Hey guys, so I wanted to bring you one more zombie doll movie video If you've been following me on social media, you know, I've been making the four horsemen at the apocalypse So this is conquest This is famine or pestilence and this is war and I'm working on the last one, which is death each one has the horse and rider According to mythology and I I was raised Roman Catholic So I'm using the Roman Catholic version of the four horsemen of the apocalypse just FYI So conquest was on a white horse and he's carrying a bow and arrow wearing a crown Famine or pestilence again depending on which version you read I was on a black horse and carrying scales I kind of like the idea of him being a combination of both. So he's also covered in flies, you know Famine pestilence death.  I'm gonna use some of this creepy cloth halloween cloth for his cloak and I've been the horse and riders the same color. I also printed a Description of what I've done and why I've done it onto some printer. This is some June Taylor Printer fabric inkjet printer fabric. It's are on a adhesive paper sheet and it's meant to run through your printer. It's water resistant And I've done these in response to the worldwide pandemic in situation in 20 here in 2020 It's just my way of you know tongue-in-cheek working through the stress and I've named each Oh see this one is wrong. Oh Cold cold. Yep. So look that's wrong. It should say death. I forgot to edit So I'm gonna have to cross that out and write death in no, that'll be a funny thing. Anyway, so I've named the Which one it is in each one of the descriptions again, this one's wrong, so we'll have to change up it Don't worry about it right now. Anyway, I wanted to show you this first part. So on all of these kind of dolls You use my pad. I've been using the pattern I have in my Etsy shop. It's a PDF download It's a number of pages and I include Materials used Directions pictures of some Dolls that I've made as part of this pattern and some dolls I made Felt art dolls I made prior to this. I used to make a lot of these and I Include the patterns for the art dolls. I Also use the same pattern to create the doll body just the base and then paint the face and features on and made a doll out of that So I've include all of those different pattern pieces Including some stitching guides and the rib guides for the ribs for the both the horse and the Figures and I cut all my pattern pieces out of some kind of cardstock or something So I can have them handy for the ribs I made sort of a little template that I lay down on the felt and then I trace around and then I cut the pieces out What you see for the horse down here So you and you get all of these different patterns including the skull a blood drop The original felt just because I'm on camera now. I'm having trouble Original felt doll body patterns including wings if you want to make an angel one There's a long video on how to do the basic dolls here on YouTube already I have added the pattern for the horse to the back Which includes the body the mane the tail the ears and all the skeleton pieces and again for both the horse ribs and the Figure ribs. I've just created a little template out of this part And then I had laid it over the fabric and trace it and then cut it I Realized as I was making the last one of these dolls that when I did the original instruction video Which I'll link in the description below. I don't think I did the skeleton on there So I wanted to show you how I did that So I cut all the little bones out and then I use either a Sew line fabric basing glue stick or you can use Elmer's washable school glue to baste your Skeleton pieces onto your body That's kind of the part for the moment that I wanted to show you how to do today So once you have them all fussy cut out put your mane and your tail and your ears aside And the procedure is the same even for the person skeleton as it is for the horse So I usually kind of lay them out roughly where I want them and then Put a little bit of the glue on the back and then stick it down and it sticks it down just good enough To hold it there for when you do the stitching because we are going to stitch them down This is just temporary to hold them in place Bone Skeleton whatever you want to call it and just put a little glue on the back These are to symbolize this of course the backbone the spine and just get them all I already did that This one, but I did it the same way Now again, these are temporarily stuck down So if you don't like where they are or don't like like for instance, that looks like a really big It's a little too big. So I'm gonna give it a trim and Then you're all ready to stitch the bones on okay, so we'll be doing that next I'll be back. Okay, once you get everything basted then it's time to sew the bones down Just like with other doll projects that I do I like to get all of the decorations done on the front of the doll before I assemble said doll. I Do all the different doll things that I do that way For the most part, I'm gonna separate my six strand embroidery floss into three and three I like a long thin large-eyed embroidery needle for the most part I like the what is it Shisiko needle I don't know how to pronounce it into Japanese needle. I don't think this is actually one of them I think that's one of them, but this one is very similar It's a little bit longer So you just use what you like, but I like a very sharp, but very long needle It's easier for me to hold so I'm going to take just the front half of the doll where the bones are basted and Zoom in just a little bit lighting is a little weird today, but you know It's the apocalypse. So I'm gonna start from the bottom and I've tied a knot in the end of the embroidery floss I'm gonna come up right there right there. I'm gonna go out Straight across from there in the green and just do a little tacking stitch. You see that I'm gonna do those all the way around the outside all the way around the eyeballs all the way around the ribs the Center bones the arm bones the leg bones all of it. So once you're done You're gonna see how you're gonna have it all stitched on around here and the ribs and the leg bones on him I added an eyeball over it as after I was done the plastic eye is glued on with E6000 And then I stitched on an eyelid This one conquest has it without so I'm gonna get the bones stitched on on the Person the rider and the horse Just the bones they're sewn on the same way and then I'll be back Okay, guys. We are here. We're going to continue working on The last of the four horsemen of the apocalypse, which is death It is the next day from when we started and I am trying to get used to Going back to filming with my video camera and not my telephone Which for whatever reason I started doing at the beginning of 2020 and the crazy Things that started happening anyway Hopefully I wasn't out of frame too much with some of the prior clips, but just in case just to review And if I was please forgive me I will try to show you the blanket stitch When we start doing the assembly again just in case but to review we attached all the bone pieces to the front of our person our rider and our horse We just did simple straight tacking stitches around all the little pieces of felt bone after we had not only cut them out but Um basted them to the felt body piece with some Elmer's Washable school glue, which is a good alternative if you can't find or can't get these so line Basting glue stick and this is intended for sewing projects But Elmer's washable school glue will work too and that's more easy to find and probably a little cheaper so we Used some cream colored ecru colored a DMC floss To attach all the bones to our body pieces and we did that yesterday then I took two pieces of the tail pattern for the horse and I blank it stitched around the edge of the piece leaving a little bit of an opening here and I stuffed a little bit of polyfill inside there Before I completed sewing it shut Then I did something similar to the mane.  I attached the two ears of the horse So now we're ready to put our Figure pieces both together. I went out this morning I've got some more floss because I was out of this I didn't this is all this green color that I have and I needed a little more so We are going to Put our pieces together I'm going to use all six strands of this DMC floss now The felt that I'm using is from a Etsy shop called Benzi designs and they have a wool blend felt I do prefer to work with wool felt I like the way it feels and handles and stitches better than acrylic felt that being said you can use acrylic felt There's nothing wrong with that But Benzi has some great colors and they have this very pale color green That's pistachio and this color for the bones that I'm using on this one. I think it's called parchment I found this DMC floss, which is almost an exact match to the green in the pistachio felt and this is color 3348 Okay, so we're going to start with the person and I'm going to I'm going to match up the pieces here as best I can now I like to leave a space usually what I'm doing is I leave a space up here at the head So I usually start Somewhere here and I've tied a knot at the end of my embroidery floss I'm going to come up between the two layers of felt About a quarter inch or so away from the edge and pull Which will hide that knot in between the layers Then I'm going to go around to the back second layer and go through the second layer and the top layer and Come out that same place where the thread went in that first time.  