs and symbols legible only to the couple. We will never fully understand the meaning of these pieces. Unlike mourning jewelry, they do not give us names, initials or dates of the deceased.

Moving somewhat forward in time, snake motifs were popular with Victorians and are often seen on bracelets. Like wreaths, the snake was a symbol for eternity. The fact that this piece holds a plaited snippet of human hair indicates that it may have served as a memorial. The red cut stone, perhaps a garnet, was a favorite of the Victorians in both mourning and non-mourning jewelry. Consequently, it is likely that the piece was produced as gift and continued as a memorial piece.

In all, The Henry Ford’s jewelry collection holds some remarkable tokens of affection, most notably the eye portrait, but also several enigmatic pieces of the early 19th century.

You can learn more about eye portraits in sources such as the recently published book, The Look of Love: Eye Portraits from the Skier Collection.

Charles Sable is Curator of Decorative Arts at The Henry Ford.

decorative arts, by Charles Sable, jewelry, Valentine's Day, holidays

Was there a group better than The Beach Boys to write so longingly about the automobile? (Object ID: 87.170.1)February is upon us and, with Valentine’s Day in the offing, our thoughts turn to love. Red roses and paper hearts are fine, but to me nothing is quite as romantic as a love song. Whether it’s from an old master of the Berlin-Gershwin-Porter variety, or from one of today’s stars, a simple love song communicates emotion in a wholly unique way. Anyone who has explored the “Car Tunes” activity in Driving America knows that automobiles have been a staple in popular songs from the start. It was inevitable, then, that the car song and the love song would blend. In the spirit of the holiday, I thought I’d share a few of my favorites.

Many words have been written on the automobile’s effects on our courtship rituals. (See John Heitmann’s The Automobile in American Life for a good discussion.) Prior to the car, a young man “called” on a young woman at her home under her mother’s watchful eyes. The couple might find a few moments of privacy on the front porch, but that was about it. The automobile threw the old rules out the window and gave couples a literal escape from the confines of the home. It either took them somewhere where they could, ahem, be affectionate, or was itself the place for their amorous activities.

Kenny Roberts, the Yodeling Cowboy, voices this shift in his 1949 hit “I Never See Maggie Alone.” As the title suggests, Kenny can’t get a private moment with Maggie – her large family is always there. He buys a car for a little seclusion, takes Maggie for a ride, but… Well, I won’t spoil it for you, but you probably know what happens. Fast forward 30 years and you’ll find Robbie Dupree covering the same ground in “Hot Rod Hearts” from 1980. Times have changed, though. While Kenny and Maggie were merely “huggin’ and kissin,” Robbie has “young love born in a backseat.” One suspects there’s more than innocent necking at play.

When the car isn’t providing young lovers with a means to get away together, it’s often the means to bring them together. Many tunes tell of someone driving through the night to reach a significant other. Cyndi Lauper made a big hit out of this very scenario with 1989’s “I Drove All Night.” It’s been an enduring song, with subsequent hit versions from Roy Orbison and Celine Dion. (Celine’s version even backed a series of Chrysler commercials in the early 2000s.)

Classic Rock fans recognize the “drive to romance” concept from Golden Earring’s 1973 smash “Radar Love.” While the title refers to the lovers’ seemingly telepathic connection, the opening couplet is pure road song: “I’ve been drivin’ all night, my hands wet on the wheel / there’s a voice in my head that drives my heel.” Country fans, meanwhile, might be reminded of Dave Dudley’s 1963 cut “Six Days On the Road.” In this case, the narrator is a professional truck driver longing to get home, but the sentiment is the same: “Well it seems like a month since I kissed my baby goodbye… My hometown’s comin’ in sight / If you think I’m happy you’re right / Six days on the road and I’m a gonna make it home tonight.”

Tom Waits puts a nice spin on the situation with his 1973 song “Ol’ 55” (memorably covered by the Eagles in 1974). Instead of driving his car to his lover, he’s driving back home from his lover. So warm is the afterglow that traffic is a “parade” as he rides “with lady luck.” In the song itself, Waits never identifies his vehicle beyond a model year. In subsequent interviews, he’s pegged it as a 1955 Buick Roadmaster, but I still picture a Chevrolet.

