This is a brief monograph regarding the authenticity guidelines, with a focus on the types of clothing which will be appropriate for reenactors portraying Burbridge's Regiment-MSG at the upcoming Wilson's Creek/Oak Hills event. In addition, it is intended to give participants an understanding of how the authenticity guidelines will work in this Regiment, and what is expected of each member. By no means is this work entirely comprehensive, nor is it as detailed as it could be, but time and space restraints limit the amount of information which may be presented. The information contained in these guidelines is not arbitrary, but is based upon extensive study of original garments; contemporary photographs and illustrations; and many primary and secondary sources which pertain to clothing worn by civilian men during the mid-19th Century. While efforts have been made to insure that the information contained herein is the most accurate currently available, it is impossible to account for every surviving original or primary source which may present contrary scholarship. Each and every participant is encouraged to seek out further sources of information for their impressions, and all valid or contrary documentation will be given full consideration. The cumulative number of sources consulted are far too extensive to be listed in toto for this brief survey, however a few are listed at the end of this work and any specific inquiries may be directed to the author.
Most accounts indicate that members of the MSG were predominantly clad in civilian attire, therefore the focus of this work is directed towards common civilian garments of the era. Not covered are topics such as militia uniforms and other types of garments associated with military service during the Civil War or pre-Civil War era. Individuals wishing to wear articles of clothing such as these should have their usage legitimately documented, and those impressions will be evaluated on a case by case basis for acceptability. The overall desired effect is that of individuality in dress. These citizen-soldiers had no central depot from which to choose their garments, and the range, color, style, and materials should be as varied as is historically possible.
Every individual who intends on serving with the Regiment for this weekend should read this guide carefully. While we wish to be inclusive and welcome all who desire to participate with the Regiment, we will not compromise the standards set forth to do so. We also encourage each participant to honestly and carefully examine their own impression before attending the event using the following as a guide. If you feel that your impression is lacking and will not meet the standards set forth, it is suggested that Burbridge's Regiment may not be the ideal group for you to participate at the Wilson's Creek event with; or better still, that you will seek to make adjustments to your own impression to meet these standards.
In order for everyone to have a fair opportunity to assemble and refine their kit for this event, this guide is presented to serve as the criterion used for the mandatory authenticity inspection which will take place on-site Saturday morning. The inspection will take place when the Regiment is formed, and a committee comprised of five members will inspect each individual impression. Individuals who are unwilling or unable to comply with the regulations and decisions set forth by the authenticity committee will be asked to leave the Regiment. We ask that all who intend on participating with Burbridge's Regiment cooperate fully with the judgments made by the committee so that an enjoyable weekend may be had by all. The decisions reached by the committee will be based on historical precedence and immediate circumstances, and criticisms should not be taken as a personal assault. These judgments will be made for the good of the Regiment as a whole, allowing us to serve as an example for other MSG portrayals, while building a high level of camaraderie and esprit de corps based upon excellence. While clothing will be the primary focus of the committee, weapons and accouterments, blankets, and personal effects in view/usage will also be observed carefully.
We cannot emphasize enough the importance we will place upon the authenticity inspection. Though we are fully aware that many events/organizations have made these same hollow claims before...we will follow through. It is a formula which has worked well for us in the past, and we shall adhere to those principles even more stringently for this event. Individual groups comprising the Regiment such as the Macon County Silver Grays, and the Skulkers Mess among others, have been involved in a "hardcore" type portrayal of MSG units for several years. They have attained a level of accuracy and professionalism which is respected and admired by both Missouri State Historic Sites and the National Park Service. They have been noted for their superior presentations of impressions as well as abilities, which has served to separate them from the typical reenactor presentations of the MSG. As such, it is expected that this same level of accuracy and professionalism will be adhered to by all for this event. Perhaps at no other time has this sort of standardization been more critical, since many participants will be foreign to an MSG portrayal, having come from various parts of the country. In addition, it would be a safe conclusion to state that most participants will have had extensive experience with military impressions, but have little or no concept of what attire is appropriate for civilians. Through the agency of this packet, it is hoped that many questions will be answered, and that each and every member of Burbridge's Regiment will know what will be expected of his impression.

