19th Century Mourning Rituals and Customs

C.A. Asbrey

In the 19th century the average life expectancy was much shorter than it is today. That was not to say that everyone pegged out in their fifties, but rather that the high rate of infant mortality dragged down the average age by a considerable margin. As did infection, childbirth, and a lack of access to modern medicine. If you lived in a major city, you could expect to see funeral most days, The Victorians lived with death in a way their ancestors would recognise, and most of the rituals and traditions came directly from their own past. True to form though, they added their own twist as modern inventions allowed them to immortalize their loved one with photographs, trains allowed corpses to be transported over long distances, and sewing machines gave people more access to the clothing required to dress according the rigid strictures of the day.

In a less secular society, many were convinced of their place in heaven, and were therefore more afraid of not being properly mourned than of death itself. Not being mourned meant that not only were you not loved, it spoke of a lack of social position, and told the world that your life didn't matter. The romanticism of the time congealed into a morbid ritualism. A show of exaggerated grief was a mark of gentility, and the new middle classes embraced it with enthusiasm. 

The rules for who wore what, and for how long, were complicated, and were outlined in popular journals or household manuals. They gave copious instructions about appropriate mourning etiquette. If your second cousin died, and you wanted to know what sort of mourning clothes you should wear and for how long, you consulted The Queen or Cassell’s or other popular manuals. Not all deaths required the same length of mourning. It was important to get it right.

During the American Civil War the unprecedented loss of life meant that many soldiers went unidentified, and were buried at the site of the battle. The prohibitive cost of transporting the bodies home were also beyond the reach of many families. One Connecticut father remarked to a local newspaper that transporting his son’s remains from Washington, DC, to Winsted cost $125.00—almost $2,000 in today’s money—and the trip was not possible without “the personal attendance of some friend, and every step is attended by some incidental expense.” This meant that those who were being repatriated were treated as a kind of surrogate target for mourning. Crowds flocked to the trains, at every stage of the journey, to pay their respects to the men they never knew in an outpouring of public grief which marked their own personal loss - a loss they couldn't mark with the burial of their own loved one, as he was lost in some distant battlefield.      

Corpse preserver 

Women were seen as vessels for grief, and the restrictions on their dress and behavior were greater than they were for men. For men a dark suit would do, and they were able to back to their normal clothes in a very short period of time. The black applique to the lapels, which is still seen today as a fashion item, first came to prominence during the French Revolution among mourning Aristocrats in England. This could be worn either with, or without, the addition of a black crepe armband. The armband first came into use in England in the 18th century when regiments began wearing a fixed uniform for the first time. Before the 18th century not all servants or soldiers wore a standardized dress, and many soldiers only shared a common type of coat or headgear. The armband should be worn on the top of the left arm, and should be worn for a period of a year. Some army regiments and sportsmen wear them on the right so as not to cover insignia, or to be confused with a leader's armband. The use of an armband was a handy way for soldiers, servants, and the poor to signal their mourning, without the cost of replacing their uniforms or normal clothing. A black diamond of fabric could also serve the same function.  Children were not expected to wear mourning clothes beyond the day of funeral itself, and girls often wore white dresses on the day. Women were not so lucky.

It's a popular misconception that everyone wore black to the funeral. In fact, that would have been considered very rude. Muted shades were suitable, but deep black was reserved for the family only. When attending a funeral, men would wear a black armband, and women would wear a black cockade on their left arm. 

Note the black cockades on the women and the armbands on the men

Black was their shield from society at a time of grief. It gave them space and time to come to terms with their loss. Widows were not even expected to shop for the basics, with relatives and neighbors stepping in to assist. The house was kept quiet, clocks were stopped at the time of death in the room where the deceased was laid out for visiting. Mirrors were covered in black crepe, blinds were drawn, doors were dressed with a wreath and more black crepe, stationary had a black border, and door bells were muted. It was even known for the street outside to be strewn with reeds to mute the sound of traffic as it traveled by the home of the bereaved. The Victorian street was a very, very noisy place - probably more so than the modern version, and the mourning family had to be relieved of the stress of the cacophony. Visitors would bring flowers and cards trimmed with a black border. Some may even sign a book of condolence.     

'The whole rhythm of dress conventions could be disturbed by funerals which did not obey the dictates of the calendar. 'The finer shades of mourning', we learn, 'were the test of the Perfect Lady.' Even at weddings, where only brides worse veils, many wedding dresses were grey or lavender coloured, not white, as a sign of half mourning.' [Briggs, 1988: 265]      

Businesses were quick to capitalize on the need for a full mourning wardrobe, making much of the fact that it was considered bad luck to keep mourning clothes. It made sure there was repeat business. Many older women followed Queen Victoria's lead and stayed in deep mourning for the rest of their lives. That in itself could create a problem, as black crepe tended to rust, before the invention of aniline dyes. Not only that, but the old black dye was based on arsenic and wore off on the wearer. The most dangerous dyes were green, red, blue and black.    

