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George May Phelps and the Magic of Smartphones
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Are smartphones magic? As you hunch over your smart phone and scroll through your social media feed, do you ever stop for a moment and think just how in blue blazes does this thing work? Probably not. That is, until it *doesn’t* work.
Thanks to this job, I actually think about it a lot. As I continue opening boxes and cataloging the Rothschild patent model collection, each day I look at these steampunk-like contraptions and try to figure out how they work. I am constantly amazed by the genius of some of these men and women and the lasting impact of those old jumbles of wood and metal.
One of these “magicians” was George May Phelps. I recently discovered that Hagley owns the patent model for one of his most celebrated inventions, the Combination Printer. Not only is it the ancestor to that printer sitting there in your office, but many of the devices so critical to our Information Age owe a debt to its inventor—including that smartphone glued to your hand.
In the age of the telegraph, there were two ways to receive messages: write it down or connect the telegraph to a printer. Trouble was, both used Morse code. At least one trained operator was needed to send and another to translate the message. If the printer was used, another person called a “Grinder” turned a crank that powered the printer. The printers were complicated machines that often broke down, were difficult to repair, and slow and expensive to build.
Phelps fixed all that. An expert machinist that manufactured and assembled those ornery telegraph printers, Phelps was hired by The American Telegraph Company (later part of Western Union) in 1855. They recently bought the rights to a new type of printer and asked him to fix its problems. He took the best of the old machine, some of the new one, and added components of his own. In a rare moment of humility in the Age of Invention, he called it the “Combination” printer thereby recognizing how the other machines influenced his design.
Phelps’ improvements increased the speed, reliability, and durability of the machine. Best of all, no special operators were needed. Instead of Morse code, it used a lettered keyboard, printed in regular type, and its powerful electromagnets could be hooked up to any power source. It sent messages at about 60 words per minute on some of the highest traffic lines in the nation for decades. Even after printing over 5,000 miles of paper, the components showed little wear. One Phelps printer was still working into the 1920s! Do you expect *your* printer to work for 50-plus years?
Phelps is remembered as one of the leading inventors of early communications components. He worked closely with Thomas Edison—even going so far as to build some of his patent models. Besides the telegraph, Phelps’ designs ensured the success of the telephone and the stock ticker. Phelps even set New Yorker’s watches by creating a device that used a telegraph signal to drop a ball mounted on a pole high above the city skyline precisely at noon.
Ta-da!
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Colonial Revival Furnishings & Hooked Rugs
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When someone takes a tour of a historic house that has many hooked rugs on display, chances are good that they represent the Colonial Revival style which was at its peak in the 1920s and 1930s. Louise du Pont Crowninshield, who was the last du Pont to occupy Eleutherian Mills Residence, was one of the leaders in the historic preservation movement at that time and specialized in decorating the historic houses she supported as well as her home – Eleutherian Mills Residence in this style.
Louise used a lot of hooked rugs in her public spaces. These rugs added color, striking designs, and warmth to each room. They were prominently featured in the first-floor rooms (Morning Room, Parlor, Dining Room and Smoking Room) [Link](https://digital.hagley.org/HF_E27_062?solr_nav%5Bid%5D=f53c0b62a5541cf79714&solr_nav%5Bpage%5D=0&solr_nav%5Boffset%5D=1) and the second-floor bedrooms. Even with the Colonial Revival style in the public spaces and bedrooms of the house, Louise went modern with the fixtures of the bathrooms, kitchen, and laundry at that time.
Originally, hooked rugs were made for hearth use to catch sparks that might leap out from the fire in the fireplace. By the 1840s, women were hooking rugs throughout the New England States for use in their homes. Earliest designs were made from hand-drawings or free form. Printed designs became available in the 1850s. But it was the use of burlap becoming available after the Civil War that made these rugs much easier to make. The most popular designs were florals as seen below.
Louise’s collection totals more than ninety hooked rugs which date from 1840 to 1925. They were purchased at antiques shops. She was well known throughout the eastern seaboard states for her passion for antiquing. Note that the dates of hooked rugs were made after the Colonial period. The Colonial Revival style was a romanticized view of the past, so this is one of the exceptions to using earlier colonial pieces.
Most of Louise’s hooked rug designs are entirely floral but she did have other favorites including dogs as seen above. Other designs include geometrics, horses, cats, eagles and other types of birds, houses and one sailing ship. There are always around twenty of her hooked rug collection on display at Eleutherian Mills Residence.
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A Mystery Box
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When we acquire objects for the collection here at Hagley, we do so because they fit with our collecting priorities and support our mission, or if we’ll use them in upcoming exhibits. Occasionally, though, they are a little mysterious.
That’s the case with the latest addition to our collection. The object tells an interesting story and is perhaps connected to the du Pont family…perhaps.
This box may look like an ordinary box, but it’s actually a very rare object. This is a document box used by the Stockton Artillerists when they served in the [Mexican-American War](https://en.wikipedia.org/wiki/Mexican%E2%80%93American_War). In the box, was a tag with a note stating that it belong to the wife of Francis N. Buck, the mother of Gov. C. Douglass Buck of Delaware, and to Alice du Pont Buck, his wife.
But, who were the Stockton Artillerists?
The Stockton Artillerists were a Volunteer Militia Company from in Mauch Chunk (now Jim Thorpe), Pennsylvania and named after Capt. [Robert F. Stockton](https://en.wikipedia.org/wiki/Robert_F._Stockton) of the U.S. Navy.
Volunteer Militia Companies were formed in response to the perceived ineffectiveness and vices of the regular militia in the early 19th century. Many of the semi-annual militia meetings, or musters, seemed to have turned into excuses to indulge in plenty of drinking and very little military training- parodies of them abounded.
The Volunteers were different, these groups incorporated themselves into companies, and provided themselves with uniforms, equipment and weapons. Hence, they often took their duties more seriously. Volunteer Militia Companies came to be very popular in Pennsylvania, New York and other states, and were a way for people to show-off their patriotism and civic or ethnic pride.
The Stockton Artillerists answered the call for volunteers to fight in the Mexican-American War on December 24th, 1846, and marched from Mauch Chunk to Philadelphia, then Baltimore, finally arriving in Pittsburgh on New Year’s Day, 1847.
There, they were mustered into Federal service as Company K, 2nd Pennsylvania Volunteers and would go on to serve with Gen. Winfield Scott’s army that besieged Veracruz, fighting in the Battles of Cerro Gordo and aiding in the assault on Chapultepec and marching into Mexico City.
So, how does it relate to Constance Margaret Douglass Buck?
Well, we don’t know. Looking at the rolls of the members of the Stockton Artillerists, we can’t seem to find anyone related to Constance, or her future husband, Francis N. Buck. So how did they come into possession of this box? We don’t know, but hopefully further research will illuminate the connection between the Stockton Artillerists and the du Pont Family.
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