Overview of Clothing
Overall, the commitment to present an accurate portrayal of a citizen/soldier member of the MSG goes far beyond what was typical among reenactors in the past. The dubious practice of merely wearing military type trowsers, slipping off one's coat and marching/fighting in shirtsleeves will not be acceptable in Burbridge's Regiment. Garments must be an accurate representation of ones used in the period, and worn in an appropriate fashion. While subtle aspects such as thread counts and fiber content are important considerations in impression development, it would be impractical to enforce such standards on-site. These are issues which each individual must allow his own conscience to guide. Equally impractical, would be the microscopic examination of everyone's impression, and it is inevitable that some potential infractions will escape notice. Rather than concentrating on the exceptional minutia, the authenticity review board in regards to clothing, will be focusing on garment types to include how they are worn, appropriate garment design and fabric application.*
Another brief point which bears consideration, is locality. Specifically, regarding the variances in men's clothing based on the region in which they live. Examination of the available evidence indicates that choices of clothing worn by 19th Century men was based more on occupation or type of activity engaged in than differences based upon locale. To be sure, there are occasional variants of clothing worn in different regions, but for the most part, the types and styles of clothing appear to be consistent throughout the nation. The state of Missouri was fairly well developed by 1861 due in major part by trade routes established by the Mississippi and Missouri rivers. Most Missourians had access to all the goods which would be available to his contemporaries in New York or Boston. Reflective of that, citizen-soldiers who comprised the Missouri State Guard were not all low-brow backwoodsmen or "hillbillies", but instead men from many walks of life who joined to serve their state. Essentially, there is little evidence that Missourians during this era dressed significantly different than their counterparts in Connecticut, Virginia, or Tennessee.
Clothing produced in this era could be had by three primary sources, tailors, ready-made clothing establishments (slop shops), and second hand clothing outlets. The most important of these were the ready-made clothing shops. It is through these, that the rising lower and middle classes were able to clothe themselves with the most contemporary fashions, albeit of poorer quality materials. Rare would be a community of any size which did not have a ready-made clothing store which would carry any type of garment the customer desired. By and large, the clothing in these shops was produced with sewing machines, and items such as shirts being produced in factories by the hundreds per day. While many ready-mades had facilities in-house to produce garments, it is known that 2/3 of garments produced in New York (whose production levels exceeded those of Boston, Philadelphia, and Baltimore combined) were shipped throughout the country for sale.
It is anticipated that most individuals will portray common laborers, farmers, and tradesmen, so the bulk of information will be directed at that type of impression. Each type of garment (i.e. coats, trowsers, shirts, &c., &c.) will be dealt with separately, with general descriptions given.
* There will be no preferences extended regarding hand vs. machine sewing. Both are equally appropriate for civilian garment construction in this era other than areas which might be expected such as buttonholes &c.

Coats
Civilian coats of the mid-19th Century generally fall into four categories: Frock, Sack, Morning, and Dress coats. As it is unlikely that overcoats of any variety will be worn at Wilson's Creek, they are not covered herein. Also not covered are hunting or shooting coats, buckskin coats, raincoats, or other specialty type garments.

Frock, Morning, and Dress Coats
For all intents and purposes, Frock, Morning, and Dress coats are all the same coats; the difference being they manner in which the skirts are cut (Illus. 1). Tailoring manuals from the era indicate that the body and sleeve portions of these garments are constructed from the same patterns. Frock coat skirts are cut squarely across the bottom front; Morning coats cut with a gradual curve down the front; and Dress coats with a cut-away front. Frock coats by far were the most common of these for daily usage in this era. Given the frequency of appearing in images, it is safe to say that period sources indicate that all men had access to at least one frock coat. Morning coats did not come into popularity until the late 1850's and did not achieve widespread wear until later in the era. Dress coats had been popular for daily usage through the 1840's until the early 1850's, at which point they were generally relegated to use as eveningwear. The possibility, if not likelihood, exists that lower classes continued wearing cast-off dress coats throughout the period.
Characteristics which are typical of these coats during this era are:
a) Fine woolen broadcloth material of a suiting weight. Summer weight frocks are typically made of linen or cotton seersucker. Questionable is the usage of jeancloth, corduroy, denim, and other fabrics falling out of the realm of woolen broadcloth. While conceivable, most evidence would indicate it unlikely. Legitimate documentation should be provided as justification if coats of these materials are worn
b) Typically black, dark blue, and brown were the preferred colors although others were known to exist. Concrete evidence indicating any usage of a patterned material for these types of garments is lacking (i.e. pinstripes, plaids, &c.), therefore legitimate documentation should be provided if coats of this variety are worn.
c) Sleeves either straight or, "balloon" style. Earlier styled coats (1840's-late 1850's) have straight and moderately close fitting sleeves, whereas the "balloon" style sleeves become popular in the late 1850's (Illus. 2). Sleeve linings were typically of white muslin but those with thin stripes and symmetrical patterns are known to exist.
d) With the exception of an exterior access breast pocket on the left side, breast pockets on the inside of the coat, and pockets in the skirts, coats of this type do not as a rule have pockets. Particularly, frock coats do not have the "flap" style pockets so popular on typical reenactor coats.
e) It is safe to say that all woolen coats in these categories have some degree of quilted padding in the chest area.
f) Collars should come well upon the neck and average around 2" tall in this era. Earlier coats tend to have higher collars, while coats from the late 1850's-1860's have lower ones. Wide lapels are not unusual, nor are those covered in velvet or velveteen (on woolen coats).
g) Coats of this type were fitted to the individual wearer, and bulky, slovenly hanging coats of this variety are inappropriate. The body of these coats should be well shaped to the torso, and the skirts should demonstrate a degree of flaring from the hips.
h) Buttons on these types of coats generally consist of ones covered with silk thread woven into patterns. Occasionally buttons covered with fabric from which the coat is made is used. On summer weight frock coats, mother-of-pearl buttons tend to be the norm.