Writing to a correspondent in 1880, the paper had informed a young reader: 'Very little children are not "put into mourning" as it is termed ...'. In 1888 'a lady dressmaker' informed readers that widows need not wear a mourning cap and veil after the first six months but a large muslin collar should be worn for a year.' [Dixon, 1989: 145 giving extracts from the Girl's Own Paper ]

Mourning pertaining to women was in three stages: deep mourning, second mourning, and half mourning.

Mourning a spouse generally would last one to 2 ½ years

For a parent: 6 months to a year - Six months in crepe trimmings, three in plain black, and three in half-mourning.” Additionally, society activities would be given up for at least three months, although it was more likely they would be given up for nine months. 

For children over 10 yrs old: 6 months to a year

For children under 10 yrs: 3 to 6 months

Infants: 6 weeks and up

For siblings: 6 to 8 months Crepe for three months, plain black for two months, and half mourning for one month. Additionally, society activities would be given up for three months.

For aunts and uncles: 3 to 6 months - No crepe, but plain black fabric with jet ornaments. 

For cousins: 6 weeks to 3 months

For aunts or uncles related by marriage: 6 weeks to 3 months - Mourning was conducted without crepe, as it was for great aunts and uncles. 

Grandparents: 6 months - The first mourning (crepe) was worn for three months; second mourning, black without crepe, also worn for three months; and half-mourning for three more months. Additionally, society activities would be given up for three months.

For more distant relatives and friends: 3 weeks and up

In deep mourning, women were to wear black, and it had to be a dull hue, and not a lively black. Full veils allowed women not to worry about tears, mottled complexions, or other concerns such as hollowed out eyes through lack of sleep. Widow's bonnets had a long veil at the back and a shorter one at the front to cover the face. Crepe, should never be worn “by ladies or gentlemen just above the elbow, on the sleeve of ulsters and greatcoats. To do so would be very vulgar.”    

Jewelry was very dark, made of stones such as jet, or garnets. Alternatively, the hair of the deceased could be woven into intricate designs or chains, and silhouettes or other likenesses were acceptable. Mother of pearl was another popular material.

Jet mourning jewelry

By the second mourning, duller black silk fabrics were permitted and widows were allowed to divest their dress of some of their crepe, although not all, in order not to appear to have recovered too quickly. Crepe could be restricted to trimming dresses, capes and bonnets.

Half mourning was the last period, and it was characterized by the lightening of mourning clothes with white, gray, or lavender. Other colors were permitted in half mourning, such as dark blue, dark purple, gray, and lavender, gradually becoming lighter in shade as the period went on. The end of the period was called 'slighting mourning' and meant a return to normal clothing.   

In some ways ritualized mourning was as good as it was bad. Women, in particular were forced to constrain their enjoyment of life by social mores, instead of following their own instincts as to when they should return to normality. In others, it gave people space, and the visibility, for people to be understanding of their grief. It has to be said that most of this was the preserve of the rich. The poor could afford almost none of this, and certainly didn't have the luxury of not carrying on as normal.       

WW1 saw the end of many of these traditions and rituals. In the UK there wasn't a single family who did not lose a young man in the war, and other countries were also hit hard. Then the flu pandemic of 1918 killed even more - some estimates make the loss up to 100 million people. The obscene loss of life, coupled with the need to keep the country functioning meant that people simply didn't have the time to shut themselves away from the world. Life had to go on, and people moved on to a much simpler regime. We can be sure of one thing though. In the 19th century nobody would avoid a bereaved person, or wonder why they were finding it difficult to move on. There are still things we can learn from the Victorians.       

   

Innocent Bystander EXCERPT

A vacant-looking man with prominent yellow teeth walked into her field of vision, striding beyond the blinding sun and dragged her roughly from the horse. She had expected to be searched and had ruthlessly bound her body with bandages to try to flatten and conceal her breasts, but the man merely patted down her sides before turning his attentions to her jacket. He pulled out the pistol which had been loosely placed in her pocket and slapped his way down her legs. She was instantly glad she had foregone the Derringer she usually wore at her ankle. A concealed weapon was too risky.

“He’s clean.”

“Well, boy. It seems like you’re gonna get your wish, but if you’ve been messin’ with us and you ain’t Quinn’s kin, you’re gonna regret it. He don’t like to be messed with.”

Abigail felt her arms grabbed as she was roughly turned around and her carefully dirtied hands were bound behind her back, the rope biting deeply into her skin as it was pulled tight. They must have seen her wince as it provoked a chorus of laughter which rang in her ears.

“Looks like this life’s a bit too rough for you, sonny.”

 A thick, smelly bag was thrust over her head, obliterating the world, before she was lifted back onto her little colt and she felt herself led off to face the rest of the gang.