I'm going to put the needle underneath that loop That'll make this little bar here That's diagonal When we get to the end, we're going to pull on this and we're going to make it flat like that so Pull it tight Pull it taut but not tight when you're doing these blanket stitches You're going to be stuffing the doll and it'll put a lot of strain on the doll if you pull your Stitches too tight. So again, we're going to go about a quarter of an inch away up from the bottom through both layers We're going to put the needle through the loop before you pull it tight And it's going to make this like bar around the edge of the doll Just like we did with the mane and tail pieces We're going to go all the way around the doll and I'm going to do that. I'm going to go all the way around I'm going to stop about here and then stuff the doll and then sew it closed So I'll be back when I get to about here. All right Okay Now we're going to stuff the doll And I use this kind of fluffy stuffing That's like crumbly and I preferred this this particular kind of stuffing I don't ever remember what the name of it is but yeah, I preferred this kind But anyway, I'm going to stuff it and I usually do all the extremities first and then work my way back up towards the head I just find that's easier Take the needle off so I don't jab myself and just push it all down. I do have this This stick this isn't my grandmother sewing box. I got to think it's some kind of lace making thing I don't know what it is. But anyway, it works good for stuffing dolls Let's see if you have these stitches pulled too tight then the bars of the blanket stitch end up like too far towards the back Or the front and they're a little wonky So that's why you don't want to pull your blankets to just too tight and when you stuff it it gets all weird So I'm going to get him all stuffed And then we'll be back when it's time to sew him together He's all stuffed. So now we need to sew his head closed And add another piece of floss, which is fine And I just leave the little little ends out like that It's a zombie doll, so I think it just adds something to the texture of the doll It's what I call a cute knot. There's cute knots and ugly knots Ugly knots I hide it inside the cute knots. I leave on the outside. Okay.  Let's put the horse together So the horse is Mainly put together the same way. There's a couple of small differences, but we are going to start right about here just like we did on the Rider Start in between because this is what I call the ugly knot So we want to hide the ugly knot back up from the bottom through both layers of felt Back up where we started here Pull tight, but pull top but not tight and go about a quarter of an inch away Do it again, but this time grab the loop and Then do that all the way around your horse Until we get to about Here and then I'm going to show you how we attach the tail and then the mane All right, I'll be right back Okay, when you get to about here It's time to figure out where the tail and mane are going to go before you go any further and you're going to need a couple of pins So I'm going to take the tail piece and I'm going to tuck it into the horse is a rump Right about where I want it, which is right about there You of course don't have to attach it this way You could make the horse's body and then you could attach this on the outside on the front afterwards I like to have it tucked in between And so I put it between the layers I'm going to pin it So in theory it doesn't move around too much one pin through the tail on the front and one pin through the tail on the back like that Then we're going to take the mane and we're going to figure out where we want that Just right about there To sort of hold it in place Then I'm going to blanket stitch up until I Have like one more stitch Till we hit the tail.   Okay, then we're going to come up At the end of those back stitches through all the layers of felt and we're going to continue with our Blanket stitches So I just went around and I made a loop like we do at the beginning this time. I'm going to run the needle and Thread underneath the loop and then again So that we'll have a straight bar So we'll do this Grab the loop And it'll be straight like that. I don't always make sure I do that. Sometimes I don't do that Again, I do have an Etsy PDF download pattern for these basic shapes Which include the shapes for the horses for the four horsemen which weren't originally Included, but I decided to add them at the last minute So again, I'm going to start from the back. I'm going to make sure I'm grabbing the back felt the main oops the back felt The tip of the main coming through the front Hopefully grabbing it all the mains a little more tricky than some of the other pieces Because it's a smaller pattern piece and a smaller piece of fabric. So it's a little harder to make sure you grab everything And then kind of do this and make sure yeah, make sure you're grabbing at least a teeny tiny bit of the main And the tail when you're doing the tail, it's good to check But again, you don't have to stitch them on this way You can you can stitch them on after just to the edge or you can put them on the top This is how I've chosen to do them Myself, okay, I'm gonna get this finished and attached. I'm gonna Do just like I did with the tail at the end here. I'm gonna switch back to blanket stitch I'm gonna stop about here and then we'll stuff our horse and I'll be right back So now we have him stitched and you can kind of you know tug on your tail and your main make sure they're attached well We've got our opening so we can stuff him just like with the rider. I always stuff the extremities first So I'll start with his back leg. I make quite a few of these little Dolls and things right now in case you haven't noticed on social media. That's a joke people So I keep a little tin on the table of stuffing rather than than the entire giant bag I find that that Works better for me than having the giant bag of stuffing all over the place So if you're gonna make a few of these you might think about doing something like that I might just have enough thread on here to Sew his neck close, but I don't really think so. We'll try and there's our horse Now we're not quite done yet because we've got to decorate our rider and or the horse I'm not sure. I've only decorated one of the horses and that was for famine or pestilence and I really thought he needed to have some flies on him like his rider So I attached the flies and actually that one needs a little bit more glue So I attached some flies to him, which I really like the way that looks so I'm not sure I'm gonna do that to this one Do anything to this horse. I haven't to the other two, but first it's this cloak. So we've got this fabric Which we need to get off here. So we need to find an edge and cut a rectangle There we go This stuff is gonna be a pain to work with if you use something like this and you don't have to do this part And there's no pattern for this part.   So if I mess it up, it doesn't matter like literally it doesn't matter Some of this needs to come off the idea Okay, so I'm gonna take some I Think we're gonna go ahead and use the black. I probably should use a dark gray. I'm gonna use the black But I'm just gonna use like two strands What is this two or three? This is three I'll just gonna I'm just gonna do that I'm going to just put a couple of stitches to hold the side of this closed So I'm gonna put my needle once I put it through the fabric. This is very open weave, right? So there's nothing for the knot to grab on to you So I'm gonna put my needle through a couple of the strands just Above the knot so that when I pull it's gonna hold tight like that probably that holds the Mesh fabric together right there and then I'm gonna take a little stitch in his just At the very edge of his arm I usually do it this way with stitches the only things I ever glue on are sometimes the eyeballs and The flies the flies there's no way to stitch the flies on you have to glue them down Now these props for the dolls I made out of plastic bones Plastic flies copper metal There's no pattern for those You can make them out of what you have now is again a good time of year to buy Like the plastic bones and things if you're gonna make something like this. I Usually keep stocks of them around Alright, so we have some more plastic flies see Got my e6000 this happens to be white e6000 I'm using it because I got it inexpensively at Actually the three I found it at the thrift store All right, so before we do our flies though, I'm gonna attach the labels so You want to this is again this June Taylor printer fabric and it's on a paper backing So I always scratch the backing with something sort of semi-sharp and Then peel it off. I don't have the edges of these labels. You could Sometimes I hand write the labels on just a piece of muslin Which is also fine. You can do that too We're gonna take a little bit of our Elmer's glue stick and I don't know why but I just like to tuck this top edge in just a little bit I don't have I don't bother to do this to the sides. I just do it to the top and bottom So I don't know what the deal is with it, but I did all the other ones this way So I might as well do death this way too. And so you have like that And one that will get attached to the back of the horse and One will get attached to the back of our rider now. I will have it tell you a tip I take sometimes I just take muslin fabric This is muslin bandage fabric But anyway, and I put some packing tape on the back because that enables me to very easily write on the fabric With a sharpie and then I'll cut out my little label and I'll sew that to the back of the doll So I do do that sometimes So there is our horse Here's our rider. I do think he needs some flies. I usually have a scrap of paper around here somewhere Let's use this in case the glue gets drippy these plastic flies I got from Amazon they're just miniature plastic house flies you if you used clear glue This would probably be a little easier for you rather than the white Glue my glue as I've said is white. So, you know, all right, let me clean up and I'll be right back Can you see all of those in camera? The