Sack Coats
Surprisingly the most difficult of coats to pin down in this era is the common sack coat. Considering how many were obviously worn during this era one would think that surviving originals would be easily found. Such is not the case. Making their presence in general usage in the early 1850's, sack coats are discernible by the lack of a waist or skirt seam. Unless a clear view of the whole coat is visible in period images, it can be difficult to discern whether a frock and sack coat is being worn. This is undoubtedly what has led to some confusion about features such as pockets and types of cloth used to make frock coats. Earlier sack coats have a more tapered body with sleeves like those used on frock coats. Examples from the late 1850's-the 1860's become cut more fully and incorporate the balloon style sleeves.
a) Sack coats could be made of a variety of woolens as they were considered a more informal type of garment. Summer weight sack coats seem to have predominantly been made of linen and unlined. Pockets tend to have been of the "patch" variety, with buttons of mother of pearl.
b) Many views of sack coats from this era show the usage of braiding around the edges and pockets of these coats.
c) As with frock coats, it would also seem that the use of velvet or velveteen collars was not unusual.
d) Generally, the style shown indicates the length of the coat to be similar to the frock coat with similar collar and lapel arrangements. While simple collars such as those seen on military sack coats did exist, the style as seen on frocks was considerably more common. Additionally, the practice of soldiers keeping the top button of the sack coat buttoned (which was prescribed by military regulations) seems to have been an outgrowth of civilian practice.
e) Lack of surviving originals to examine makes it difficult to comment on interior design features, however it is likely that they were lined, but without padding. Further research may clarify points such as these.
f) Materials to avoid would be pinstripes, gabardines, tweeds, herringbone twills, and the commonly available black and white "houndstooth" type materials. Solids, stripes, and checks seem to have been standard during the period. It is quite likely that many will desire to have sack coats made from jeancloth, a decision which should be examined carefully. Little evidence exists that this was a common practice. While grey woolen jeancloth has become the "wonder" material of the authentic Confederate movement, this is not necessarily the case with civilian portrayals. Confederate soldiers had little choice in what materials their uniforms were made of and civilians had no such restrictions. Based on currently available evidence from the period, woolen jeancloth was not a commonly preferred material for sack coats. As the possibility does exist that some sack coats were made of woolen jeancloth, the usage of such will not be completely restricted. If such as decision is made by the individual participant, be prepared with an alternative, as it may be necessary to "weed out" what may be deemed as excessive usage. Overall, it is best to err on the side of caution and use a broadcloth for woolen sack coats.
g) Lacking original sack coats to examine, a degree of educated speculation is required in regards to buttons. In all likelihood, buttons such as those found on frock coats were used although it is possible that materials such as hard rubber and gutta percha were also. On two known examples of summer weight sack coats, mother-of-pearl buttons are used.

Summary of Coats
With all of these types of coats, it seems to have been standard practice to wear a vest when wearing a coat. Certainly, it is an infrequent occurrence to see any of these types of coat being worn over a mere shirt. The exception to this general rule would be the common practice of wearing a sack coat over an overshirt. The usage of any of these style of coats is appropriate for participants at Wilson's Creek. However, the use of frock and dress coats may not be a practical decision. Currently, there are no manufacturers of correctly constructed frock coats available, leaving he undesirable option of wearing an original coat or a reproduction summer weight version (more easily constructed) which may not be durable enough for the rigors of campaign duty. One thing that will not be acceptable however, is the usage of revamped tuxedo coats. There is no credible way to make these more garments appear like a genuine period coat. If it is desirable to wear a coat, the best suggestion that can be offered is to construct a sack coat using the "Homespun Patterns" version which seems to be the best available on the market.
Commentaries regarding two other types of coat are in order as well. The first is the usage of Mexican War era shell jackets. While it is possible that some made an appearance at Wilson's Creek, their use in Burbridge's Regiment is discouraged. This is an effort to maintain the largely civilian clad appearance of the MSG and to avoid an overabundance of military issue items. If you desire to wear one, be prepared to wear something else as a backup. If it is determined that too many of these are being worn, they will be weeded out to an acceptable level. The second, is the use of the old fringed hunting frock of the Colonial era. While it is possible that some were still in existence in 1861, it is unlikely that they were being worn. To date, no documentation has presented itself which would indicate that such coats were still being worn at this time, and based on that perspective they should not be present in the Burbridge's Regiment.