Chuck Berry is often cited as “rock and roll’s poet laureate.” His witty lyrics helped to establish rock’s very structure during the formative 1950s. It’s no surprise that Berry created some memorable car songs. His very first hit, 1955’s “Maybellene,” is one of the genre’s best. We find Chuck cruising in his hot rod Ford V-8 when he spies the eponymous Maybellene in her Cadillac Coupe de Ville. They race down the highway, “bumper to bumper, rollin’ side to side.” An overheated engine threatens to end Chuck’s race, but a well-timed cloudburst cools his flathead and allows him to catch the Caddy at 110 miles per hour. While the race goes Chuck’s way, the “Why can’t you be true” chorus suggests that the romantic relationship doesn’t work out so well.

Brian Wilson and the Beach Boys are rightfully credited as the masters of the car song. They gave us “Little Deuce Coupe,” “I Get Around,” “Custom Machine,” “This Car of Mine,” “Shut Down” and a host of other hot rod hits. (And really, who else but the masters could have written a song – and a good one at that – inspired by engine displacement?) But Wilson & Co.’s genius with the genre is perhaps most evident in the haunting “Don’t Worry Baby.” Casual listeners will hear the oft-told tale of a man who draws strength and support from his significant other. Those who listen more closely, though, will hear a song about… a car race! Brian boasts about his car, talks himself into a race, and shares his apprehensions with his love. She reassures him – makes him come alive, makes him want to drive – when she shares the titular advice. One of my favorite things about the song – apart from that deft modulation from E to F# between verse and chorus – is the ambiguity in the ending. We never do find out if Brian wins his race, but I suppose that’s beside the point. “Don’t Worry Baby” is the rare track that thick-skinned gear heads and sensitive poets can both embrace.

Among the most atmospheric car/love songs has to be 1984’s “Drive” by the Cars. (And, by the way, how’s that for title/artist synergy?) While the song is open to wide interpretation, I think of it as being about a relationship strained by chemical dependency. The central question, “Who’s gonna drive you home,” is rhetorical. The narrator pleads that his lover “can’t go on / thinkin’ nothing’s wrong” as he watches her self-destruct. If he leaves, then who will be left to care for her? “Drive” isn’t a roll-down-the-windows and rock-down-the-highway hit, but it is a reminder that car songs can be subtle.

Maybe the best twist on the car song/love song style is when the car itself is the object of the singer’s affections. Dan Seals’s 1985 country hit, “My Old Yellow Car,” is the perfect example. It’s a sentimental ballad in which, despite all of his fame and fortune (he’s “got a Mercedes-Benz with a TV and bar”), the thing Dan pines for most is his first car. Even though “she weren’t much to look at / she weren’t much to ride,” this yellow car made young Dan the king of the world: “There was no road too winding / there was nowhere too far / with two bucks of gas in my old yellow car.” It’s emotional stuff, and by the end of the song we realize just what that first car represents. It’s more than empowerment and independence; it’s a talisman of lost youth. There’s a reason we all get nostalgic about our first rides, no matter how humble they were.

Enjoy your Valentine’s Day everyone. Light a few candles, open a bottle of wine, and put together your own playlist of favorite car-related love songs. It’ll put you in a romantic mood – and tide you over until its time to pull the classic out of winter storage.

Like the songs you heard here? Watch them on YouTube or log into Hypster and listen to the whole list.

Matt Anderson is Curator of Transportation at The Henry Ford

holidays, by Matt Anderson, music, cars

Earlier this month I was sent this blog post from Target showcasing some of their holiday ads from the past 60 years. From Christmas tree-filled print ads to YouTube-ready TV commercials, the post was a hit with many of my co-workers here at The Henry Ford.

The post got me thinking to some of my favorite holiday memories of THF. Growing up in southeastern Michigan, my parents were (and still are) proud members of Henry Ford Museum and Greenfield Village. One of our Christmas traditions every year was to visit the museum on Christmas Eve. We looked forwarded to making ornaments, adding our names to the huge visitor paper chain and, of course, taking our family picture by the Christmas tree.

As I thought about my favorite memories here, I wondered what kind of holiday programming memorabilia we had in our collections? Turns out, there's quite a bit!

Take a look at just a few samples of holiday programming from over the years at The Henry Ford.