four horsemen of the apocalypse. I love the way they turned out It was a project I was joking about at the beginning of 2020 when the pandemic and everything else started and the more stuff that happened this year The more that I thought I just felt like it was therapy for me I needed to make them along with miss corona virus and mr. TP shortage and all the rest of the zombie dolls I have been posting most of them on social media. So You can follow me over on Instagram and go back through my feed and see all the dolls I Have gotten offers and questions if they're for sale at this time. I don't think they are but if you would like your own set I would take Questions about doing commissions, especially if you want them customized. However, I'll tell you right now Although I don't have a definite dollar Point in mind they wouldn't be inexpensive. They do take a fair amount of work to make so If you're interested email me, we'll have a chat my emails in the description. Okay, that being said here you go Here's my collection. I hope you make some and you have fun with this whether you make the four horsemen or you make Just a generic zombie doll or maybe you make some day of the dead dolls I would love to see what you make tag me in your posts on social media because I'd love to see them Alright, that's it for now Don't forget to like share and subscribe Support your free content here on YouTube and over in the Facebook art groups how you can I And all your other favorite creatives have ways to do that whether it's an Etsy shop or a PayPal tip jar or Patreon or something it's usually listed in the description mine is There's a link tree list of links for me in the video description And when you click on it, you're going to find all the different places I am on the internet a lot of people have their links down there in the video description For support, but if you can't find what you're looking for Message them and ask they probably have one and for some reason it's just not down there All right, that being said stay safe. Stay healthy.  I'll see you later. Bye guys


Good afternoon, everyone, and welcome to the April 2022 edition of our third Sunday lecture series at the Ethan Allen Homestead Museum. I am Angie Grove, the executive director of the Ethan Allen Homestead Museum, and I am honored to announce that today we have with us Mary Donchez, who will be speaking to us about Thomas Jefferson and the American maple sugar industry. This talk is pre-recorded and it will premiere on Sunday, April 17th at 2pm. Normally, after the premiere, we host a live question and answer period with our guest lecturer via Zoom. However, due to this month's program falling on Easter Sunday, we will not be hosting a live Q&A after this lecture. We would still love to hear from our viewers, however, and we invite you to send questions and feedback to the Ethan Allen Homestead Museum via email to EthanAllenHomestead.com. We are also more than happy to forward your questions to our guest lecturer as well. Before we begin, we would like to thank the sponsors of our lecture series, AARP Vermont, BurlingtonCars.com, Homelight, Vermont Humanities, and 802 Cars. As a non-profit and privately funded historical organization, it is only through the generosity of our sponsors and donations from viewers like you that we are able to bring programs like this to the public and carry out our mission to bring the 18th century to life. If you enjoy this program and would like to help us continue programs like these, please consider clicking the like button at the bottom of this video as well as the red subscribe button. Clicking these buttons helps our YouTube page reach a larger audience and helps us continue our mission. Please also consider visiting our website where you can make a one-time donation to help us implement our mission or become a member of the Ethan Allen Homestead Museum and enjoy the perks of membership such as free museum admission and access to member-only events. You can also follow us on Facebook, Twitter, and Instagram. Thank you for your support. Now it is my pleasure to introduce to you this month's guest lecturer, Mary Donchez. Mary is a resident of Newton, Massachusetts, whose first post-retirement project was to earn a master's degree from Harvard University's Extension School. This talk is based on her thesis for that degree. Her undergraduate degree in history is from Boston College. She spent her professional life working as an editor at WB Saunders, McMillan, and Little Brown Publishing Companies before retiring from Harvard Pilgrim Health Care in 2011. Where she worked as a project coordinator and for patient disease management programs and as editor for the physician newsletter. Today we are lucky enough to have Mary with us for today's program. Welcome, Mary. I got interested in the subject of maple sugaring in New England a few years ago, when I had to come up with a topic for my master's thesis. And the next couple of slides show some of the sources I quoted in my thesis on which this topic is based, and I'll mention others as I go along. I had read an article in what was then called the Colonial Williamsburg Journal entitled, Does Vermont owe its maple sugar industry to Thomas Jefferson and the anti-slavery movement. I was intrigued because I thought, Thomas Jefferson, what on earth does he have to do with maple sugaring, which seems like such a quintessentially New England product. In fact, harvesting maple sap to make sugar coalesced with his view of the new country as a nation primarily of small farmers engaged with the land, living in bucolic harmony with it, as they produce provisions to feed themselves and sell to their neighbors and friends. Although he promoted it vigorously among his friends and acquaintances, and he tried for years to produce maple sugar at Monticello. He ultimately concluded that, while Jefferson was a founding father of his country, he was not the founder of Vermont's maple sugar industry. Nevertheless, the story of how his advocacy influenced and affected maple sugaring in New England takes us down an interesting by way in American history. He passed a light on Jefferson's famously conflicted views on race and slavery. On the one hand, his desire to ease the burden on slaves, producing cane sugar in the West Indies, and on the other, his reliance on slave labor to maintain his lifestyle at Monticello, and his refusal to free any of his slaves during his lifetime. This is a trip to Vermont that Jefferson took with James Madison in May and June of 1791, which was a major impetus for his advocacy of maple sugar. Then I'll talk about his reasons for promoting maple sugar, the influence Benjamin rush out on him, the great maple sugar bubble of the late 1780s and early 1790s, and the people who were involved in that. In fact, maple sugar production was quiescent for a few decades, largely because extracting the sap was so difficult, given the primitive equipment. Also, the only way to convey a maple sweetener to market was by converting the sap to sugar by boiling it down into syrup, then continuing to boil the syrup until it crystallized into sugar, which was poured into molds where it hardened. This was revived in the mid 19th century around the time of the Civil War, and I'll discuss the reasons for that. I'll touch on maple sugary in the 20th century then circle back to Jefferson, and talk about the reasons this lifelong slave owner championed maple sugar as a substitute for cane, and just what his relationship is to the American maple sugar industry. And James Madison took a trip together in May and June of 1791, heading north from New York into New England. Needing relief from migraines caused by stress and overwork. Jefferson, who at the time was living in Philadelphia, and serving as George Washington Secretary of State needed some R&R. He was also as a lifelong farmer and gardener interested in observing flora and fauna new to him as a southerner. Their route took them up the Hudson River to Poughkeepsie, then on to Albany on horseback. Passing through Saratoga, they sailed on Lake George and attempted to get into Vermont via Lake Champlain. Turned back by bad weather, they headed into Vermont by land, staying overnight in Bennington, which was their northern most stop. They reached Bennington on June 4th and were guests of Moses Robinson the next day. Robinson had just completed a term as governor and was about to become one of Vermont's first two senators. During their two days in Bennington, Jefferson spoke with other distinguished citizens about his hopes for a maple sugar industry, including Anthony Haswell, editor of the Vermont Gazette, who reported on Jefferson's visit, writing quote, It is reported on good authority that accurate calculations have been made by which it has ascertained beyond a doubt that there are maple trees in the inhabited part of the United States, more than sufficient with careful attention to produce sugar adequate to the consumption of its inhabitants. It is likewise said that refineries are being established by some wealthy foreigners resident in the union, by whom agents will be established in different parts who will loan out kettles on reasonable terms to persons unable to purchase. With these agents will likewise be lodged to purchase all the raw sugar in their power. This scheme prosecuted to effect cannot fail to be extensively beneficial to community. But in the meantime, attention to our sugar orchards is essentially necessary to secure the independence of our country. This quotation raises a couple of themes that factor into Jefferson's advocacy of maple sugar. The maple trees established by wealthy foreigners and not just foreigners as we will see, and the idea that maple sugar will help cement the fledgling nations independence. On their way back to New York City via Connecticut