            

In Search of Geraldine Moodie by Elizabeth Clements #prairierosepubs

In Search of Geraldine Moodie – Elizabeth Clements

Once again, I’ve been amazed by the capabilities of one’s mind. Several times this past year when I’ve contemplated subject material for a blog, I’d thought of a woman who made quite a name for herself in this area more than a century ago. For the life of me, I couldn’t remember her name and thus wrote about something else. On Friday morning, while still warm in bed, I reminded myself to get my blog written that day and not get myself into a froth at the last minute. (You see, I was born a month premature and I haven’t been on time since.)

Suddenly the name Geraldine popped into my thoughts. Yes, I thought excitedly at the breakthrough— that’s her name. But what’s her last name? Then came the words “In Search Of” and I knew I was onto something. That was part of the book’s title. Keep digging, Brain.

I could search with key words like photographers, female photographers, Maple Creek (where she lived). Heck I even remembered the author, Donny White, our local museum curator back in the ‘90’s. Even bought the book and had it autographed. Okay, where’s the book? It should be with all my Alberta research books. However, Donny’s book is available on Amazon: In Search of Geraldine Moodie by Donny White. He also published a companion book with an extensive list of all her works.

I made breakfast, brought it to the computer and opened a blank page and suddenly her surname popped into my head. Moodie. This just proves what I’ve always said—the brain is an amazing filing cabinet with millions of pieces of information stored in compartments, which takes time to search through before memory shoots the desired information to the surface. Sometimes this delayed memory takes 30 seconds, or 30 minutes or even 30 hours. I think in my case, it’s more like 30 weeks! The wait, for me, is worth it, because I’d like to tell you a bit about this amazing woman. I just wish I could find the book. Here's a pic of the book on Amazon (Click HERE to read about the book): 

Geraldine Fitzgibbon was born on October 31, 1854 in Toronto, Ontario (which was known as Canada West). At an early age she showed an interest in photography, a passion that consumed her life. She married a distant relative, John Douglas Moodie, in England in 1878. They moved to Canada where they farmed for a while in Manitoba before relocating in Ottawa. (this is a self-portrait).

Her husband received a commission with the North West Mounted Police in 1885 and over the next thirty years, his postings took them across the western territories and as far north as the Yukon and the Arctic. And in all those travels by wagon, train, boat and dogsled, she lugged all her cameras and equipment through six pregnancies, taking thousands of photographs of ranching life, the mounted police in uniform, as well as the flora and fauna and portraits of the indigenous people of the west and the Yukon. When one considers the time this woman lived in, then her stamina is especially amazing.

In 1895 she was the first woman to photograph the First Nations annual Sun Dance celebrations.  This won her the attention of the Prime Minister who in 1896 commissioned her to photograph the sites of the Louis Riel Rebellion. She took many portraits of indigenous people in the Hudson Bay region as well as Regina, Saskatchewan (1904-1909). When her husband was posted to Maple Creek, District of Assiniboia (now known as Saskatchewan), she fell in love with the beauty of the Cypress Hills (where my trilogy is set). Just looking at the pictures of the overview of the Cypress Hills that my son took, one can well understand her love of the land and the people and how their culture became the major subject of her photographs.

While her husband was away mapping an overland route to the Yukon, she opened her second photography studio in Maple Creek in 1897 and a third in Medicine Hat to capture the people and the history of the region. Many of these photographs of early Canadian history are on permanent exhibit at the Glenbow Museum Calgary, Alberta and the British Museum in London, England. The town of Maple Creek has a museum which I hope to visit this summer. I’m sure this museum must contain a collection of her photography.

After her husband retired in 1917, they lived for a few more years in Maple Creek, then moved to Vancouver Island for a time, then to Calgary in 1944. Geraldine died on October 4, 1945 at the age of 99 years at the home of her granddaughter, the Countess of Egmont. It’s an intriguing tidbit that her granddaughter was a countess living in Alberta. I have to find my copy of Donny’s book and refresh my memory. But a wee search revealed this short video of their British/Irish aristocracy: 

Geraldine Moodie is one of Canada’s first professional female photographers, bringing alive the culture of the Canadian west and the Arctic. In her writings, she mentions needing to modify her techniques because of the glare of the snow and the harsh weather. As is often the case, she was her own worst critic. Only time would show the valuable contribution she made to bringing our history alive through her artistic eye.