Visitors to Greenfield Museum in 1964 were treated to "period decorations" for the first time. What could guests expect as they toured the Village? From this 1964 pamphlet:

Appropriate Christmas decorations, authenticated in each instance by careful research, have been installed in the 17th-century Cotswold Cottage, the 18th-century Secretary House, and the 19th-century Noah Webster House, Wright Homestead, and Ford Homestead, as well as in the Clinton Inn and the Martha-Mary Chapel. These buildings will be highlights of the regular guided tours during the holidays.

In the mood to learn more about crafting? Henry Ford Museum was the place for you during Christmas 1976! During the holiday season guests could learn about toymaking, counted thread embroidery, lace making, crewel embroidery, Christmas card painting, quilting, tinsmithing, broom making, candle making, glass blowing, weaving, doll making, cookie baking, basket making AND tole painting. Phew!

Need to know more about what was going on in the museum that year? Dial the Village Party Line!

In the 1980s, visitors enjoyed "Yuletide Evenings" in Greenfield Village, complete with sleigh ride tours and dinner inside Eagle Tavern.

While you might not think of a safari when you first think of the museum, children were definitely on the lookout with Santa in 1986 thanks to this holiday scavenger hunt. Chances are pretty good that I was one of those kids!

In the 1990s, the holidays were all about being a "unique event" in the museum and Village.

Does this sound more familiar? This dinner reservation form for Holiday Nights in 2005 offered holiday fun for groups of all sizes in Greenfield Village.

Did you ever attend any of these events? Make sure to let me know!

Lish Dorset is Social Media Manager at The Henry Ford. The ornament pictured in this blog post still hangs on her parents' Christmas tree.

21st century, 20th century, Michigan, Dearborn, holidays, Holiday Nights, Henry Ford Museum, Greenfield Village, events, Christmas, by Lish Dorset

Lights have been a part of the Christmas tree tradition since at least the seventeenth century, when German families decorated evergreen boughs with wicks burning in tallow, oil, or more expensive wax. By the 1800s, candles had become commonplace in German and American homes, and people devised clever ways to affix them to Christmas trees.

Some selected long, thin rope candles that could be wrapped around Christmas tree branches. Others used wire to secure thicker candles, “glued” them to the tree with melted wax, or stuck them to branches using tacks or stick pins. The first commercially manufactured Christmas tree candleholders employed the stick pin method but offered additional support—turned-up metal tabs that held the candle.

Into the nineteenth century, innovators sought a remedy for dripping wax—a perennial holiday annoyance. A home lighting technology, the bobeche, or wax-catching dish, was patented for Christmas trees in 1867. Christmas tree candleholders soon featured crimped tin bobeches and wire or sharp tacks that united candle, wax-catcher, and tree branch.

As one might imagine, the clunky combination of tall candle, flimsy tin, and drooping branch—secured only by a bit of wire or small tack—lacked stability. Candles that leaned, even slightly, dripped wax onto ornaments or the floor. They were also potential fire hazards.

On Christmas Eve 1867, New Jersey inventor Charles Kirchhof received a patent for his counterweight candleholder—a solution to the tilting candle problem. Kirchhof designed a candleholder that hooked simply over a Christmas tree branch. Beneath it, a weight suspended from a wire ensured that the candle stayed upright. The effective, attractive design was a hit.

But the weight that made Kirchhof’s design so effective and so popular was also its biggest flaw. Counterweighted candleholders were heavy. They couldn’t be hung from small or dry boughs and caused even healthy branches to droop, sometimes sending a lighted candle tumbling into the tree or onto the floor.

In New York, inventor Frederick Arzt worked to improve the Christmas tree candleholder. In 1879, he introduced the spring clip candleholder. Light, reliable, and available in a variety of eye-catching designs and colors, the Christmas candle clip would remain prevalent into the 1920s.

These are Christmas Lights?

Candles weren’t the only nineteenth-century lighting source, even for the Christmas tree. Manufacturers applied other existing technologies, producing Christmas tree lanterns made of tin or thin glass. One inventor even patented a miniature Christmas tree oil lamp. A very early and popular American alternative to candleholders were glass “Christmas lights,” manufactured to be hung with wire from Christmas tree branches. Beautiful patterns in the clear or colored glass reflected light from inside, where a wick burned in cork or wood floating atop oil or water.