and Long Island, Jefferson placed an order with a nursery on Long Island for sugar maples to plan at Monticello. And later that summer with Joseph Bay, whom he had met in Bennington. Jefferson asked about maple seeds they had promised to send him and noted that sugar maple trees are drawing more and more attention. Of course maple sugaring goes back a long way in this country. Before Europeans came indigenous peoples were gashing maple trees with axes and gathering the sap into wooden buckets for use as a sweetener and a drink. And that method continued to be used well into the 19th century. British officials in Massachusetts referred to extracting sugar from maple trees as early as 1664. Early histories of the state of Vermont, it was admitted to the Union on February 18, 1791 touted the value of the maple tree for its beauty, its lumber and its sugar. And the farmers in Vermont produced some of the first maple sugar for the market in 1764. Several almanacs from the last decade of the 18th and into the early 19th centuries, included entries on sugar making in March. For example, now for maple sugar neglect not in attending to it if you have trees. Remember, you have expense in buying. In 1891, when Jefferson and Madison took their trip to Vermont, the vast majority of Americans were sweetening their tea and their baked goods with white cane sugar produced by slaves in the West Indies and imported from Great Britain. Jefferson believed that the US would be able to produce enough maple sugar for its own needs and have enough leftover to export. This optimism came from his association with Benjamin Rush, the Philadelphia physician politician and social reformer. Russian Jefferson had met in Philadelphia in May of 1775 during the Second Continental Congress. By the time they reconnected in 1790, when Jefferson was serving as Secretary of State in Philadelphia. Rush was a committed abolitionist. He was already fastened on the substitution of cane sugar of maple for cane sugar as a way to reduce dependence on the output of slaves, and thus help bring an end to slavery. In 1789, he helped found the Society for promoting the manufacturer of sugar from the sugar maple tree, which began promoting the cause the same year. He already published a pamphlet in 1790 entitled remarks on the manufacturing of maple sugar with directions for its further improvement. And Jefferson purchased 50 pounds of maple sugar in Philadelphia the same year. So it seems likely he and Rush discussed the topic when they reconnected in Philadelphia that year. In 1791, just before his trip to Vermont, Jefferson wrote a letter to George Washington, touting the benefits of maple sugar, and referring to the efforts of Russia's associate William Cooper to bring 3000 pounds of maple sugar to market this season, and who gives the most flattering calculations of what can be done in that way. Meanwhile, Rush set to work on a pamphlet entitled an account of the sugar maple tree of the United States. In the form of a letter to Thomas Jefferson. It was read before the American Philosophical Society on August 191791. The two men were destined not to meet again after the 1790s, but they remained friends and maintained a lifelong correspondence until Russia's death in April of 1813. In the remaining years, Jefferson continued to try to grow maple trees at Monticello used maple sugar when he could get it and proselytized among his friends and correspondence about the benefits of maple sugar overcame. Rush also continued his efforts, in particular through his association with William Cooper and others were involved in what came to be known as the maple sugar bubble. The maple sugar bubble of the 1790s resulted from a collaboration between abolitionists and land speculators at the intersection of piety and profit. Men like Jefferson Rush and Henry drinker hope to do their part to eradicate slavery, while men like William Cooper and representatives of the Holland Land Company hope to make a profit by bringing maple sugar out of the forest to commercial markets. The bubble began in the late 1780s when Cooper in collaboration with drinker began efforts to produce maple sugar on a large scale on his lands in upstate New York, and bring it to the Philadelphia market. White cane sugar, which was grown and refined by slaves in the Caribbean islands, controlled by the British was one of Britain's major exports and was well on its way to becoming a necessity, even among the working class. It was part of one of the triangle trades linking England to Africa and the New World, centering around the commodities of textiles, sugar, rum, and slaves. As I've noted previously, some people had been talking about maple sugar earlier in the century. It was mentioned in the London annual register in 1765, for example. Tunch Cox, Assistant Secretary of the Treasury under Alexander Hamilton, published a view of the United States of America, a series of papers on various subjects written between 1787 and 1794, in which he referred to the distaste of Pennsylvanians for profiting from the labor of slaves. He went so far as to estimate the capacity of sugar maple forests and the demand that could be supplied from them, claiming that based on an average of five pounds of sugar per tree, and 40 trees per acre, 52,605 acres could produce 8,416,828 pounds of sugar. This would meet the demand he envisioned based on information he'd received from the Philadelphia customs house. It was just such enthusiasm and optimistic estimates, coupled with the earnest desire not to profit from the labor of slaves that brought men like drinker and Cooper, Russian Jefferson together in the maple sugar bubble. I've touched on Jefferson and Russia's background and motivation with regard to maple sugar, but what of drinker and Cooper. Drinker was a Philadelphia merchant and one of the three major players in the bubble, along with Cooper and the Holland land company, both of which I'll discuss later. He was a partner in a trading firm, owner of an ironworks, a financier, provider of credit, and a land speculator. He was guided by the principles of his Quaker religion, which included pacifism, T totalism, and opposition to slavery. He was not averse to mingling business and virtue, and if he could do well for himself and his family by doing good, so much the better. Benjamin Rush enlisted drinker support for his society for promoting the manufacture of sugar from the sugar maple tree. By that time, drinker had already met William Cooper and had enlisted his help in selling and settling his frontier lands. He sold kettles from his ironworks for boiling sap to make maple sugar, and he extended credit to Cooper to buy kettles. So the settlers on Cooper's lands in Otsego, New York, could harvest sap in the winter of 1789 to 1790. Note that as I mentioned earlier maple sugar not syrup was the only available maple sweetener. There was no way as yet to store and hence ship syrup. The sap had to be boiled into syrup and boiled some more until it crystallized into sugar. Drinker enlisted other wealthy Philadelphians into a subscription, whereby they donated money upfront for expenses, with the expectation that they would receive a profit when the sugar came to market in the summer of 1790. The season was disappointing and Cooper was able to ship only about 2000-20,000 pounds of sugar to Philadelphia, about a fifth of what he had promised. Another disappointing season followed, though there was enough quality sugar for Cooper to send an associate Philadelphia with a sample that Benjamin Rush had him present to Jefferson. Rush also sent some to President Washington, who accepted graciously and even planted a few trees at Mount Vernon. Nevertheless, the handwriting was on the wall and although Cooper had his settlers produce sugar for the Philadelphia market for one more season, he bought no more kettles, broke up his own sugar works, and informed Drinker in May 1792 that he would quit the trade in the fall. Drinker, though disappointed, was motivated by more than profit and he persevered. He set up a maple sugaring operation at his settlement in Stockport, Pennsylvania, on the Delaware River just south of the New York border. Neither the 1790 nor the 1791 season was particularly profitable, but his expectations were still high when he breakfasted with Jefferson on May 13, 1791, and learned that he and Madison were about to set off on their trip through maple sugar country. In 1792, Drinker established another settlement, Union Farm, about seven miles from Stockport. Formerly named the society for promoting the manufacture of sugar from the sugar maple tree and furthering the interests of agriculture in Pennsylvania, it functioned the same way as Drinker's Enterprise with Cooper. Wealthy Philadelphians subscribed for stock at 50 pounds per share, putting in their money up front to fund the startup with the expectation of getting their money back and more the next summer when the sugar came to market. The first sugaring season in 1793 was disappointing, as was that of 1794. To get a profitable amount of maple sugar to market required first of all that the weather cooperate, which it did not. In addition, the logistics of getting the containers of sugar out of the wilderness in winter and early spring to urban markets without spoilage were daunting, given that horse drawn wagons were the only means of transport. On November 9, 1795, the managers recommended to the shareholders that it was inexpedient further to prosecute the plan. The shareholders consented, and although he continued and after him as heirs to pay real estate taxes on Union Farm until it was finally sold in 1833, Henry Drinker was done with maple sugar. That's while partner William Cooper. If drinkers motivation was at least as much about abolitionism as capitalism, what kept Cooper tapping maple trees in