     A stamp depicting Moodie's photograph, Koo-tuck-tuck, was issued on 22 March 2013 by Canada Post as part of their Canadian Photography series.^[12][13] The image shows a traditionally dressed Inuit woman.

https://postagestampguide.com/stamps/18482/koo-tuck-tuck-photograph-2013-canada-postage-stamp-canadian-photography

Her work was part of a 2017 exhibition, See North of Ordinary, The Arctic Photographs of Geraldine and Douglas Moodie at the Glenbow Museum.

https://www.glenbow.org/exhibitions/past/2016-2017/moodie-photograghs/

At the link below, you can see a beautiful collection of portraits of Inuit people, including koo-tucki-tuck holding her child.

https://www.pinterest.ca/pin/331366485061936889/?lp=true

I have provided several links to view Geraldine’s work so that I do not incur any copyright issues for the photographs. For more pictures of the Cypress Hills, Fort Walsh and pictures of a day in the life of a mounted policeman, please visit my website at www.elizabethclements.com

SOMETHING ABOUT MARY

Post by Doris McCraw

writing as Angela Raines

Pikes Peak - photo property of the author

I am sharing some of the history I've been researching about early Colorado, specifically El Paso County. After the 'Pikes Peak or Bust' gold rush of 1859, a number of people started to settle in what would become Colorado. 

Originally part of the Kansas, Nebraska, Utah and New Mexico Territory, Colorado was officially made a territory in 1861 and a state in 1876. In those early years there were those who decided that the area had more to offer than just gold. There were some who wanted to farm, others wanted to grow cattle/sheep, and yet others found their gold mine in outfitting the dreamers hunting for gold.

Map of Colorado prior to becoming a territory in
1861. Courtesy of Wikipedia

Into this mix two women named Mary made their way to El Paso County, Colorado in the 1860s. One was from Ireland and the other Nova Scotia, Canada. So who were these women? Why should we take the time to learn about them? Perhaps to balance the stories we tell about those early days.

I will say, to find the stories of the early women in the history of the area takes some detective work. It is challenging, yet finding those tidbits of information is worth the effort. Sometimes the historic records do not agree, so the writer/researcher does the best they can with what they find. So join me as we learn ‘Something about Mary’.

The first Mary, Mary Irvine, was born Mary Boyd, in County Antrim Ireland in 1809. She arrived in El Paso County with her husband, John Irvine, Senior sometime around 1859-60. Research shows the couple came to America around 1834. Records show Mary’s husband John, making a living as a carpenter. When the Civil War started, John and his two older sons enlisted in the Colorado regiment, leaving Mary to care for their home and the younger children. Although Mary and John did not remain in El Paso County long, they had a farm near Fountain, Colorado before moving to Pueblo, Colorado. There John helped to  start the Presbyterian church. One son Milton Irvine was well known in business in Colorado Springs where he was eventually elected mayor. In the 1900 census, Mary was living on East St. Vrain in Colorado Springs in the home of her son Milton. She was ninety years old at that time.

Current First Presbyterian Church in Pueblo
located at 10th and Court St
Image courtesy of History Colorado

Mary B. Innes probably arrived with her brother Robert A Innes from Nova Scotia, where she was born in 1847. In October of 1865 she married Burton C Myers in Colorado City at the M. E. Church. The couple, along with Burton’s brother Charles W. Myers, made their home in Colorado City with Mary ‘keeping house’ for the brothers. By 1870, Mary was a mother, having given birth to a daughter, Nora. Nora soon had a sister, Mary. In 1875 Burton passed away of typhoid fever after selling out the cattle business in South Park, Colorado, which Burton and Charles started around 1872. At that time, Mary became a widow with two young girls. Five years later a notice in the November 5, 1880 Gazette, showed a Charles W. Myers and Mrs. B. Myers, both of El Paso County, being wed on October 30, 1880 in Pueblo, Colorado. By the 1920s, Mary B. Myers was again a widow living in Colorado Springs, Colorado.

As Manly and Eleanor Ormes say in their book, “The Book of Colorado Springs”, when they talk of the founding of the El Paso County Pioneers Association: “The objects of the Association were to unite in closer bonds those who had braved the dangers of the journeys across the plains, the dangers here from being surrounded by hostile Indians, and the privations of beginning in a new country…”

Both Mary’s braved the journey. They faced the dangers that all early settlers faced. Both survived to old age, but not without heartache and triumph. We know of their husbands and sons, and now, we know a bit more about them.

Doris Gardner-McCraw -

Author, Speaker, Historian-specializing in
Colorado and Women's History

Angela Raines - author: Where Love & History Meet

For a list of Angela Raines Books: Here 

Angela Raines FaceBook: Click Here

THE DEVIL'S IN THE DETAILS--PART 3--SETTING by CHERYL PIERSON

Are you a reader who loves descriptions and details of settings? Glittering ballrooms, the bone-chilling cold of a winter in the Rockies…or maybe the oppressive, killing heat of the desert? What about something idyllic, like a river or creek babbling through the woods? A beautiful rose garden, or even the ugly side of description—such as barren prison walls, or a Civil War battlefield?

It depends on the story, doesn’t it, and again, how much importance those descriptions have on the impact of the action, and the outcome of the story.

Let’s use a ball as our example.

If you’ve never been to an 1800’s ball—and none of us have—we need to know at least the barest details.