After Electricity

The Edison Electric Company released the technology that made electric Christmas lights a possibility in 1879, but American and German companies produced Christmas tree candleholders into the 1920s. Candle clips remained common, although they became less colorful and much simpler in form. Manufacturers continued to experiment, using soft wire and strips of tin in search of ever-safer designs.

Eventually, as electrification reached more American households and people gained trust in the new technology, electric Christmas tree lights caught consumers’ attention. Manufacturers wisely advertised the advantages of electric Christmas lights over candles: strands of electric lights (called “festoons”) could be turned on or off all at once—even better, they could stay lit for any desired amount of time with minimal attention. By the 1930s, Americans had made the switch from Christmas tree candles to electric Christmas lights—but the spirit of innovation that drove the development of Christmas tree candleholders lives on.

Saige Jedele is Associate Curator, Digital Content, at The Henry Ford.

20th century, 19th century, holidays, Christmas, by Saige Jedele

The American celebration of the holiday season (Christmas and New Year's) has evolved over several centuries and today offers us a wide range of customs and practices. Holiday Nights in Greenfield Village embraces many of these historical traditions and brings them to life 14 evenings in December each year.

One interesting custom, now most associated with New Year’s Eve, was the “shooting in of Christmas.” In the decades just prior to the Civil War, both urban and rural Americans took part in similar activities on Christmas Eve, Christmas Day, and New Year's. All these activities had the same goal in mind - making as much noise as possible. In rural areas, which made up much of what was the U.S. in the 1840s and 1850s, guns were the noise makers of choice. Either as an individual, shooting to make their presence known, or as a gang roaming from farm to farm shooting a coordinated volley just outside an unfortunate’s occupant’s window, bringing in the holiday as loudly as possible was met with much enthusiasm.

In urban areas these activities were even more intensified. For instance, in 1848 it was noted that in Pittsburgh “the screams of alarmed ladies, as some young rogue discharges his fire crackers at their feet” augmented the din created by “juvenile artillerists” who have invaded that city at Christmas time. “Wretched is now the youngest who cannot raise powder; and proud, indeed, is the warlike owner of a pistol…”* All manner of home-made explosive devices, including crude rockets, flares, and roman candles were highly prized and used in great abundance to welcome the holiday.

The larger-scale firework displays we are more familiar with today have origins in the 18th century and “illuminations” involving large bonfires and aerial fireworks were popular in London for special celebrations throughout that century. They became popular in America even before the American Revolution and through the end of the 18th century and well into the mid-19th century, marking special occasions well beyond just the Fourth of July. Today, this tradition of making noise has been relegated to New Year’s Eve.

During Holiday Nights, we celebrate the finale of each evening with a fireworks display.

* Restad, Penne L., Christmas in America, Oxford Univ. Press, New York, 1995, pp.39-40.

Jim Johnson is Director of Greenfield Village at The Henry Ford.

1850s, 1840s, 19th century, holidays, Holiday Nights, Greenfield Village, events, Christmas, by Jim Johnson

It lasted only nine years, from 1953 to 1961. Yet, many long-time Dearborn residents remember the Ford Rotunda’s Christmas Fantasy with nostalgia and a fierce sense of pride. After all, this great extravaganza of all things Christmas was staged in their own community by the company that Henry Ford—their favorite hometown-boy-made-good—had founded.

What was the Christmas Fantasy and why was it so memorable? The story starts back in 1934, at the Century of Progress Exposition in Chicago.

 

 

Rotunda Origins

When Henry Ford decided that his company needed to have a showy building at the 1934 Century of Progress Exposition, he turned to Albert Kahn, his favorite architect. Kahn had designed Ford’s Highland Park Plant, Rouge Plant, and the classically-styled Dearborn Inn. But, for this exposition building, Kahn broke completely from traditional architectural styles and designed an imposing cylindrical structure that simulated a graduated cluster of internally-meshed gears.

By the time the Century of Progress Exposition closed its doors in 1934, Henry Ford decided that the central gear-shaped structure would be perfect for displaying industrial exhibits back home in Dearborn. He intended to re-erect the structure in Greenfield Village, but his son Edsel persuaded him that it would serve a far better purpose as a visitor center and starting point for the company’s popular Rouge Plant tours. The newly named Ford Rotunda found a suitable home near the Rouge Plant, across from the Ford Administration Building on Schaefer Road.