the forests of up seago for as long as he did. Judge William Cooper was born near Philadelphia, the third son of a Quaker farmer. He received only a rudimentary education, but he married well to the daughter of a wealthy New Jersey landowner. Cooper began his land speculation career in Pennsylvania but eventually bought attractive land in central New York, stretching west from Lake Otsego, where Cooperstown sits today. In May 1786 he put up for sale 40,000 acres, all of which were bought in the first 16 days. From that relatively modest beginning he quickly developed a reputation as an expert in the sale and settlement of frontier land. In addition to managing his own lands, he served as an agent for wealthy speculators who owned property in New York but lived elsewhere. And it was thus that he came into contact with Henry Drinker and Benjamin Rush. In 1791 he was named presiding judge of common pleas in Otsego, and he served two terms in Congress. Cooper had motivations beyond profit or concern for the settlers on his own lands. Having come into his prime in the post-revolution era, he was bent on establishing his wealth and position, which meant gaining acceptance from the social elite. His connections with Drinker and Rush were important to him. So when he had the chance to parlay the contacts he had made with these men as land agent into business arrangements, he jumped at it. Like Thomas Jefferson, Cooper saw maple sugar as a commodity that could be produced with relatively little labor and even less cash outlay. If he could develop a market for maple sugar, he could promote Otsego commerce, help his settlers pay their land debts, and bring himself to the attention of some of America's most illustrious gentlemen. Based on his calculations of five pounds of maple sugar per tree per season and 50 trees per acre, Cooper asserted in a 1792 letter to the New York Agricultural Society that a full supply of that article of life that is maple sugar may be manufactured within the boundaries of this state. At this point in his maple sugaring endeavors, Cooper may well have been attempting to get state sponsorship, because it was apparent that individual efforts like his Otsego and drinkers at Stockport and Union Farm were not going to be successful. The statistics that he was promulgating, while they might have been technically accurate, were predicated upon actually being able to extract that amount of sugar from each tree, bring it to an urban market from the wilderness in perfect condition, a task he was unable to fulfill. Eventually Cooper cut his losses and his ties with drinker, and withdrew from the maple sugaring business. Interest in maple sugaring for both economic and altruistic reasons was not confined to America. In 1792, the Holland Land Company, probably the wealthy foreigners Thomas Jefferson referred to in his conversations with the gentleman he spoke with in Vermont, purchased 3.3 million acres of land in Western New York State. Eventually the company owned more than 5 million acres in New York and Pennsylvania. The company was formed in 1789 with the merger of several Dutch banking and brokerage firms. In 1791 discussions were underway about setting up a maple sugaring enterprise on some of the lands that would eventually buy. It is impossible to know what the company's main motivation was. Certainly it was not only American idealist who cherished the idea that if maple sugar supplanted cane sugar slave labor might decrease. One of the firms that merged to form the Holland Land Company was already engaged in the sugaring business, and it seems likely that its motivation was largely materialistic. Agents from the company began their search for sugaring lands in August 1791, two months after Jefferson's visit to Vermont. They eventually covered about 2600 miles. In Pennsylvania, they moved on to New York, Vermont and Connecticut, then back through New York and on to Philadelphia where they had started. During their journey they visited Henry drinkers operation at Stockport, and that of William Cooper up Seago as well. They reported their findings to the company, which bought the land they recommended. In the end of February 1793, one of the agents Garrett boom was planning his maple sugar operation centered north of Utica, New York, and called old and Barnabelle. He started small experimenting on just 17 acres planning to expand to 10,000 acres, which he hoped would produce one and a half million pounds of sugar per season. Before that was ahead of his time, he found a woodworker to construct troughs to collect the maple sap with each tree in its trough connected through a system of subsidiary troughs to a reservoir at the bottom of a wooded slope of maple trees. At first the system seemed to be successful, but some and frost warped the troughs causing leakage. Boone tried other variations on the system, though apparently not the standard bucket collection method without success. He was not given another chance. On November 30 1794, the books of the sugar enterprise were closed, and the efforts of the Holland land company to produce maple sugar for a commercial market came to an end. In 1995 Henry drinker shut down Union Farm, and the same year Benjamin rush signed a proposal for the sale of the lands and property of his society for promoting the manufacturer of sugar from the sugar maple tree, which marked the end of his advocacy of maple sugar. The bubble burst partly because of unrealistic production estimates, but also because settlers were using their maple trees for more than producing sugar, which I'll discuss in a minute. Maple sugar was still being produced in Vermont and elsewhere, but according to an early 20th century history of Vermont. It was being done quote, under the greatest disadvantages without proper conveniences instruments or works solely by the exertion of private families in the woods and without any other conveniences than one or two iron kettles, the largest of which will not hold more than four or five This is a good description of why the maple sugar industry never got off the ground then the next major technological advance after wooden spouts and augers in 1810 did not come until 1858 with a patenting of the first evaporating pan which replaced the iron kettle. So after the flurry of interest in promoting maple sugar occasioned by the advocacy of Jefferson and rush and the determined efforts of the maple sugar bubble entrepreneurs attention waned. In 1829, the New England farmer and horticultural journal lamented that the making of maple sugar is highly important for the people of Vermont, and it is in our opinion, treated with too much neglect. Along with a collapse of the bubble and the general difficulty of extracting the maple sap and turning it into sugar in the middle of the snowy woods. Other forces were at work that kept maple sugaring from becoming a thriving commercial enterprise. In the late 18th and early 19th century settlers were moving on to uninhabited lands in record numbers, looking to domesticate the wilderness and make a living for themselves and their families. In Vermont alone the population increased from 85,425 in 1791 to 217,895 in 1810. Land had to be cleared for farming and there were more lucrative ways to make money from the land besides maple sugaring. Maple timber could yield 20 to 30 times as much money as maple sugar, because hundreds of board feet of lumber could be cut from a large tree that would produce just 45 pounds of sugar per season. Potash was another source of revenue from maple trees. Once the land was cleared the trees were burned, generating huge piles of potassium rich ashes, which could be used for fertilizer or sold to a merchant boiled them down to make potash. This became a major export commodity to Great Britain, which found various uses for it in its burgeoning manufacturing economy. Cutting and burning maple trees while it was hard work was simpler and less labor intensive and sugaring and could be done at any time of the year. But maple sugaring technology was about to make some advances. For more than 100 years the process of making maple sugar remain virtually unchanged, save for the substitution of augers for access to pierce the trees and wooden spouts to direct the flow of SAP. The SAP still poured into wooden buckets that were emptied into iron kettles over open fires. In 1862, in the first annual report of the United States Department of Agriculture, CT Alboard described the manufacture of maple sugar as in its infancy. This was beginning to change. Starting in the 1830s processes for refining sheet metal and the invention of the tin can led to advances in the production and storage of maple products. Eli Mosher of Flushing, Michigan patented the first metal SAP spout in 1860. Metal SAP pails and lids followed and tin cans meant that syrup could be stored and sold without having to be turned into sugar. As the century wore on the production of sugar waned in relation to the production of syrup, reflecting these improved storage methods, and the fact that the extra step of boiling the syrup down into sugar could be eliminated. But the most revolutionary change in the process of making maple sugar involved the substitution of flat pans called evaporators for the iron kettles. It is difficult to determine exactly when evaporators were first used. The earliest design was a shallow iron pan 30 inches wide, six inches deep and six to 20 feet long, supported by a firebox of stone or brick. The larger under surface of the pan allowed for quicker evaporation use of less fuel and higher quality sugar and syrup. For the most part after the 1870s maple sugar making technology remained static for another 100 years when tubing systems came into widespread use. For example in the 1870s sugar makers were still debating the merits of metal versus wooden buckets, as well