Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is painted black with red trim. A red semi-circular scroll has gold trim with gold lettering that reads “WESTERN.” Just above are the owner’s initials “R.P.” in gold and framed by a sunburst. The number “26” is painted in gold on each shoulder. This cape belonged to a member of the Western Hose Company No. 26, which was organized in 1836. In 1863, they acquired a steam fire engine and served as a hose and steam fire engine company until 1867 when their services were dispensed with by the City Council. That year their firehouse and steam fire engine were purchased by the Fame Hose Company No. 12.
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events. Sometimes framed with elaborate carvings, they adorned the tall air chamber located at the middle or rear of a pumper. The paintings would often feature patriotic, heroic, or allegorical images to associate the volunteer companies with these lofty ideals.
This small fire engine panel painting is attributed to the Weccacoe Hose Company of Philadelphia, Pennsylvania. It was formed in 1842 by members of the Weccacoe Fire Company who would not take a temperance pledge. It operated until 1854, when it was disbanded for rioting. In 1856, the City Council refused to admit the company to the newly organized Philadelphia Fire Department, which, although volunteer, was under the administrative and financial control of the city. The small round panel has a painted inscription on the reverse that notes that the company was “disbanded by order of the court for rioting” around 1854. The image may be that of the Wampanoag sachem, Metacomet, who led his people against the English settlers of southern New England in King Phillip’s War (1675-76). The painting is similar to a well-known image of Metacomet engraved by Paul Revere in the 1770s. The Indian leader was the protagonist in a popular 19th century stage play “The Last of the Wampanoags,” portrayed by Philadelphia’s Edwin Forrest, one of America’s most famous actors.
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events. Sometimes framed with elaborate carvings, they adorned the tall air chamber located at the middle or rear of a pumper. The paintings would often feature patriotic, heroic, or allegorical images to associate the volunteer companies with these lofty ideals.
This fire engine panel painting likely came from the Aetna Fire Engine Company No. 16 of New York City that was active from 1786 to 1833. The painting is attributed to Thomas Sully and dates to around 1832. This painting takes after Edward Savages’ Liberty in the Form of the Goddess of Youth: Giving Support to the Bald Eagle [1796], a popular image of the period. The image parallels the mythological figure of Hebe, cupbearer to the gods of classical Greece, bringing them ambrosia and the nectar of immortal youth. It depicts a figure of Liberty pouring a bowl of ambrosia for an American bald eagle, granting it the immortality of the gods. Neo-classical themes on panel paintings linked the new nation to the ancient ideals of liberty, democracy and prosperity. They also allowed the volunteer companies to display paintings of an idealized female form, an image that was sure to be eye-catching during parades.
This fire hat dates to the middle of the 19th century. The hat is painted red overall, with the front of the hat bearing the text “WESTERN / 1840” in gold. The back of the hat has the large initials “WEC” painted in gold. The owner’s initials “D.S.” are painted in gold on the crown of the hat. The Western Fire Engine Company No. 37 was founded on April 7th, 1840 in Philadelphia, Pennsylvania on the corner of 8th Street and Callowhill Street. The Western operated as a hand engine company and acquired a steam fire engine in 1865. It served as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established.
This fire hat was used in Philadelphia, Pennsylvania during the first half of the 19th century. The hat is painted red overall, with a large illustration of a rising golden sun on the front of the hat. There is a black banner on the front with large golden letters that read “MONROE.” The back of the hat has the date “1823” painted in gold on the back of the hat between two patterned lines. The Monroe Fire Engine Company was established in Philadelphia, Pennsylvania on March 8th, 1823, and likely named after President James Monroe, who was in office at the time of its founding. The Monroe operated as a hand engine company until the company acquired a steam fire engine in 1863. It served as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established.
The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and frontpiece were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
This leather fire helmet was made by Cairns & Brother of New York, New York around 1886. This helmet was likely presented to Samuel S. Pounds of Paterson, New Jersey after he finished his term as assistant chief engineer in 1886.The leather helmet is painted white and has sixty-four combs with a metal eagle frontpiece holder mounted on the crown. The rear brim of this hat displays a stamped scrolled border, two embossed hexagonal hydrants with hoses, and an engraved plate that reads "presented" to "Samuel S. Pounds, Assistant Chief Engineer, P. F. D. 1884-1886." The leather frontpiece bears the text “ASS’T CHIEF/ENGINEER/S.S.P.” and a painted image of a Silsby steam pumper in the center. Samuel Pounds had been a member of the Lafayette Steam Fire Engine Company No. 8. He was a machinist by trade.
