The Jacksboro Gazette (Jacksboro, Tex.), Vol. 54, No. 28, Ed. 1 Thursday, December 7, 1933 Page: 3 of 8
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’or trait of
.Santa Claus
Jo$l Roberts
Poinsett
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IRsnUJbo Helped make”
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By ELMO SCOTT WATSON
HEN you read the title of this article,
did you exclaim, “Men who helped
‘make’ Christmas—why, what does that
mean? There was only one man who
made Christmas and he was born near-
ly 2,000 years ago.’’
True! If it had not been for the
birth of Jesus Christ, there would be
no occasion for celebrating December
25 ns Christinas day. And if that cele-
bration had been kept to its original
form, there would be no occasion for
sritlng an article such as this.
But the fact is that there has grown up around
■the celebration of Christmas a great variety of
•customs, traditions and practices which we now
regard as essential parts of that observance even
though they may have departed from its original
meaning. Some of these have had such a gradual
evolution that it would be Impossible to ascribe
them definitely to any one person. But there are
•others which we can trace directly to one or
more individuals—hence the theme of “men who
helped make Christmas” what it is now in this
article.
• * *
Certainly Santa Claus seems to be an essen-
tial part of the Christmas celebration. Speak of
him and there rises to mind a picture of a plump,
rolf-llke little man who radiates laughter and
jgood cheer. Why should he be that sort of per-
son Instead of the stern, gaunt, rather formid-
able figure, solemn and majestic In trailing robes,
carrying in one hand a basket of presents and
In the other a birch rod, as an awful warning to
inaughty children, such as he was when he was
known as Slnterklass, or the Bisliop-Salnt Nich-
olas, by the first Dutch settlers in this' country?
The answer to that question is the names of
three writers—James K. Paulding, Washington
'Irving and Dr. Clement C. Moore—and an un-
'known American artist. It was Washington Irv-
ing who, in his “Knickerbocker’s History of New
iYork,” In 1809 wrote the first description of the
inew type of Santa Claus and made Slnterklass,
4)r St. Nicholns, the patron saint of the Dutch
colonists of New Amsterdam, the archetype of
«U of those jovial, many-breeched, long pipe-
smoklng burghers.
The next writer to paint a word portrait of
Santa Claus was Irving’s friend and collaborator,
James Ktrke Paulding, who in his “Book of St.
Nicholas,” first published in 1827, said Santa
■Claus was "as gallant a little Dutchman as ever
smoked his way .through the world, pipe fore-
most.”
But It remained for Dr. Clement Clark Moore
In his poem, "A Visit from St. Nicholas,” to give
» more definite word portrait of St. Nicholas and
pretty definitely establish in the mind of the
public what Santa Claus looked like.
How much Moore drew upon Irving and Pnuld-
lng for his description is not known but there
is a curious parallelism in some of his words
and some of theirs, although Moore, himself, 40
years later said that “a portly, rubicund Dutch-
man living in the neighborhood of his father’s
country seat, Chelsea” near New York city sug-
gested td him the idea of making St. Nicholas the
hero of bis Christmas piece for his children.
Then in 1839 a book called “The Poets of
America,” edited by John Keese, was published.
It contained Moore’s poem and the illustration
for that was a picture of Santa Claus. (Repro-
duced above.) Who the painter or the engraver
was is unknown but it is believed that this was
the first time a picture of Santa Claus was ever
printed. Thus It was Washington Irving, James
K. Paulding, Clement O. Moore and the unknown
illustrator of Keese’s “Poets of America" helped
“make” Christmas by giving us our present idea
«f the patron saint of the liolldny.
* * *
What would Christmas be without Christmas
hymns aad Christmas carols? And what song
hus been more often sung on Christmas Eve or
Is more beloved thnn “Silent Night, Holy Night”? ’
It was on December 24 of the year 1818 that Jo-1
sef Mohr, assistant pastor of the newly estab-
lished St. Nicholas’ parish church in the little i
■village of Oberndorf, near Salzburg, Austria,
handed to Franz Gruber, a schoolmaster of Arns-
dorf, who was organist for the church, * poem
-with the request that he write for It a suitable
melody arranged for two solo voices, chorus and
a guitar accompaniment—the reason for the lat-
ter being that the organ In the little church had
broken down.