as pans versus evaporators. Nevertheless, maple sugar production increased steadily to a peak of 40 million 120,205 pounds from 23 states in 1860. There was another factor at play in the upswing of maple sugar production, besides improvements in technology, and it harkened back to Thomas Jefferson and Benjamin Rush's interest in promoting the commodity as a substitute for slave produced cane sugar. Vermont was anti slavery from its very beginning as a territory. By 1837 it boasted 89 anti slavery societies and a total of more than 5000 members. In the farmers calendar section of various almanacs readers were urged to pay attention to maple sugaring in March. Maple sugar will now call your attention said one. This is a more wholesome and pleasant sweetening, and every true American will prefer it to that which is see seasoned with the tears sweat and blood of the miserable slaves. Eastern Johnson, a 19th century American painter noted for his portraits and paintings of scenes of daily life in the South and cranberry harvesting, did a series of maple sugar paintings in the 1860s and early 1870s. Johnson was a union supporter, and through these paintings he drew attention to maple sugar produced by free people in their own communities, Jefferson ideal, as an alternative to sugar produced by slaves. These abolitionist sentiments coupled with the burgeoning technical advances pushed maple sugar production to its absolute peak in 1860. And sometime between then in 1870, when the next agricultural census was taken, Vermont overtook New York as the nation's top producer of maple sugar, a position it holds to this day. Along the way, as the latter part of the 19th century unfolded, the manufacturer of maple sugar began to emerge from the woods and farms and take a place in the nation's marketplace. By the 1890s with slavery no longer an issue and railroads bringing cheap refined white sugar to an increasingly urban market. Maple sugar was in decline, while federal census showed that production of maple syrup increased from just under 1.6 million gallons in 1860 to more than 2 million gallons in 1900. In the late 19th century trade associations, such as the Vermont maple sugar makers Association, one of the oldest non governmental agricultural trade organizations in the United States were founded, seeking to improve quality increased production and better market products. Although maple products, particularly sugar, were evolving in the direction of a luxury or niche market. The State Board of Agriculture became a champion of commercial production of maple syrup in the tobacco industry, where it was used as a flavoring. George Carey, who eventually became America's largest buyer and seller of maple products benefited from this. In 1886, he was a buyer for a wholesale grocery company in Maine, when he stopped in North Craftsbury, Vermont. A local merchant agreed to buy some of his groceries, if Carey would take 1500 pounds of maple sugar off his hands at four and a half cents a pound, which he did. Luckily, he encountered a tobacco salesman from Virginia, whose company was using West Indian sugar at five cents a pound to flavor its chewing tobacco. Carey persuaded him to try the maple sugar, and soon railroad carloads of maple sugar were traveling south to the tobacco companies. On the strength of his profits, Carey established the Carey maple sugar company in 1902, which sold maple sugar syrup and grapes throughout the country and abroad before filing for bankruptcy in 1931. The primary market for maple sugar and syrup was not the individual consumer, but rather large processing corporations that use them as flavoring. Farmers who were not organized and were otherwise occupied with making a living from the land tended to sell the product they did not keep for home use to neighbors and friends, or to the local grocery store for a low price or in exchange for cane sugar. The stores then resold it to mixers, who used it to flavor a body of glucose or cane sugar six to 10 times as great, making a product that was marketed as pure maple syrup. The Packers preferred a dark inferior sugar because it would go farther in the mixtures, and by one estimate, 7 eighths of the product sold by the turn of the century was suspect, being only partially maple syrup or even made entirely of other substances. The US Department of Agriculture was so concerned about this that it included a discussion of adulteration of maple products in its 1905 Bureau of Forestry Bulletin on the maple sugar industry. Although it's report that year did note that given the present state of knowledge, it would be hard to determine whether other sugars had been added to maple sugar. In the case of syrup, the Bureau of Forestry hazarded the guess that the greater quantity of maple syrup on the market is adulterated, but without further definition cannot be to be adulterated legally, unless some statute is enacted, establishing a standard by which these products can be judged. As far back as the 1890s, Senator Redfield Proctor of Vermont had expressed an interest in a pure food and drug bill in terms of both consumer safety and the economic protection it would afford producers by preventing adulteration. In 1903 he became more personally involved when he attempted to determine if syrup produced by the towel maple syrup company of Burlington, Vermont was one actually maple syrup, as opposed to brown colored cane sugar syrup, and two made in Vermont. It turned out that the poorest grade of Vermont maple syrup was shipped to the towel company of St. Paul, Minnesota, where it was blended and Burlington, Vermont put on the label. Although Proctor was sure that what he had tasted was not maple syrup, adulteration could not be proved. In 1906, partly as a result of concern about the dilution of this iconic product of the American forests, Congress passed the Pure Food and Drug Act. The price of cane sugar continued to drop. In 1818, maple sugar was half the price of cane, and by 1880 they were equal. By 1885 cane sugar was cheaper for the first time. Maple sugaring still made sense for farmers with woodland on their property and families to help them harvest the sap. But as the price of cane sugar dropped, beet sugar became available, and America continued to urbanize maple sugar lost its economic advantage. Still, while cane sugar may have displaced maple sugar as a basic food item, the demand for maple syrup and sugar as luxuries and flavoring materials not only kept the industry alive, but called for an increasing supply. That supply continued to be furnished by small farmers and householders, not big businesses or cooperatives. Maple syrup and sugar were nonetheless considered legitimate agricultural products to be reported on by state and national agricultural commissions. Crockett's 1921 history of Vermont lists no maple sugar or syrup, manufacturers, factories or establishments. And by the 1930s, the making of these products was a sideline. Nevertheless, it was an important sideline in Vermont, where 35% of farmers tapped their trees compared to 15% in New Hampshire and 13% in New York. In no other state did more than 5% of farmers tap their maple trees. Although big business never made serious inroads into the maple industry, private enterprise was still at work. In 1916, W. C. Bauer invented a metal sap gathering tube, which eventually proved impractical because of freezing and leakage. Other tubing systems were tried in the first half of the 20th century, including gutter spouting and iron water pipes. Various problems rendered these impractical, such as leakage from ice and falling limbs and damage from deer. And iron pipes heated up too much during the day and could cause sap to begin to ferment by the time it reached the sugar house. In 1959, Nelson Griggs of Vermont patented the first plastic, plastic sap gathering pipeline system. The advances in the plastics industry beginning in the late 1950s enabled the development of a collection system consisting of vinyl tubing that connected hundreds of trees using gravity to drain the sap downhill to a centralized tank that led directly to the sugar house. Maple sugar and syrup also became more and more closely tied to Vermont's economy and self image. In 1970, Vermont had overtaken New York as the nation's largest producer of maple products. According to a news release from the National Agricultural Statistics Service under the ages of the US Department of Agriculture in June 2021. The 2021 Vermont maple syrup production totaled 1.54 million gallons. Which was down 21% from the previous year, largely due to weather and an average season of only 28 days as compared to 38 days the previous year, Vermont remains the top producing nation state in the nation. 200 years after Thomas Jefferson tried to gain support for maple sugaring in Vermont. Maple products have established a niche as a luxury homegrown natural food item tied to Vermont's image as a bucolic Sylvan paradise was beautiful leaves draw visitors in the fall, and whose maple sugar and syrup products draw interest all year round. Not exactly what Jefferson had in mind, perhaps, but he never gave up on maple sugar. What kept him promoting it, writing about it and growing maple trees at Monticello for as long as he did. I'll finish up with a look at Jefferson's quixotic championing of maple sugar and the vexing question of why a lifelong slave owner continue to promote this anti slavery cause. The last sugar maple tree at Monticello died in July 1992. It was probably from a planting done in 1798, and it had reached a diameter of five feet. It's endurance and longevity reflect Jefferson's persistence and championing maple sugar as a replacement for cane in an effort not to profit from the slaves who labor to produce cane sugar for a commercial market. Meanwhile slaves continue to labor at Monticello throughout Jefferson's life and beyond to feed his family and support his lifestyle. What were the roots of this dichotomy. How did Jefferson justify holding on to his own slaves, while trying to undermine an industry that depended completely on slave labor. Jefferson's early writings resolutions for the Virginia assembly the Declaration of Independence and his soul book notes on the state of Virginia, take a consistent and emphatic position against slavery. The relationship role in getting the questions of slavery and emancipation on to the agenda of the Virginia assembly. Massachusetts freed its slaves on the strength of the Declaration of Independence, weaving Jefferson's language into the state Constitution of 1780, thus giving it the force of law. Despite his theorizing about the inherent inferiority of black people in notes on the state of Virginia.  