Five basic things we need to know are:
What is a ball?
Why is the ball being given?
Who will be invited?
When will the ball be given?
Where will it be held?

That’s enough for some stories. But the main question is—how important is the ball to the plot?

This is where layering comes in—and this one scene, and the details it contains—can be vital to what comes next, or even many scenes later.
So many things can happen at a ball!

Guests can meet for the first time, uninvited guests can show up, clothing can have significance, music can bring back memories, the food can even be poisoned!

Or, the ball can just be a ball, like the old saying attributed to Sigmund Freud, “Sometimes a cigar is just a cigar…” –and if that’s the case, then tedious description and intricate detail is wasted because the ball is just a vehicle to get from one scene in the story to the next, and has no real underlying importance.

Describing the details of the clothing worn is sometimes distracting as it pulls us away from the action. We may be reading about a blue satin gown when we need to be concentrating on the man who lurks in the shadows. Too much description can bog down the reader and deaden the story rather than bring it to life.

Why? Because deep description of the things such as décor, clothing, and meals stop the action of the characters. The plot “takes a break” while our minds process all of the description of the scenery, the meals, the clothing. In this case, again, sometimes, “less is more” and we need to let the reader’s mind fill in much of that kind of detail.

Consider this: We know certain facts—a ball costs a lot of money to host. So we already understand that those who are invited are most likely people who move in the same upper crust social circles. Therefore, we know they, too, have money, so are appropriately dressed, arrive in style, and are schooled in proper societal customs. One excellent way to cut through the “red tape” of description (of things we already know) is to describe something that is out of place, or “not right” as this reminds us of what should be—and those details of descriptions we’re already aware of.

Perhaps an impostor at the ball commits a social faux pas without realizing it, alerting others to the fact she isn’t who she pretends to be. Maybe an unlikely hero comes to her aid quickly, offering an excuse, or correcting the mistake before others notice.

This scenario does several things for the story that simple description can’t achieve.

1. Points out the discrepancy in what should be and what is.
2. Allows our characters interaction, and possibly dialogue and observation, rather than the author filling the page with scenic description.
3. Allows the reader the opportunity to learn more about the characters and their personalities through this interaction, and can be a vehicle to reveal something of importance.
4. Can possibly further the action during such a scene rather than slowing it by miles of scenic description.

This is not to say that there isn’t a time and a place for detailed descriptions of settings! We can’t call ourselves authors and take the “easy” way out by saying, “It was a ball like any other” by way of description, unless—we put it in the right context.

How about this:
Jake looked around at the opulent ballroom –the surroundings were familiar in a tiresome, cloying way. Or…maybe was jaded. It was a ball like any other—except for one thing. Something that made him catch his breath and inwardly let go a streak of curses he’d love to shout to the skies. She was here. The woman he’d thought he’d never see again…

Well, anything can happen now, can’t it? Maybe she’s wearing an inappropriate shade of red amidst a sea of violet and blue. There are so many ways to make setting come alive without endless description that many readers become bored with and skim over.

If you read my last installment of this blog series about main characters, the examples I used from Shane (Jack Schaefer) and St. Agnes’ Stand (Tom Eidson) are also prime examples of description of setting as well as character.

But here’s another good one I really think is wonderful from Conagher, by Louis L’Amour. In this story, Evie from “back East” has come out west to marry a man with two children. Evie tries to make the best of things, but she lives in fear at first. The land is so different, After she’s been there a while, she finds there is a beauty in her surroundings she had to grow to love, in time.

As L’Amour describes the heroine's (Evie) dismal hopelessness at the land her husband (Jacob) has brought her to, we wonder how she will survive. Yet, Jacob has plans, sees the possibilities that Evie cannot, or will not see. The underlying message is, "The land is what we make of it."

As the story continues, she begins to appreciate the beauty of the prairie, while acknowledging the solitary loneliness of her existence. She plants a garden, nurturing the plants, and gradually she sees the farm being shaped into a good home from the ramshackle place she'd first laid eyes on.

The land is beautiful, but unforgiving. Her husband is killed in a freak accident, and for months she doesn't know what has happened to him. She faces the responsibility of raising his two children from a previous marriage alone.

In her loneliness, she begins to write notes describing her feelings and ties them to tumbleweeds. The wind scatters the notes and tumbleweeds across the prairie. Conagher, a loner, begins to wonder who could be writing them, and slowly comes to believe that whomever it is, these notes are meant for him.

At one point, visitors come from back East. One of them says to Evie something to the effect of "I don't know how you can stand it here."
This is Evie's response to her:

"I love it here," she said suddenly. "I think there is something here, something more than all you see and feel…it's in the wind.

"Oh, it is very hard!" she went on. "I miss women to talk to, I miss the things we had back East–the band concerts, the dances. The only time when we see anyone is like now, when the stage comes. But you do not know what music is until you have heard the wind in the cedars, or the far-off wind in the pines. Someday I am going to get on a horse and ride out there"–she pointed toward the wide grass before them–"until I can see the other side…if there is another side."