Vests
Vests of the era came in a plethora of types, and unquestioningly the types and patterns show a level of variety unseen in any other type of garment. It has often been stated that the vest was one of the few means by which a man could express his individuality in dress during this era. Judging by surviving originals, this is certainly true. Given the thousands of potential patterns of material used for vests during this time period a detailed listing is impossible, however certain observations can be made:
a) Materials used in the construction of vests run the gamut from silk brocades, linens, jacquarded cottons, corduroys, to woolens for the front portions. Unfortunately, textiles, which resemble the types used for vests in the period such as these, are limited today; and materials such as upholstery and tapestry materials are unacceptable for our usage (this will be taken to include usage on haversacks and supposed carpetbags as well). Muslin and polished cotton are typical materials used in the construction of the backs.
b) Many though not all, vests of this era incorporate a quilted padding much like frock coats. Some variants even have sewn in pouches for removable padding.
c) Some vests of the era have leather bindings on the inside of the front facings to protect against wear.
d) Vests could be of either a double or single-breasted variety, and generally have a shawled or lapeled collar (llust. 3). Those with short standing collars as seen on military officers during the war do not seem to have been common with civilians.
e) Vests from the mid-19th Century tend to be cut squarely across the bottom in front and not with "points" as seen on later vests (Illus. 4).
f) Buttons used on vests of this period are about as varied as the materials used themselves. Usually buttons on vests are cloth covered buttons made of the same material as the vest, woven silk thread buttons, glass, hard rubber, or metal. On summer weight vests it is not unusual to see mother-of-pearl buttons.

Summary of Vests
Inherently, the vest is a very basic garment, and most available patterns give a fair representation of what they should look like. The primary problem seen with most reproductions is the choice of materials used in construction. The safest option is to stick with solids which may not be lively, but are completely correct for the period. Plain wool, plain white linen, and plain black silk satin are good materials to choose from if you are uncomfortable with identifying a good material to use. If patterns are desired, it is well to keep in mind that Victorians preferred fine, symmetrical patterns on their vests (as opposed to large, randomly placed daisies for example). This typically means checks, stripes, and fine floral or geometric patterns (woolen plaids appear rarely on vests) were the most often seen. It bears repeating that the most common mistake made in reproductions is the use of tapestry type materials. It is mistakenly believed that they resemble the "wild" patterns of the period which is patently untrue. They do not have the same materials, texture, colors, nor patterns seen on vests from the 19th Century and their usage will not be acceptable in Burbridge's Regiment (again, this holds true for items such as haversacks and supposed carpetbags). The best suggestion that can be offered for choosing a style and pattern for materials would be to consult period images and make close comparisons to what is available today.

Shirts
For the purposes of this study, shirts will be broken down into three categories, white pleated front shirts, patterned work shirts, and overshirts. Not covered in this study are items such as muslin, woolen, or Canton flannel undershirts.

Pleated Front Shirts
Arguably, the most common shirt of the 19th Century man was the white, pleated or plaited front shirt (Illus. 5). White shirts have a long history of usage in America and most men had several in their wardrobe. Standard practice was to heavily starch the collar, cuffs, and bosom of these shirts so that a crisp, clean appearance was maintained. Many photographs from the period show even farmers and laborers wearing this type of shirt, although it is likely that starching was not as strictly adhered to in these instances. Collars of these shirts could either be attached to the body of the garment, or be separately attached. Shirts made of entirely of linen were generally more expensive, while ones made entirely of cotton were the cheapest. Many were produced using a cotton body with linen collar, bosom, and cuffs. An interesting variant of these is referred to as a false shirtfront. These consisted of a front pleated panel, with attached or detachable collar arrangement, and with attached taping that tied in back. These were intended to be worn over patterned work shirts (the type without collars) to give the appearance that a white shirt was being worn. General observations on these are:
a) They are basically constructed of a series of rectangles.
b) Shaped bodies with rounded tails begin appearing the early 1850's.
c) Shaped armscyes and disappearance of gussets under the arms takes place in the early 1850's.
d) Most have a fold-back or "French" style cuff, although some may have a band cuff to which a detachable cuff could be attached. On all shirts with French style cuffs, the cuff button is placed near to the sleeve body so that the cuff can be doubled back on itself (this is a feature seen on all shirts that do not have a band cuff).
e) Earlier style shirt collars (1840's-1850's) rise higher on the jawline when worn standing, whereas later styles (1860's) tend to be more modestly sized and typically worn turned down.
f) Most white shirts were plain in nature, but white shirts with fine, symmetrical, designs and patterns were not uncommon, though considered to be of poor taste.
g) Pleated shirts of this era are not like tuxedo shirts of any era and are unacceptable for our purposes.
h) To give a perspective on how many of these were produced during the era, the New Haven Shirt Manufactory of New Haven, CT produced 100 dozen shirts daily in 1854 (the company was co-owned by Oliver Winchester who converted this factory to arms production), and they were by no means the only factory in production.
i) Buttons on shirts of this variety are usually small mother-of-pearl or china.