Nevertheless, once revolutionary fervor waned. So did Jefferson's once fervent attempts to eradicate slavery from the American nation. Many Jefferson biographers date this waning from the time of this day in France, 1785 to 1789 as US representative and later successor to Benjamin Franklin as minister. The author of a book on slavery in the age of revolution says that Jefferson while in France began experimenting with the locutions which for the rest of his life would characterize his response to slavery. These locations were by turns contradictory apologetic paradoxical, and most of all aimed at procrastinating emancipation would come, it must come, but not right now. Joseph Ellis theorizes that there were three reasons for this change and the timing of it. First, his book notes on the state of Virginia made him a controversial figure among his own planter class in Virginia. Second toward the end of his time in France as he prepared to go back to Monticello, he began to focus on how much his financial status depended on his slaves. Finally, he realized he had no workable answer to the question of what would happen to slaves after they were freed. He did not believe in a society where blacks and whites could live freely in proximity to one another, and various efforts over the years to investigate relocation abroad for free blacks came to nothing. Annette Gordon read and Peter Onoff in their book most blessed of the patriarchs, add another reason. Jefferson's relationship with Sally Hemings. She had gone to France as Jefferson's daughters, Polly's companion, and her brother James was also there. They were treated as paid servants along with the rest of the staff, and if they stayed in France, they could be free. The situation was all more delicate because Sally had become what their son Madison later term Jefferson's concubine, while they were in France, and she did not want to return to Monticello and be re enslaved. Jefferson had to think seriously about slavery, their relative positions, and what he wanted for his domestic life going forward. He promised Sally that she would live a life of privilege at Monticello, and that their children would be freed when they grew to adulthood. So when Jefferson returned home he essentially live with a two tier system of slavery at Monticello. The Jeffersonian world depended on forced labor for its existence, and it was not the world of yeoman farmers but of landowners with large estates laboring under heavy debts. Nevertheless, Jefferson's ideal was rural and agrarian. Not for him the hustle and bustle of the industrial north with its busy seaports and its centers of banking and commerce. He saw his new country as a nation primarily of small farmers engaged with the land, living in harmony with it, as they produce provisions to feed themselves and sell to their neighbors and friends. In Jefferson's eyes slavery was a blight on that landscape, and his primary goal in advocating emancipation was not to free black people, but to free white people from the moral evil of being slaveholders. Jefferson had another motive for championing maple sugar besides undermining slavery and promoting an agrarian ideal, and that was to reduce America's dependence on Great Britain. Cain sugar produced in the British West Indies from the 1640s on had quickly become a major commercial commodity for Great Britain. The growth potential was significant, particularly in Great Britain's erstwhile colonies. Jefferson was an advocate of economic independence from Great Britain, and he saw the development of the market for maple sugar as a way to promote that independence. Like all advocates of maple sugar, Jefferson touted its ability to improve America's balance of payments, as well as its moral utility. As biographer do mom alone Jefferson's preference for agriculture was based on moral and political grounds, more than economic ones, and his championing of maple sugar with its anti slavery and anti Great Britain connotations provides us with a striking example of this. Jefferson's persistent championing of maple sugar reflects his view of himself as anti slavery, and it reflects as well the way in which he demonstrated the stance quietly, obliquely and without public fanfare. He planted maple trees, bought and used maple sugar, and he proselytized among his friends, but none of these efforts required him to lay either his political capital or his national reputation on the line. So to sum up, despite suggestions in popular literature, for example in 1996 article in American Heritage magazine, the article in the colonial Williamsburg Journal, on which this talk is based. And the 2010 book founding foodies by Dave DeWitt, that Thomas Jefferson was a founding father not only it was country, but of the maple sugar industry as well. A deeper search reveals a more complex picture. For one thing there were numerous other factors contributing to the promotion and development of maple sugar and maple syrup production in the United States, such as the so called maple sugar bubble fueled by land speculators abolitionist fervor particularly among Benjamin Rush and his friends in Philadelphia, and economic necessity among farmers struggling to rest a living from the rocky forested lands of New England. It is also difficult to draw a line from Jefferson to the steadily increasing amounts of maple sugar and syrup produced, because no production records were kept before 1840. When the US Census Bureau began to keep them. There are no before statistics that might let us measure the impact of Jefferson's promotion of the homegrown sweetener. Therefore, while Jefferson continued to advocate the use of maple sugar at home and abroad, well past the turn of the 19th century, his influence was just one of many. Sugaring did not lend itself to nor require a major industrial presence, nor would personal intervention alone, even from so preeminent a person and as Thomas Jefferson had been sufficient to advance the industry. Not until the technology to produce and store maple syrup began to develop in the mid 19th century, coupled with renewed awareness of the terrible human cost of producing cane sugar that came with a civil war and America's attempts to deal with its own slave issue that maple sugar and syrup through the attention of widespread commercial markets. So if Thomas Jefferson is not the father of America's maple sugar industry, what was his contribution. His was a sustained and eminent voice in the effort to make maple sugar the dominant sweetener in the United States. Although his initial interest was aroused by the Pennsylvania and Benjamin Rush, who died in 1813 after 20 years of silence on the subject of maple sugar. His ties to Vermont, the state most closely associated with maple sugar, were close and meaningful. His visit to Bennington in 1791, and his subsequent correspondence with Joseph say stimulated his efforts to grow maple trees at Monticello, and to promote the use of maple sugar in a wider context. He met their say Vermont Governor wrote Moses Robinson and Vermont Gazette editor Anthony has well remained lifelong Republicans and Jefferson supporters. Given Jefferson sustained advocacy of maple sugar it is interesting that his biographers devote little or no time to it. Some biographers, for example, do mom alone and Gordon read and all enough mentioned Jefferson's journey to Vermont, but not its connection to maple sugar, despite numerous references to it in his letters. Rather, they dwell on how it's mended his friendship with Madison, or and whether there was any truth to the Hamiltonian rumor that it was a political trip meant to drum up Republican support in the north, which is still a subject of historical controversy. Still, Jefferson's involvement with maple sugar and gives us another window through which to look at Jefferson's attitude toward agriculture, the economic development of the new nation, and most importantly, slavery. Vermont continues to be the top maple syrup producing state in the country, and no one can drive the highways and back roads of Vermont without being afforded numerous opportunities to purchase maple syrup and other maple products. Probably very few people think of Thomas Jefferson when they stop the connection between a founding father from Virginia, and this most new England of products is a little known but I think fascinating by way in American history. In addition, the story of his advocacy of maple sugar as a substitute for cane adds to our picture of Jefferson the slave owner, who also penned the words, all men are created equal. Thank you. This is a summary for this fascinating lecture, which is very timely considering the sugaring season is just about drying to a close up here in northern Vermont. And we're all getting to enjoy the products of the maple sugaring industry right now. I remind everyone, due to this lecture series falling on Easter Sunday will we will not be hosting our normal live Q&A with the lecture after the premiere of this video. You are welcome to send questions and feedback to the Ethan Allen homestead museum at the email address on the screen, Ethan Allen homestead at gmail.com. We would be delighted to hear from our viewers about our program, and we're more than happy to forward your questions to our guest lecturer. I would also like to ask our viewers again to click the like button at the bottom of this video, as well as the red subscribe button to help our programming reach a larger audience. And consider visiting our website where you can find out more information about our historical nonprofit and museum, including how you can get involved as a volunteer or as a member. Thank you for your support. And finally, one last thank you to our guest lecturer, Mary. Thank you.