The land, at first her nemesis, has become not only a friend, but a soulmate. L’Amour gives us this description through Evie’s eyes and feelings, not in writing about it from his perspective as the author.

Think of your own writing projects, and books you've read. What importance do you give setting in description, plot, even characterization? Within 40 pages of 'Conagher', we understand that the land, with all its wild beauty and dangers has become enmeshed in Evie's character. She can't leave it, and it will never leave her.

Endless, detailed description can’t do what L’Amour does through Evie’s eyes in a very few sentences. Do you have a favorite description of a setting you've read about or written about?

Weird Midwest Roadside Attractions by Sarah J. McNeal #WeirdRoadsideAttractions

If you’ve ever taken a long road trip somewhere then you know what a drag it can be, especially on an interstate highway where everything looks the same and the only entertainment is the radio. What most of us do on these monotonous excursions is to get off the featureless interstate and take a secondary road into an adventure.

I know it sounds a little like entering the “Twilight Zone,” but it’s where the real road trip begins. It’s where you meet your neighbors and get a taste of the culture and interests of that part of the country.

When I began doing the research for this blog I found such numerous amounts of roadside attractions in the Midwest that I couldn’t cram in every state, let alone every attraction. So, if I missed your state or an attraction you know about, I encourage you to include the information in your comment so you can share it with me and others.

So,here we go:

The Enchanted Highway

North Dakota

The Enchanted Highway

The Enchanted Highway is a 32-mile county road connecting Gladstone and Regent, North Dakota off I-94. It is proof that, if you build something unique, people will come to see it. Local artist, Gary Greff wanted to boost tourism so he began erecting weird roadside structures which includes a towering family made of tin, the world's largest grasshopper, and a flock of oversize pheasants. His next project is a giant bass. To see his work just take Exit 72 off I-94.

For information, call 701/563400, or go to enchantedhighway.net. It’s free 

World's Largest Man-Made Turtle

Dunseith, ND

Erected as a novelty in 1982, the titan turtle (naturally, it’s located in the Turtle Mountains) was welded together from over 2,000 steel wheel rims by George Gottbreht, the owner of Dale's Thrifty Barn next door. Its head alone weighs over a ton, and is mounted on a pivot so you can move it up and down.

South Dakota

Chief Crazy Horse Memorial (work in progress)

Crazy Horse, SD

Crazy Horse's head is bigger than the four heads of Mount Rushmore combined, and eventually it will include much more than a head. Chosen by a group of Lakota elders, Polish-American Korczak Ziolkowski began work on the super-sized monument in 1948, and now his family is continuing his life's work through jack hammering and dynamite. Visitors get 30 minutes notice before part of the mountain explodes and elaborately choreographed night blasts mark Korczak and his wife's birthdays. Tourists can walk the six miles to the mountaintop and back on the first full weekend in June for up-close looks at his currently 88ft-tall face, but the foot of the mountain is the closest you'll get any other time of the year.

 

World's Only Corn Palace

Mitchell, SD

The Corn Palace
Covered entirely with thousands of bushels of corn, grasses, and grains, the Corn Palace in Mitchell with its turrets, onion domes, and minarets,is America's answer to the Kremlin. The exterior of the palace is refurbished annually during harvest time (August through September), but its interior features year-round corn murals depicting the history of Native Americans and the white man.
It is located at 604 N. Main, 866/273-2676, cornpalace.org, free. You can buy a Key chain for $2.50.

Nebraska

Carhenge

Constructed of 38 cars from the '50s- and '60s--mirroring both the number of boulders and the diameter of the circle at the original in England--this Stonehenge replica was dedicated on the summer solstice in 1987. It is located just north of Alliance. Jim Reinders built the structure as a memorial to his father, who once lived on the field where Carhenge now stands.

Hwy. 87, Alliance, carhenge.com, free.

World's Largest Ball of Stamps

Boys Town, NE

The Ball of Stamps is comprised of 4,655,000 stamps which are wrapped around a pencil stub or a golf ball at its core (no one can really knows for certain), the 32in diameter ball, weighing in at 600lbs, is an amazing display of some seriously dedicated tongues and fingers of the Boys Town Stamp Collecting Club.

Kansas

Largest ball of twine
There are wonders of the world, and then there are wonders of Kansas. If you’ve ever driven through Kansas, you may feel there’s nothing much to do but get from point A to point B, but guess again! Ask anybody who lives in Kansas about the ball of twine, and they’ll talk your ear off. Frank Stoeber and his family started the ball of twine in 1953 and the ball of twine has continued to grow over the years. Neighbors, visitors, and others around town have helped to contribute to its girth, and the tradition of adding to the twine ball has continued throughout the years. At 17,400+ pounds and 40 feet in circumference, you won’t see twine the same after stopping to see this wonder of The Sunflower State.

