Saturday, August 19, 2023

Were Back-Scratchers Really Invented in Elizabethan Times?

L. L. J. informs us, in Robert Chamber's Book of Days: a Miscellany of Popular Antiquities (1888), that the humble back-scratcher was invented during Elizabethan times. When it stopped being called a “scratch-back” he does not say but it appears to have been after 1888.


THE SCRATCH-BACK.

The curious little instruments here figured are of extreme rarity, and probably not many of our readers have ever heard of, much less seen, any examples of them. The name, 'Scratch-back,' is

not very euphonious, but it is remarkably expressive, and conveys a correct notion of the use of the curious little instrument to which it belongs. The 'scratch-back' was literally, as its name implies, formed for the purpose of scratching the backs of our fair and stately great and great-great-grand-mothers, and their ancestresses from the time of Queen Elizabeth; and very choicely set and carved some of them assuredly were. Sometimes the handles were of silver elegantly chased, and we have seen one example where a ring on the finger of the hand was set with brilliants. But few of these relics have passed down to our times, and even in instances where they are preserved, their original use has been forgotten. At one time, scratch-backs were almost as indispensable an accompaniment to a lady of quality as her fan and her patch-box. They were kept in her toilet, and carried with her even to her box at the play.

The first one, engraved on the accompanying illustration, is twelve inches in length. At the upper end is an ivory knob, with a hole, through which a cord could be passed for suspension to the waist, or for hanging in the dressing-room. The handle or shaft is mottled, and the practical end, or scratcher, is a beautifully carved hand of ivory. The fingers are placed in the proper position for the operation, and would lead one to believe that the carver must have studied pretty closely from nature. The finger-nails are particularly sharp and well formed, and designed to scratch in the most approved fashion. This seems to have been the most favourite form for this strange instrument, of which form I have seen three examples.

The second example in our engraving is of about the same length as the one just described. This instrument is made entirely of horn, one end being pierced for suspension, and the other formed into three teeth or claws, sharp at the ends and bent forward. It is particularly simple in construction, but evidently would be as effective as the more artistic and elaborate example just described.

The third specimen which I give is, like the first, partly of ivory, and beautifully carved. The stick or shaft is of tortoise-shell, and it has a little silver ring at the top, and a rim of silver to cover the junction of the tortoise-shell and ivory. The scratcher is formed like the foot of a bird, with the claws set, and, of course, made very sharp at the points. The foot is beautifully carved, and remarkably well formed; and the instrument must have been one of the best of its class. On the under-side of the foot of this example are the initials of its fair owner, A W, cut into the ivory.

It would add to the interest of this little notice could we tell our readers to whom these precious little relics had belonged, and whose fair backs they had scratched; but this we cannot do. All we can do is, to give them representations of these curious instruments, explain their uses, describe their construction, and heartily congratulate our fair friends on their not being required in our day.

In former times, when personal cleanliness was not considered essential, when the style of dress worn was anything but conducive to comfort and ease— for it must be remembered that, in the last century, ladies' immensely-high head-dresses, when once fixed, were frequently not disturbed or altered for a month, and not until they had become almost intolerable to the wearer and to her friends—and when the domestic manners of the aristocracy, as well as others, were not of the most refined and delicate kind, the use of these little instruments, with many other matters which we may yet take the opportunity of describing, became almost essential. In our day they are not so, and we have no fear of seeing their use revived.

L. L. J.

Chambers also informs us that the poet Robert Herrick was born on this, August 20, in 1591. While he was born during the reign of Elizabeth, he was more a man of the 17th century. That said, Tudor Topics has often availed itself of his poems to exemplify Tudor customs.

He offered as much to future readers in the argument to his wonderful collection Hesperides. I have had the Muses' Library edition as a treasured companion for many years.


    THE ARGUMENT OF HIS BOOK.

I SING of brooks, of blossoms, birds and bowers,

Of April, May, of June and July-flowers;

I sing of May-poles, hock-carts, wassails, wakes,

Of bridegrooms, brides and of their bridal cakes;

I write of youth, of love, and have access

By these to sing of cleanly wantonness;

I sing of dews, of rains, and piece by piece

Of balm, of oil, of spice and ambergris;

I sing of times trans-shifting, and I write

How roses first came red and lilies white;

I write of groves, of twilights, and I sing

The Court of Mab, and of the Fairy King;

I write of hell ; I sing (and ever shall)

Of heaven, and hope to have it after all.


Robert Herrick lived to be 83 years old.


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