Work Shirts
Work shirts of the era were generally took on the same lines and construction of the white pleated front shirts minus the pleated bosom. Many had an attached collar of the same cloth as the body of the shirt, but others had a mere collar band to support the false shirtfront mentioned above. Due to the cheap nature of these garments and the implications of being associated with common laborers, they were considered inappropriate for aspiring gentlemen to wear on the street. According to a source dated 1870, these shirts were also referred to as "hickory shirts" (although the reasoning for this is not indicated), a term which was used during the antebellum era as well.
a) Work shirts were designed and constructed like pleated front shirts minus the pleating.
b) This type of shirt was made of patterned cotton, linen or wool. Invariably, these shirts do not appear in solid colors (such as a solid green), nor do they appear in patterned prints beyond checks, plaids, or stripes. Examples of this would be the quilting prints reproduced by the Smithsonian or RJR Designs. From what is known, those types of patterns were meant for women's dresses, and there is little or no evidence that these types of block or roller printed textiles were used for shirting. As such, unless legitimate documentation can be provided, shirts made from these prints are not acceptable for our usage.
c) Collars could be of a normal attached variety or of a band type.
d) It was not uncommon for shirts of this variety to incorporate breast pockets on one or both sides, of either an inset or patch variety.
e) As with the pleated front shirts, cuff buttons should be set near the sleeve body to allow the cuff to fold over unless of a band cuff variety.
f) Many of this variety of shirt have a half lining which serves to extend the life of the garment.
g) Buttons on work shirts tend to be small porcelain buttons which are colored or of a calico design.

Overshirts
It is likely that overshirts will be commonly seen on members of Burbridge's Regiment (Illus. 6). Extensive evidence of their popularity in the mid-19th Century among working men exists, and no better views of them can be found than among miners during the Gold Rush era. A strong connection can be made to the "battleshirts" such as were worn by many early war troops to overshirts worn by civilians. These overshirts when observed in civilian usage were always worn over a pleated shirt or patterned work shirt. Another similar garment which needs to be addressed is the use of the so-called "guerilla shirt." From what is known of these items, they were only worn by a few Missouri guerillas later in the war (it is not known how many were worn, nor when they first appeared) and probably were not worn at Wilson's Creek. Since it is likely that this is the case, they should not make an appearance at the upcoming event.
Characteristics of overshirts in this era are as follows:
a) These are like work shirts of this era in both design and construction. They tend to be cut a bit bulkier so as to allow ease of movement. All known surviving examples of overshirts are made of a wool flannel and are of a solid color. Evidence has not yet come to light that cotton flannel as is commonly recognized today was used in the era. Therefore, (as before) legitimate documentation must be provided for its usage to be allowed by the Regiment. By far the most common color used was red; which was then followed by blue, and then by grey. Interesting variants also include materials which had figures embroidered or woven into them. Examples have been noted in photographs which have anchors or crossed picks and shovels.
b) Pending further scholarship, details about "battleshirts" as seen used by many early-war Confederates is somewhat vague. While seemingly fulfilling the same role as overshirts, these are commonly seen with plaid patterns woven into them. It is unclear whether these garments were indeed woolen overshirts, or simply cotton workshirts worn as an overshirt. Certainly, it is an area which deserves more investigation.
c) While wool flannel is recognized as the most common material used/recorded for overshirts, the strong possibility exists that linen was used as well. Farmers smocks which had been used in earlier eras were early style overshirts which were made of linen.
d) Overshirts are commonly seen having breast pockets on one or either side, as well as having no pockets at all. As a rule, these are of the inset variety, although by the war years, patch type pockets are making an appearance.
e) Earlier overshirts (1840's-1850's) are typically untrimmed, whereas by the war years it seems common to have either wool or cotton taping trimming the pockets and placket of overshirts.
f) So-called "firemen's shirts" are a type of overshirt using a shield shaped front panel. They are generally referred to as firemen's shirts as this style was popular with various fire companies in the nation, however others besides firemen wore them.
g) Oftentimes overshirts are seen being worn underneath a sack coat sans vest.
h) Buttons on original overshirts which have been examined are either of brass (perhaps gilded) or china.