So Franz Gruber sat down at his grandfather’s
•desk Immediately, wrote a simple melody for the
poem and that night on Christmas Eve, in SL
Nicholas’ parish church was for the first time
sung “Stille Nacht, Heillge Nacht"
To the fact that the little organ In Oberndorf
toad broken down. Is due the widespread popu-
larity of the hymn. The organ builder, Karl Man-
racher of Fugen In Zlllertal, had been sent for to
make the necessary repairs. He heard the air
and hummed It In his native country, where It
became very popular in a short time and soon
spread all over the world.
Thus it was, too, that Joser Mohr and Franz
Gruber, two Austrians, helped "make” Christmas.
Zhz first Christmas
Card
James Kirke Rauloincj
Cinar holboell
Do you enjoy sending out Christmas cards to
your friends? If you do, then you should know
the name of Sir Henry Cole, an Englishman, for
It was he who originated this custom. Later
famous as a social and educational reformer,
Henry Cole wns a pioneer in Illustrating chil-
dren’s books with woodcuts of famous paintings.
In 1846 he conceived the Idea of sending decora-
tive cards to his friends, bearing his good wishes
for their happiness at Christmas. So he went to
his friend, J. C. Horsley, a member of the Royal
academy In London, for the design and the re-
sult was the card which is reproduced above.
But few Englishmen followed Cole's lead and
the business of making Christmas cards got un-
der way very slowly in England. It was even
slower In getting started In tills country. In 1873
Louis Prang, a lithographer of Boston, exhibited
samples of his flowered business cards at the
Vienna exposition and they attracted consider-
able attention. He had an agency in London
and one of his women employees there (her
name Is unknown) suggested to him that he put
a greeting in place of the name of his firm nnd
Issue them as Christmas cards. This was done
the next year, so that 1874 marks the beginning
of the Christrans card in this country.
So Sir Henry Cole, the Englishman, nnd Louis
Prang, an American, can be added to the list of
men who helped “make” Christmas.
* * *
Do your letters go out benrlng a Christmas
seal ns well as a postage stamp these days? If
they do, It’s because Einar Ilolboell, a clerk In
the post office at Copenhagen, Denmark, while
sorting the mountain of Christmas mnii in 1903,
had the idea of another stamp for letters which
should combine a Christmas decoration idea with
some practical purpose.
He went with his plan to the head of the
postal service and others with influence nnd au-
thority. And so, when the first Christmas seal
committee held a meeting to discuss the pur-
pose and use of the possible Income from the
Christmas seal, und it was decided that the first
object was the erection of a hospital for tubercu-
lar children, and, in general, the income from the
seal should always be for the fight against tu-
berculosis, In one form or another.
Upon application to the then King Christian
IX, Holboell secured the permission to have n
likeness of the deceased Queen Louise on the
first Christmas seal, and the king became so In-
terested that he himself selected the picture
which he wished used.
The success of the venture was overwhelming.
The first printing of 2,000,000 seals was Im-
mediately Increased to 6,000,000 and over 5,000,-
000 were sold. Since that time the Christmas
seal sale in Denmark has brought in enough
money to erect latge numbers of sanitaria nnd
convalescent homes for tubercular patients. Hol-
boell, the modest postal assistant, became post-
master at Charlotten Zund, near Copenhagen,
and a Danish cross of Knighthood was his badge
Of honor. He died of heart trouble in his sixiy-
aecond year on February 23, 1927
*
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,
In 1909 the idea reached America and when
Jacob Itils, a native of Denmark who had be-
come an American, saw the queer little stamp
on mail urriving from his homeland he immedi-
ately sent a letter of Inquiry to Denmark. The
reply was a personal one from Mr. Ilolboell, who
explained in detail the method of procedure.
Through an American woman, Miss Emily Bis-
sell, the Idea was presented to the American
Red Cross, which, after several years of suc-
cessful sales, turned the project over to the
American National Anti-Tuberculosis association,
which has since had charge of it.