In 1953, as part of its 50th anniversary celebration, Ford Motor Company executives decided to give the Rotunda and its exhibits a complete renovation. The new industrial exhibits and changing car displays were popular. But its biggest draw became the annual Christmas Fantasy.

A Walk through the Christmas Fantasy

Just inside the entrance to the Rotunda, the holiday mood was immediately set by an enormous live Christmas tree. This 35-foot-tall tree glistened with thousands of colored electric lights.

Stretching along one wall was the display of more than 2,000 dolls, dressed by members of the Ford Girls’ Club. These would later be distributed by the Goodfellows to underprivileged children.

 

 

 

 

The Rotunda’s Christmas Fantasy became perhaps best known for its elaborate animated scenes. These were created by Silvestri Art Manufacturing Company of Chicago, who specialized in department store window displays. Santa’s Workshop—an early and ongoing display—featured a group of tiny elves working along a moving toy assembly line.

 

 

Over the years, these scenes became ever-more numerous and elaborate. Life-size storybook figures like Hansel and Gretel, Robin Hood, Wee Willie Winkie, and Humpty Dumpty pivoted back and forth in atmospheric Christmas and winter settings. In 1957, two animated scenes were added to the doll display: a Beauty Shop, where two beauty-operator elves “glamorized” a pair of dolls and a Dress Salon in which mechanical elves operated a sewing machine and iron. More displays were added in 1958. In the Pixie Candy Kitchen, animated workers turned out large chocolate-covered delicacies. A Bake Shop featured animated bakers kneading dough, trimming pies, mixing cakes, and baking bread and cookies. An animated fiddler and banjo player accompanied a group of square-dancing elves in a barn dance scene. In 1960, jungle animals in cages with peppermint-stick bars joined the other animated scene

 

 

An “outstanding new attraction” in 1958 was the 15,000-piece miniature animated circus, created as a hobby over a 16-year period by John Zweifel, from Evanston, Illinois. This hand-carved circus came complete with performing animals, a circus train, sideshow attractions, carnival barkers, and bareback riders. Larger-size animated circus animals and a clown band provided the backdrop for this popular attraction.

In the Rotunda’s walled-off inner court, the mood became more reverent. At the entrance to this court, visitors passed through a cathedral façade, with carillon music ringing from 40-foot spires. Inside the court was a Nativity scene with life-size figures. During an era in which stores and other businesses were closed on Sundays, this scene was considered “so beautifully and reverently executed” that the Detroit Council of Churches allowed Ford Motor Company to keep the Christmas Fantasy open on Sundays during the Christmas season. An organ set alongside the Nativity scene provided Christmas music while Detroit-area choral groups gave concerts here periodically.

 

 

Of course, visiting Santa was a highly anticipated activity for children at the Rotunda. Santa awaited each eager child high up inside a colorful multi-story castle, accessible by a curved ramp.

 

 

 

 

Finally, a visit to the Christmas Fantasy was not complete without a viewing of Christmas cartoons in the Rotunda’s newly renovated auditorium and a stop to see Santa’s live reindeer.

 

 

Up in Flames

Tragically, the Ford Rotunda burned down on November 9, 1962, when a waterproofing sealant of hot tar accidentally caught the roof on fire. The intense heat caused the building to collapse and burn to the ground in less than an hour. Fortunately, a wing housing the Ford Motor Company Archives survived.

 

 

Most of the already-installed Christmas Fantasy became a charred ruin. The doll display and miniature circus had not arrived yet. To help local residents come to terms with this tragic loss, Ford Motor Company invited the public to a tree-lighting ceremony that year in front of its Central Office Building on Michigan Avenue (now Ford World Headquarters). A Press Release for the event announced that Santa would be on hand to turn on the 70,000 lights that decorated the 75-foot Christmas tree—the tallest tree they could find for the occasion.

The Ford Rotunda’s Christmas Fantasy was never revived. But it lives on in vivid memory to the many people who had seen it. In fact, to hear long-time Dearbornites talk about it, you’d think that it had happened only yesterday!

Check out this short film to catch a glimpse of the 1955 Rotunda Christmas Fantasy.

Donna R. Braden is Senior Curator and Curator of Public Life at The Henry Ford.

1960s, 1950s, 1930s, 20th century, Michigan, holidays, Ford Motor Company, Dearborn, Christmas, by Donna R. Braden