Summary of Shirts
No garment can serve the aspiring farmer or laborer in a 19th Century environment better than the overshirt. Commonly used, commonly seen, and cheaply and easily manufactured, they are a perfect addition to one's civilian impression. A similar commentary can be made about the white plaited front shirt based on production numbers, level of availability, and commonality in images and artwork. For those desiring to wear a white, plaited shirt, common sense would dictate that cleanliness and starching would be impossible to maintain while on campaign. Therefore, it would be wise to dispense with the crisp, clean appearance of these garments which was so desirable in the period.

Headwear
It would seem that in the period that there were as many hats and ways in which to wear them as there were wearers. Certainly, the 19th Century man had a wide variety of choices to choose from in this regard. As there are so few well made reproduction hats available today, it is more feasible to indicate what types will not be acceptable, rather than what types of hats existed in the era.
a) While beaver top hats of genuine beaver fur or plush silk were extraordinarily common among all classes in the 19th Century, ones constructed of wool felt as seen in cheap reproductions were not. These elegant hats averaged in height from 7 1/2-8" and as a rule, have no exaggerated upward curl of the brim along the sides (Illus.7 front and profile view). Currently, here are only two or three known hatters who have the capability to accurately reproduce this style of hat. The monetary investment required to procure one of these reproductions makes it unlikely that any of us would be willing to subject them to the rigors of campaign. It is not recommended to wear an original for the same reason, adding the potential of damaging or destroying an original artifact. In any case, the cheap wool felt reproductions commonly offered today are unacceptable for our usage.
b) Straw hats too, were a common item in the 19th Century. Most tend to have bowl shaped brims akin to slouch hats of the era (Illus. 8). Other documented examples have been noted which exhibit exceptionally wide brims. What has not been documented though, is the type commonly referred to as "Amish" style hats frequently seen at reenactments today. Not surprisingly, it is requested that members of Burbridge's Regiment not employ these Amish straw hats.
c) It goes without saying that formless, shapeless, "hillbilly" style hats and "coonskin" caps will not be allowed.
d) Another item of dubious provenance which will not be used by members of the Regiment are "guerilla" type hats. Those owning them, know what they are, but the evidence of their usage by the general populace is unsubstantiated.
e) Kepis and forage caps are also on the list of unacceptable headwear. Mexican War vintage forage caps will be allowed, but if you desire to wear one, be prepared with an alternative. As with shell jackets of that same vintage, it may become necessary to thin out an overabundance of these items.
f) Finally, bowlers, Hamburgs, and derbies will not be worn. None of these had reached any level of popularity in America at this time and therefore are unfit for our purposes.

Cravats
Providing another aspect of wardrobe where individuality could be expressed, cravats were worn by men of all ages and stations in society. Largely misunderstood in a modern sense, during the period they were thought to protect the throat from cold, improve posture, and promote modesty. Cravats at this time generally fall into two categories, those which are meant to be tied, and those which were pre-tied. It is common (almost omnipresent) to observe neckwear among laborers and farmers, however the entrance into the war years seems to loosen this trend somewhat. Impractical to men on campaign, they seem to be retained only by those soldiers who wished to retain a sense of civility. Characteristics of cravats in this era are as follows:
a) Cravats were made of silk, not materials such as polished cotton. Surviving originals and printed references point to the usage of silk almost exclusively. Black was perhaps the most common color employed, though colored varieties exhibiting small, symmetrical patterns and shapes were popular as well.
b) Cravats by nature are different than neckerchiefs. Neckerchiefs such as seen in paintings by Bingham are most likely made of cotton. One known original is made of a finely checked woven cotton approximately 36" square.
c) One source from the period recommends that cravats be made of silk which should be approximately 36" square with hemmed edges. It was then meant to be ironed, folded, and starched to be prepared for the tying process.
d) While there were many different ways to tie a cravat, one fashion reigns supreme as the method of choice, that being what is called a "barrel" or "sailors" knot. One period source refers to this style as the "gastronome" (Illus. 9) It is the same type of knot use by sailors to tie scarves (only at the neckline) and results in two free ends extending to the sides or being tucked under the vest. A style which is uncommonly seen though, is the practice of tying the cravat as one would tie their shoelaces resulting in a big floppy bow. While provisions are made in the period for this method (one source refers to it as the "Byron") its appearance in photos and illustrations is limited and as such, its usage should be similarly limited in the reenacting environment.
e) Interestingly, cravats do not seem to have been worn with patterned work (or "hickory") shirts until they make their appearance on soldiers during the war years. In pre-war usage (and presumably early war) they are shown almost exclusively being worn with white shirts.
f) Pre-tied cravats were also quite popular in the period, and certainly provide a neater appearance. It is the usage of these that gives the illusion of men wearing "bow" ties seen in images. Their means of fastening is varied to include button closures, hook and eye closures, button and elastic cord closures, spring steel band closures, and buckles.