So Einar Holboell, the Dane, Jacob Rlis, the
Danish-American, and Miss Emily Blssell, the
American, helped “make” Christmas.
• * *
If William Eustis, secretary of war In 1809,
hadn’t turned down the suggestion of President
Madison that Joel Roberts Poinsett be appointed
quarter-master general of the army, we might
never have had those brilliant crimson flowers
which we know ns poinsettins as a part of our
Christmas decoration. Here’s why:
Joel Roberts Poinsett was a native of South
Carolina, who studied medicine for a time at Ed-
inburgh university and later graduated in mili-
tary science and mathematics at Woolwich
academy. Ill henlth necessitated a long period
of travel In Europe and Asia, after which he re-
turned to America and requested President Mad-
ison to furnish him with military employment.
Madison made the suggestion of the quarter-
master-generalship hut Eustis objected. So Mad-
ison offered Poinsett a mission to South America
for the purpose of establishing friendly rela-
tions with the people there nnd Investigating the
prospects of their struggle for independence from
Spain.
This led to his becoming something of an au-
thority on Latin-Amerlcan relations, to his ap-
pointment to a special mission to Mexico In 1822
and his appointment ns the first United States
minister to that country In 1825. While holding
that position he first beheld the exotic beauty
of a brilliant red flower native to that country.
When Poinsett returned to his home In South
Carolina in 1829 he brought with him some of
the seeds of the plant and Just a hundred years
ago, in 1833, he sold some of the plants which he
had grown In his hothouse to Robert llulst of
Philadelphia. Bulst named the flower “Euphor-
bia polnsettla" and although the scientific name
has since become “Euphorbia pulcherrlma” the
name polnsettla, honoring the man who brought
It to this country, has stuck and it has become
one of our chief floral decorations at Christmas
time.
Poinsett later became secretary of war in Van
Btiren’s cnblnet, after which he retired from pub-
lic life. In the cemetery of the town of States-
burg, S. C., Is a simple marble tablet which
bears this inscription “Sacred to the memory of
Joel R. Poinsett, who departed this life on the
twelfth of December, 1851, In the seventy-third
year of his life. A pure patriot, an honest man,
and a good Christian.”
To this might be added “Hs helped ’make’
Christmas.”
• bv Wsatern N.w.ssnw Usloa,
BEAUTY
TALKS
By
MARJORIE DUNCAN
BLEACHING THE SKIN
C'ASHION frowns on freckles.
" Whether or not suntan wns the
official vogue this past summer, we
won’t argue. But the fact remains
that suntan, swarthy skin, discolor-
ations of any kind are absolutely ta-
boo In the fall. Skins are going clear-
er, softer and younger—of course, al-
ways younger—and lighter, too. The
lighter the skin, the brighter the out-
look for a full social program.
If you have not already started
blenching, do It now. But, remember
that it is important to find a bleach
that suits your individual type of skin.
The sensitive, tender skin should have
only the very mildest form of bleach,
und the blench should not be used more
frequently than once or twice a week,
followed by a soothing, nourishing
skin food. Should any irritation en-
sue, discontinue the bleach until tlio
skin Is no longer sensitive.
If hands, arms and neck need
bleaching, the bleach may be npplied
more ofter on them than on the face
and also allowed to remain for a
longer period. In fact, to look well
In an evening gown, and the social
season usually presents several occa-
sions for it, the neck should have reg-
ular bleaching treatments. The nat-
ural tendency of the skin as it grows
older is to become sallow and yellow,
unless we attempt to keep it the orig-
inal color by bleaching and stimulat-
ing.
First, be sure to cleanse the skin
thoroughly. For the face, it is usu-
ally best to use a cleansing cream,
since most bleaching agents are dry-
ing. For the very oily, heavy or
swarthy type of skin, a good bland
soap and warm water may be used
for this purpose. The neck, except in
cases of extreme dryness, may be
cleansed with a soft washcloth, soap
and warm water. Then every bit of
soap should be rinsed off very careful-
ly in warm, then cold, water before
careful drying.
Then apply the bleaching medium.