The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and frontpiece were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
This leather fire helmet was made by Cairns & Brother of New York, New York around 1888. This helmet was likely presented to Frank W. King of Paterson, New Jersey after he finished his term as assistant chief engineer in 1888. The leather helmet is painted white and has sixty-four combs with a metal eagle frontpiece holder mounted on the crown. The brim has a stamped scrolled border, with two hydrants flanking a frontpiece-shaped brass plate in the rear that bears the engraving "Frank W. King, Ass't Chief Engineer, 1886-1888." The leather frontpiece bears the text “ASS’T CHIEF/ENGINEER/FWK” and a painted image of spider-type hose reel in the center. Frank W. King had been a member of the Hibernia Hose Co. No. 3 of Paterson and served as the company's secretary before his election to Assistant Chief Engineer, with its standard two years of service. He was a machinist by trade.
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is painted with equal sections of red, white and blue. The cape has the name “LAFAYETTE” painted in gold in the center of the cape, with the letters “L” on one end and “H” on the other. These initials likely stand for Lafayette Hose Company No. 22, founded in Philadelphia in 1831 and operated until 1871 when Philadelphia’s paid firefighting department was established. The red, white, and blue coloring on the cape displayed the company’s patriotism, as did its name, which celebrated the Major General Gilbert du Motier, the Marquis de Lafayette, a hero of the Revolutionary War. Lafayette returned in 1824 on a celebrated tour, and was feted in Philadelphia and other American cities. Attesting to his continuing popularity among Americans, the hose company took his name nearly a decade later.
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is painted red with the company name “FAIRMOUNT” written in gold. The letters “F’” and “A” are painted on each shoulder. A gold-painted image of a fire hydrant with protruding hose is flanked by the initials “FA” in the center of the cape. This was the logo of the Fire Association of Philadelphia, an insurance company founded by a group of eleven volunteer engine companies and five volunteer hose companies in 1817. Fairmount Fire Engine Company No. 32, organized in 1823, was a member. Originally organized as a hand engine company, the Fairmount Fire Engine Company No. 32 acquired a steam fire engine in 1860 and operated as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established. It was named for the Fairmount Water Works of Philadelphia, the first municipal water system in the US and a boon to volunteer firefighters.
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is painted dark red overall, with a blue scroll in the center of the cape bearing the text “SHIFFLER” in gold. Above this, the initials “J.C.D.” are painted in gold, likely belonging to the owner of the cape. The shoulders of the cape have painted images of the American flag furled around a pole. The cape is likely from the Shiffler Fire Hose Company No. 32 of Philadelphia founded in 1846. It acquired a steam fire engine in 1865 and changed its name to Shiffler Hose and Steam Fire Engine Company operating as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established. The company was named for George Shiffler, an 18-year-old who was killed during anti-Catholic riots in Philadelphia in 1844. These riots occurred during a time of growing tension between largely Protestant Nativists and immigrant Irish Catholics. Shiffler was killed outside an Irish Catholic firehouse, and became a celebrated martyr for the Nativist cause. These political and religious differences could divide fire companies, as volunteer fireman aligned with those who shared similar backgrounds. The Shiffler Hose Company would often brawl with the Irish Catholic members of the Moyamensing Hose Company when they crossed paths on the way to fires.
Some early American firefighters wore capes for protection, ornamentation, and identification. The stiff oil cloth protected their shoulders and upper body against fiery embers and water, and the decorative painting served to identify company members at chaotic fire scenes or on parade. The capes were often painted by local sign painters, some skilled artists like John A. Woodside, who also painted the company’s hats and banners and decorated their fire engines. Many of the capes in the firefighting collection display patriotic names and symbolism, reflecting themes important to 19th century volunteers, as well as the pride they felt in the early founding date of their fire company.
This oil cloth cape is painted blue with gold trim and lettering that reads “COLUMBIA / 1763.” Early American fire companies often linked themselves with patriotic names or symbols. Linked to the goddess of Liberty, Columbia was popularized as the female personification of the United States in the late 18th century, as the country began to agitate for its independence. Actually founded in 1765, Columbia Fire Engine Company began as the Fellowship Engine Company (Lower Ward) in the Germantown area of Philadelphia. The company took the name Columbia around 1809. Incorporated in 1833 as the Columbia Fire Engine and Hose Company of Germantown, it operated as a hand engine company until 1871 when Philadelphia’s paid firefighting department was established.