World’s Largest Easel Along A US Interstate

Goodland,KS

You don't even have to get out of your car to check this giant replica of Van Gogh's Three Sunflowers in a Vase (a good choice for the "Sunflower State," right?) painting off your list of "World's Largest Things to See." Passersby on I-70 won't miss the 768sqft reproduction on an 80ft-tall steel easel from about a half mile away. The big easel was actually part of a larger effort to reproduce all seven of Van Gogh's sunflower paintings in different countries. They raised $150k to build the thing. The other two completed works are in Canada and Australia.

Texas

Groom's Cross

Crosses are found across the US, and you’ll come across them in the oddest places. (For us Carolinians driving in the Appalachian Mountains, that would mean a cross for every terrifying curve, just sayin’.) Drive along Texas long enough (and that’s a dang long drive), and you’ll come across the Cross of Our Lord Jesus Christ or The Groom Cross as the locals call it. At nineteen stories high, you’ll see this on a bright day from up to 20 miles away. Created from 2.5 million pounds of steel by an anonymous Texas millionaire, it’s free to the public to look up at from the road, pray at the base of, or just drive past it. It’s lit up at night, so you’ll never miss this when road tripping. Groom, Texas

Michigan

Henry Ford Museum

When Thomas Edison was dying in late 1931, Henry Ford decided he wanted to capture the inventor's final gasp--so he had him breathe in a test tube and corked it for posterity. It's now part of the Henry Ford Museum's permanent collection, along with other pieces of American history, including the Rosa Parks bus, Kennedy's presidential limousine, and Lincoln's blood-stained chair.

20900 Oakwood Blvd., Dearborn, 313/982-6001, hfmgv.org, $14, seniors $13, kids $10. You can buy a Ford Model A toy for $32.

The (Former) World's Largest Cherry Pie Pan 

Charlevoix, MI

Two "World's Largest Cherry Pie Pans" reside a mere 50 miles apart in Michigan (apparently, you can't have a giant cherry pie pan without a neighboring opponent). While Charlevoix boasted the first biggest pan, which was used by local businesses to actually bake the "World's Largest Cherry Pie" in 1976, the 17,420lb pan was outdone in 1987 when Traverse City created an even bigger pie pan.

Illinois

Bill Shea's Gas Station Museum

Back in 1946, when Bill Shea started pumping gas on the legendary Route 66, a car would go by every 10 minutes. But now, he says, it takes 10 minutes just to cross the road. Stop in for an earful of stories and a look at Shea's gas station memorabilia from nearly 60 years on the Mother Road. 2075 Peoria Rd., Springfield, Ill. 217/522-0475, $2, kids $1.

World's Largest Catsup Bottle

Once America's best-selling catsup, Brook's Old Original Tangy Catsup was so popular that the company's owners built themselves a massive landmark. The bottle is really a 170 foot tall water tower just 12 miles east of St. Louis on Route 159.

800 S. Morrison Ave., Collinsville, 618/345-5598, catsupbottle.com.

Indiana

Santa Claus Museum & Village

Santa Claus, IN

If Christmas in July sounds appealing, then there's a special place for you in Indiana. "America's Christmas Hometown" is riddled with holiday attractions like the only post office with the Santa Claus name, Santa's Candy Castle is a fully restored 22ft-tall Santa Statue from 1935 and deemed the world's oldest, but with plenty of younger replicas around town for “selfies” with Santa. You could also visit Christmas, MI or Noel, MO, but definitely send your letters to Santa here.

Bluespring Caverns

The fish in Bluespring Caverns have lived in perpetual darkness for so long they have evolved into a state of eternal blindness. You can take the one hour boat tour and see them for yourself. In the winter months, Bluespring runs organized caving tours for groups of kids, with an overnight stay in a limestone cave, where hibernating bats also make their home ($23).

1459 Bluespring Caverns Rd., Bedford, 812/279-9471, bluespringcaverns.com, $12, kids $6.

Iowa

Iowa's Largest Frying Pan

Brandon, IA

A state with the world's largest truck stop would naturally also lay claim to the largest frying pan internationally. Apparently there are six big ol’ frying pans with the "world's largest" claim elsewhere in the US alone. But the one that weighs 1,020lbs, stretches 14ft-tall, and could potentially cook up to 528 eggs and/or 88lbs of bacon wins and that would be the frying pan in Brandon.

Star Trek Voyage Home Museum

Riverside, IA

Did you know this Iowa town is the future birthplace of Captain James T. Kirk? His 23rd century DOB (March 22, 2228) is engraved in a stone monument located behind a hair salon. While they first claimed the Starship Enterprise captain in 1985, the museum didn't open its doors until 2008. It's since become a hub for Star Trek collectibles, home-built exhibits, and alternate history disputes.