There are a great many excellent
bleaching creams on the market, also
bleaching stimulating lotions for the
oily skin.
It is best not to use a bleach on a
skin that is in any way irritated or
marred with eruptions. It is best to
soothe the irritation, and clear the
eruptions and then far safer to bleach
the skin a shade or two lighter. Of
course, the bleach should not he left
on the face as long as it is left on
the arm.
• * *
POWDER ESSENTIAL
pOWDER Is no doubt the most pop-
* uiar item in the make-up ensem-
ble. It gives the skin a velvety finish.
It softens. It does all that when the
right shade and the right quality and
texture are chosen.
These are the three requisites of a
really good powder. It should be the
right shade, quality and texture. Like
your rouge It should harmonize with
your skin. The rouge—with the blood
tone under your cheeks—when your
color is up. The powder with the ac-
tual skin color. Uere is an excellent
test to determine whether you are us-
ing the right shade of powder When
your skin is freshly cleansed and yon
have used a little skin tonic apply
Just a dab on the nose, chin, or fore-
head. If there is a striking contrast
between the powder and your skin,
then your powder is all wrong. Choose
a good quality powder. Your skin de-
serves the best.
Now ns to the texture of the powder
you choose—avoid a heavy powder.
That is a mistake many women make
They choose a heavy powder because
it stays on longer. But such a powder
looks too obviously artificial. There
are ninny excellent, soft, tine powders
that cling without giving one that pow-
dered look.
Make sure that your powder Is very
delicately perfumed—as a heavily
scented powder is offensive.
Now as to the blending. Use a meti-
culously clean powder puff—always.
Soiled puffs are ns injurious ns poor
powders. And never powder hurried-
ly or carelessly. Fluff nnd pat ft on-
starting on the neck. Upward nnd out-
ward. Over the face—pat—pat. Nev-
er rub or scrub your powder Into the
skin. Use a pad of cotton, or a swans-
down puff. Fluff and leave the powder
on for several minutes if you have the
time, and then smooth off the excess.
Use a fresh piece of cotton or a velour
putt to remove the excess. Many wom-
en prefer using a rabbit’s foot for this
purpose. Powder the entire fnce, In-
cluding forehead and then use a little
eyebrow brush to remove any pow-
der grains from brows and lashes.
The very best results can only be
expected when directions nre very
closely followed. If you knew how
much time and patience nnd thought
goes Into the thorough testing of prep-
arations even after the formulns nre
perfected—to discover what the very
best method of application Is, you
would know that there is a very good
reason for the directions on Jars and
bottles or in circulars enclosed with
package.
Properly applied cosmetics are never
apparent They accentuate the color-
ing, but never exaggerate It Society
women err Just ns often as others be-
cause they in» to be exotic auu over*
do It
•, 8si| Syndicate—WfttJ Servlo*. _
Beauty Standards Set
Forth by Great Artist
To be beautiful a woman must
have seven certain qualifications.
And these seven little items, listed
by ttie classic Spanish painter Velas-
quez of the Sixteenth century, are:
White, black, red, slender, little,
broad and soft. According to Velas-
quez's standard, to he beautiful a
woman must possess: white skin,
teeth and hands; 'black eyes, eye-
brows and eyelids,; red cheeks, lips
nnd nails; slender body, arms amt
legs; small teeth, ears aiid feet; soft
hair, lips nnd hands; nnd a broad
breast, forehead and root of the
nose.
Perhaps it will give his "beauty
standard” n little more weight if we
add that Diego Rodriguez Velasquez
was tlie head of the Spanish school
of painting and wns one of the great-
est painters the world lias ever
known. He lived from 1599 to 1060.
That was a long time ago, but his
beauty guide still seems to hold true.
Of course they didn’t have platinum
blondes in those days, silly!—Path-
finder Magazine,
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Dennis, J. R. The Jacksboro Gazette (Jacksboro, Tex.), Vol. 54, No. 28, Ed. 1 Thursday, December 7, 1933, newspaper, December 7, 1933; (https://texashistory.unt.edu/ark:/67531/metapth602390/m1/3/?q=music: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Gladys Johnson Ritchie Library.