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat dates to the first half of the 19th century. The hat is painted brown overall, with a portrait of George Washington painted inside a golden oval surrounded by green foliage. The text “Washington Co.” is arching above the portrait in gold paint. The back of the hat has the date “1820” in gold paint surrounded by a gold oval. The Washington Bucket Company was founded in 1820 in Philadelphia, Pennsylvania, and the company’s initials “W.B.” are on the top in gold block letters.
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
The hat is painted blue overall, with a central image of a flying angel (or alternately an allegorical representation of Fame) blowing a trumpet with a sunburst in the background. The portrait is framed in gold, flanked with banners above and on each side. The name of the original company appears to have been obscured by blue paint in the banners, but there is a paper tag on the inside that reads “THE PROPERTY/HARRY NEEL.”
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used in the eastern United States during the early 19th century. The hat is painted brown overall, with arched white block lettering on the front that reads “UNION HOSE.” The back of the hat has the date “1760” painted in white. Hose companies did not exist prior to the 19th century, but many hose companies did link themselves to previously existing fire companies and took that founding date, which is likely what happened in this case.
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used in Baltimore, Maryland during the first half of the 19th century. The hat is painted red with the text “FRIENDSHIP/F. Co.” painted in gold on the front and the date “1839” painted in gold on the back. This hat deviates from the stove-pipe style prevalent among other fire hats of the period, as it has a peaked crown. The Friendship Fire Company of Baltimore, Maryland was organized in 1785, and chartered in 1839.
This hat was used in Philadelphia, Pennsylvania during the first half of the 19th century. The hat has been painted red with a portrait of Commodore Stephen Decatur framed in gold. American flags and black banners with gold trim surround the portrait. The banners bear the gold text “DECATUR/F.E. CO.” The back of the hat features a gold painted image of an early fire hydrant with gushing hose attached, flanked by the letters “FA”. This was the logo of the Fire Association of Philadelphia, an insurance company founded by a group of eleven volunteer engine companies and five volunteer hose companies in 1817. The top of the hat bears the owner’s initials “N.C.” painted in gold. The Decatur Fire Engine Company No. 21 was founded in 1803 in the Frankford neighborhood of Philadelphia as a hand engine company. It acquired a steam fire engine in 1859 and operated as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established. Originally known as Good Will Frankford Fire Company No. 2, the company renamed itself in 1842 after Stephen Decatur, the famous naval officer and hero of the War of 1812, whose father had resided in Frankford.
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used in Reading, Pennsylvania during the first half of the 19th century. The hat is painted red overall, with the “JUNIOR/1813” painted in gold on the front of the hat, and a golden number “2” painted on the back of the hat. The crown of the hat has the word “CAMEL.” painted in gold surrounded by two geometric sunburst patterns. This hat was likely used by a member of the Junior Fire Company that was founded on December 2, 1813 in Reading, Pennsylvania.
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat was used by a member of the Neptune Hose Company of Philadelphia, Pennsylvania during the first half of the 19th century. The hat is painted brown overall, with painted golden text on the front that reads “NEUPTUNE/HOSE.” The back of the hat has the date “1805” painted in gold, and the owner’s initials “J.R.F.” in gold on the crown of the hat. The Neptune Hose Company was founded on August 6th, 1805 in Philadelphia, Pennsylvania.
Beginning in the late 18th century, some volunteer fire fighters began to wear hats painted with their company’s name to identify themselves at chaotic fire scenes. During the 19th century, these fire hats became more ornate, as portraits of historical figures, patriotic scenes, allegorical images, or company icons were painted alongside the company’s name, motto, or founding date. Made of pressed felt, these “stove-pipe” hats were primarily used in Philadelphia, but other nearby cities such as Baltimore and Washington adopted them as well. Fire hats were personal items with the owner’s initials often painted on the top of the hat. While these hats were worn at fires, they are more colloquially known as “parade hats.” Fire companies commonly marched in the many parades of the period and these ornate hats contributed to the visual culture of their day. These distinguishing features in a company’s regalia often proclaimed the members’ cultural and political identity as well as their position on contested topics such as work, religion and immigration.
This fire hat dates to the middle of the 19th century. It was originally painted blue, and then varnished, and the varnish has turned hat color dark green. There is a faded red banner on front with illegible gold lettering. There are two fragments of newspaper attached to inside of the hat, dated Aug. 1, 1839 and Aug. 1, 1833. On the top of the hat the initials “L.G.” are painted in gold. The hat was made by James Hill, a Philadelphia hatter, around 1860.