Minnesota

Jolly Green Giant

The 55-foot-tall statue of everybody's favorite Jolly Green Giant is located at the midpoint of Minnesota along I-90, America's longest interstate. The statue has a smile that's 48 inches wide and a shoe size that's somewhere around 78. He was erected in the town of Blue Earth back in 1979 to celebrate the area's longtime affiliation with canning. Green Giant was once the Blue Earth Canning Company.

Intersection of I-90 and Hwy. 169, Blue Earth Area Chamber of Commerce, 507/526-2916.

SPAM Museum

Austin, MN

Okay, this one is among my favorites. You can uncover the historical intricacies of the undisputed king of mystery meat through Hormel's collection of spiced pork artifacts across the street from the meat plant. "Spambassadors" will tell you more than you ever wanted to know about the iconic product, like how 44,000 cans per hour roll off the assembly lines for the masses (aka Hawaiians) to consume.

Wisconsin

Upside-Down White House

Wisconsin Dells, WI

Just like the real White House, you'll need a guide to take you through the Top Secret Inc. house resting on its roof in the Wisconsin Dells. And only then will you begin to uncover the mysterious conspiracy, which will just be the start of explaining why the world stands on its head. Personally, I thought this was one of the weirdest of the crazy roadside attractions.

The House on the Rock
Perched precariously atop a tall rock spire, the House on the Rock, in southwest Wisconsin, mixes architectural enthusiasm with an eclectic collection of just about anything you can imagine--suits of armor, model airplanes, pipe organs, and even a pyramid of life-size fiberglass elephants. The most identifiable feature of this attraction is the Infinity Room—a 200 foot long glass and steel promenade cantilevered over the valley. And for the kids, there's the world's largest carousel, insured for $4.5 million.
5754 Hwy. 23, Spring Green, 608/935-3639, thehouseontherock.com, $19.50, kids 7-12 $11.50, 4-6 $5.50.

U.F.O. Landing Port

Poland, WI

Aliens from any nebula are welcome to land their spaceships on welder, Bob Tohak's, 42 foot tall platform. Designed to encourage those possible close encounters, it's made from an empty fuel tank and now has a satellite up top. Bob Tohak is even planning on creating a big aluminum spaceship. I’m certain the CIA is keeping an eye on this place.

Missouri

Lambert's Cafe

Look out for flying objects. All you have to do is raise your hand at this Sikeston restaurant and a server will toss a wheat roll to you from across the room. Credit this practice to owner Norman Lambert, who was once so busy he couldn't bring the rolls to a table—so he threw them. No injuries have been reported.

2305 E. Malone St., 573/471-4261, throwedrolls.com.

Leila's Hair Museum

Independence, MO

I think this museum is tops on the weirdness scale. There are collectors of Precious Moments dolls, and then there are collectors of human hair. Former hairdresser and friend of Ronald Reagan, Leila Cohoon, displays an impressive collection of hair art, which includes hair samples from Abe Lincoln and Marilyn Monroe. You won't find your average hairballs here, but you'll discover plenty of intricate wreaths of hair in frames, which were often used to decorate Victorian homes. Okay, maybe it’s just me, but this seems a bit gross.

Nuclear Waste Adventure Trail and Museum

Weldon Spring, MO

You can now stroll across 54-acres of remnants from the largest explosives factory in the US as well as a Cold War-era uranium refinery, which was on the site until it was abandoned in 1966. Twenty years later, the U.S. Department of Energy covered the hazardous waste with rocks. The 75ft-tall pile consists of 1.5 million cubic yards of covered-up TNT, mercury, asbestos, radioactive uranium, and radium for all to enjoy. Am I crazy? I kinda have concerns about all that radioactive stuff under those rocks.

Ohio

World's largest basket building

I love this building! Weighing 9,000 tons and standing seven stories high, the home office for the Longaberger Company, in Newark, was built to resemble Longaberger's most popular item, the Medium Market Basket. (Looks like a picnic basket to me.) The building houses Longaberger's 500 employees and is visible from State Route 16. Walk in to admire the seven-story atrium; the glass ceiling allows you to see the handles from inside.

1500 E. Main St., 740/322-5588, longaberger.com, free.

Giant Horseshoe Crab

Blanchester, OH

A massive crustacean beside a Baptist church in the middle of Ohio doesn't make a lot of sense, but yet, there it is like a fish out of water. After its initial creation for the Baltimore Maritime Museum, the 68ft-long and 24ft-tall transplant ended up at the Freedom Worship Baptist Church after a random stint at the Creation Museum in Kentucky. Don’t exactly know why, but there it is.

So, do you know a cool roadside attraction you’ve seen in your travels? I know I didn’t get all the Midwestern states and their attractions in, so I would be happy if you come from a state I missed and can add a roadside attraction there, feel free to add it in your comment.

Sarah J. McNeal

Diverse stories filled with heart

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