Summary of Cravats
It is certain that some members will desire to wear a cravat. Keeping with the mentality of following common period practice in our impressions, it is strongly encouraged those who wish to tie their own cravats learn how to tie it in the "gastronome" style. Using the proper technique to tie one's cravat is one of the simplest and most effective ways to dramatically improve a civilian impression. It is highly recommended for those wishing to pursue a civilian impression to obtain a copy of a period text entitled "The Art of Tying the Cravat" which gives a history of cravats, how to make and prepare cravats for tying, and a variety of knots which may be used. As this book dates from 1828 some of the methods are dated by the 1860's, but a close comparison to photographs and illustrations of the period will show which ones are most appropriate. For those wishing to learn the means of tying the "gastronome," instructions can be provided upon request. As was indicated previously though, cravats should be made of silk, unless one is making a neckerchief, which may prove to be more practical.
Footwear
Like headwear, there are only one or two manufacturers of quality reproduction footwear which would justify an in-depth examination of original shoes and boots. Needless to say, all shoes and boots should be of good design and construction based on original examples. The selection of styles available offered by these vendors is quite limited, and most all styles they produce will be considered acceptable for our purposes. The only commentary that is really worth offering is that boots must be of a one-piece front variety, and footwear produced by suppliers of standard sutler-row fare is unacceptable.

Trowsers
Aside from variations based upon personal preferences, trowsers underwent little change from the 1840's to the 1860's. The usage of drop-front trowsers was exceptionally out of style by the mid-1850's with fly front being the preferred means of closure. One other interesting development which takes place in trowser design of this era is the addition of the strap and buckle arrangement with vent in the rear. It has been noted that this design feature appears in England in 1857 where they were referred to as "American Style" trowsers. It is uncertain how much earlier its usage had been seen on trowsers in America, but evidence from artwork indicates it was at least as early as 1851. Features that typify trowsers in the era are:
a) Materials used to make trowsers were varied. Wool broadcloth with solids, stripes, checks, and plaids were exceptionally common. Wool jean was another type of cloth not unusual among the laboring class. Cotton drills and denims were worn as were linens, cashmere, and corduroy.
b) One dramatic difference between trowsers of the period was the where the waistband fell on the wearer. Contrary to modern practice, the waistband of period trowsers falls at the natural waistline (somewhere in the vicinity of the navel). There is a marked "rise" to the back of the trowsers and they ride considerably higher on the back (Illus. 10).
c) Pockets are generally of the "mule ear" or "side seam" variety. On many original trowsers a watch pocket is present on the right front waistband. Trowsers of this era did not incorporate back pockets, and Levi Strauss did not develop copper riveting of pockets on denim trowsers until much later in the century.
d) Trowsers could be unlined, partially lined, or fully lined. Partially lined trowsers typically have the lower leg and cuff area lined, often with cotton or linen drill. Original pairs have been observed that incorporate leather sewn into the cuff to protect from wear on the heels.
e) Cuff treatments could be varied as well. Straight cut, cut with a curvature, and those which flared over the shoe with straps extending under the soles are observed. These straps generally button or have a buckle arrangement. Unlike military trowsers, it does not seem to have been common to have a vented cuff on the outside seam on civilian trowsers.
f) Leg shaping could be of a straight or slightly tapered style, as well as those which were somewhat shaped to the leg.
g) Based on evidence from tailoring manuals, most trowsers did not incorporate a separate panel in the seat area as is seen on some military variants.
h) One interesting decorative technique that begins appearing on trowsers in the mid-1850's are stripes or braiding extending down the sideseams. The result resembles striping used on military trowsers of the era, however to date there is no indication that either usage influenced the other. This striping or braiding appears to have ranged in width anywhere from 1-3".
i) Usually trowsers of this era have button arrangements for braces either mounted to the outside or inside of the waistband. Common practice while wearing an overshirt seems to have been to wear a belt in lieu of braces.
j) Buttons on trowsers at this time are generally of painted metal with a stippled edge. In addition, it is likely that hard rubber and gutta percha was also used.

Specialty Trowsers
Two additional garments bear mentioning, and as they are loosely trowser based, they logically fall into this category. These are overtrowsers and bib overalls. Overtrowsers, for lack of better term are exactly what they imply, a garment meant to be worn over trowsers to protect them from wear, tear, and dirt. Although little is known specifically about these or how they were constructed, it is known that they were worn by laborers and were likely a cheap item of apparel, usually of a cotton drill or denim (blue and brown being the most common), and rubberized or gutta percha coated cloth. As might be expected they were not intended to be worn alone, but instead over ones normal trowsers. Similar can be said of bib overalls. A bit more is known about these, although pending research is not entirely conclusive. From all indications these were similar to the overtrowsers with an attached bib in front. No indication of pockets on the bib is given, although examples are seen with pockets on the right thigh. From what little can be determined shoulder straps were made of leather. As with the overtrowsers, it would seem that they were made of cotton drill, denim, and rubberized or gutta percha covered cloth, and in cases where such a determination can be made, always worn over the wearers main trowsers.

Summary of Trowsers
While it is certain that the temptation will exist to wear Confederate type jean trowsers and call them "civilian" for the weekend, this temptation must be avoided. Such practices are beneath the standards which we have set for ourselves and is at best disingenuous and lazy, not to mention a common reenactor ploy. This is not to say that trowsers made of jean may not be worn, but they should be cut of a civilian pattern such as those in the "Homespun Patterns" line. As with many other aspects of our regiment, it is preferred to not have an overabundance of jeancloth clothing.. Based on the variety of trowser materials available in the period, there is little reason for exceptional duplication which would give more appearance of uniformity than is desired.

Summation of Clothing Guidelines
As was indicated in the opening comments and throughout the text, the aforementioned points are not entirely definitive. Since little research of men's clothing in this era has been conducted in anything other than general terms, there is room for much more. The Wilson's Creek event will provide a new and unique opportunity for many of us to acquire or expand our civilian impressions. There is no doubt that the presentation given by Burbridge's Regiment will be the finest yet seen at an event where the MSG was originally present. The overall effect will be that of the un-uniformed mob which Price's army has often been described as. A mish-mash of frock coats, sack coats, overshirts, hats, and weapons will present a striking appearance to spectators and other reenactors alike. For anyone wanting further information or recommendations, please feel free to contact me at: Jon Isaacson; Box 1171; Harpers Ferry, WV 25425; E-mail: JIsaacson2@yahoo.com
I hope that I will be able to answer any questions and concerns which anyone may have and look forward to seeing everyone at Wilson's Creek.

Partial Listing of Sources Consulted
Christman, Margaret C. and Claudia B. Kidwell. Suiting Everyone: The Democratization of Clothing in America. Washington, DC: National Museum of History & Technology, 1974.
Cobrin, Harry A.. The Men's Clothing Industry: Colonial Through Modern Times. NY: Fairchild Publications, Inc.,1970.
Davis, R.I.. Men's Garments 1830-1900. NY: Players Press Inc., 1994.
de Marly, Diana. Fashion for Men: An Illustrated History. NY: Holmes & Meier, 1989.
Devere, Louis. The Handbook of Practical Cutting on the Centre Point System (1866); reprinted by R.L. Shep; Mendocino, CA, 1986.
Driesbach, Janice T, Harvey L. Jones, and Katherine Church Holland. Art of the Gold Rush. Oakland, CA: University of California Press, 1998.
Feldman, Egal. Fit for Men: A Study of New York's Clothing Trade. Washington, DC: Public Affairs Press, 1960.
Field, Richard S. and Robin Jaffee Frank. American Daguerreotypes: From the Matthew R. Isenburg Collection. New Haven, CT: Yale University Art Gallery, 1990.
Johnson, Drew Heath and Marchia Eymann. Silver & Gold: Cased Images of the California Gold Rush. Iowa City, IA: University of Iowa Press, 1998.
Kidwell, Claudia Brush and Valerie Steele. Men and Women - Dressing the Part. Washington, DC: Smithsonian Institution Press, 1989.
Levitt, Sarah. Victorians Unbuttoned: Registered Designs for Clothing, Their Makers and Wearers 1839-1900. London: George Allen & Unwin, 1986.
McClellan, Elisabeth. History of American Costume 1607-1870. NY: Tudor Pub Co.,1969.
Minister, Edward. The Complete Guide to Practical Cutting (1853); Reprinted by R.L. Shep, Mendocino, CA, 1993.
Salisbury, W.S. Salisbury's System of Actual Measurement and Drafting For All Styles of Coats Upon Geometrical Principles (1865-66); reprinted as Civil War Gentlemen: 1860s Apparel Arts & Uniforms. Mendocino, CA: R.L. Shep, 1994.
Sichel, Marion. Costume Reference 6: The Victorians. Boston: Plays, Inc., 1978.
Waugh, Norah. The Cut of Men's Clothes. NY: Theatre Arts Books, 1964.

(Text and illustrations are copyrighted materials; no portion may be copied or duplicated without permission of author.)