So you don't understand face curves. Not a problem. Add the curve for faces lets you put curves around your target of choice. If you don't know what these targets do look at my tutorial all Z-Modeler targets in 9 minutes for the crash course. But just for a few quick examples a single poly just puts curves around whatever face you click and Polygroup Island will add curves to any group of faces that are the same color. Once you've added curves you can do all your normal curve tricks like adding chains ropes tubes and tails and as with all curve actions if you right click on a curve you'll get a few extra options that you can do next time you left click on a curve which include do nothing delete all curves or just delete a single curve and of course the bevel which comes with the traditional settings of bevel in one row two rows four rows or eight rows linear means each segment is equal distance apart sharp edges mean most of the edge loops happen around the edges soft edges means most of the edge loops appear in the middle and if you want a custom edge loop pattern you can change that here the higher the value the sharper the lower the value the softer edge bevel will be applied dependent on your target it includes all the standard options like single row double rows four rows and eight rows and the distance between each segment is determined here linear means they're all equal distance apart sharp moves most of the segments to the edges and soft moves most of the segments to the middle and you can have something custom in between over here the higher the sharper the lower the softer face bridge with target set to two poly lets you left click two faces together left click once left click twice and bam you're connected if target is set to connected poly dependent on what direction the arrow is pointing on the face you're hovering over when you left click drag you will bridge those two faces together move the mouse left and right to expand the shape and move up and down to increase the number of segments the shape of the expansion is determined here and in order they look like bezier curve arcs small round corners spline arcs and line tight round corners circle round corners and straight lines interactive curvature means you can left click drag horizontally to expand the shape specified curvature will automatically set the height of the expansion to whatever amount you said here interactive resolution means you can left click drag vertically to increase the edge loops in the expansion if you set specified resolution to something like eight it will automatically insert eight edge loops into your shape a line with tangent means it will shape the curve based on the direction of the faces you click a line to normal means you'll always get the same default shape no matter what direction the face is oriented variable width means when two faces are different sizes each segment will be allowed to have different sizes constant width means it will try its best to make sure that each segment is equal despite the two faces being different sizes if you want the width of the rows created to be symmetrical set that here otherwise set it there poly group rows will create new poly group colors for the expansion flat will keep everything that happens in the same poly group color tries and quads means the brush will decide when to use tries and when to use quads for the sides if you set this to tries only the sides will always be triangles and if you set it to quads only the sides will always be quads face crease lets you quickly put creases where you left click for example if you have targets set to poly group island meaning a group of faces that are all the same color all sides literally just means it will crease every edge connected to that group generally long sides tries to pick all the edges that go horizontal and short sides tries to get all the edges that go vertical but sometimes it gives weird results so be careful all faces means every face that is connected to your target poly group border specifies that only the border of the color group gets targeted and poly group in a means everything except the border of the color group gets targeted all transitions just means it won't distinguish between edges based on their angles shallow transitions means any edge that is bent at an angle smaller than this number will not be affected so if we set this to 100 and left click this edge will be creased because it has a 90 degree angle which is less than 100 but if we set this to 85 because this is a 90 degree angle it will not be affected sharp is the opposite means if we set this to 80 it means that all edges with angles less than 80 degrees will not be affected all targets just means that every edge that is connected to the group will get creased outer targets means only the outer edge of the group will get affected and inner targets means only the edges not on the borders will get creased and outer and inner have to do with deleted faces all sides just sets to everything if you set to outer only edges bordering a deleted face will be selected if it's set to inner only edges that are not bordering a deleted face will be selected delete face is really simple when you left click a face it's going to delete whatever target you set if you're on single poly it'll delete one poly if you're on front facing it'll delete the front face if you're on poly loop it'll delete that poly loop if you're on poly group island it'll delete everything that is the same color if you're working with edges or points and you don't want to accidentally click a face just set this to do nothing face equalize will try and turn any face into a square every time you left click drag it will keep adjusting the polygon until it gets a square it's pretty useful whenever you just need a square shaped hole in an object but the starting topology is super weird face extrude lets you left click a face to drag out new topology if you hold control you'll detach faces from the surface if you hold shift you'll remove in between geometry and if you tap all you'll change the color of the new poly groups one sided poly is a normal extrusion no sided poly detaches the surrounding polygons and step brush means it will create new edge loops as you drag out and if you want a specific size of edge loop extrusion you can set that right here point one is standard but if you want more space in between you can scale it to something bigger flip faces this is equivalent to blender's flip normals just pick your target click to flip the normals if you're on single face it only affects one face if you're on poly group island it'll flip everything that's the same color face inflate just allows you to left click drag to expand the shape this functions extremely similar to the inflate brush but instead it gets applied to whatever target you have so if we have target set to poly group island it's only going to apply inflation to the polygons that are the same color as the face we click there are three different options the first one is face normals which will inflate in the direction the faces are oriented the next target is edge normal which extrudes in the direction that the edges are oriented and the last target is point normal which extrudes in the direction that the points are oriented they give you slightly different results insert nano measures a quick way to sprinkle whatever object you want as many times as you want and whatever pattern you want to obtain a mesh you want to insert select that sub tool move the camera to a perfect front view go to z modeler brush right click a polygon to bring up the menu and hit to mesh from brush set target to all polygons and align mesh to orientation and when you left click a face on the object you will see that object appear up here from here under z modeler if we go to insert nano mesh and set target to something like single poly and we left click it will drag a copy of that object to that face if you hold shift it will also drag a copy of the object to every face that is the same color as the face we clicked and if you want a specific target or pattern you can hold alt and left click exactly where you want the new objects to appear regardless where you want to spawn them once you've got them on the right side under nano mesh you'll see a bunch of options size controls how big they are width is how wide they are if you want to randomize the width you can do that here length is how tall they are which again if you want to randomize you can do over there height is how long an object is which you can randomize over here this is a great way to quickly make cityscapes with buildings and stuff x offset gives the objects a horizontal offset which as usual can be randomized y offset does the same thing but in the vertical direction and z does the same thing in the forward direction if you had different color poly paint on your object you could assign those colors to control the x y and z offsets with this x rotation moves forward this randomizes it y rotation rotates horizontally and is randomized here and z rotates like a barrel roll and is randomized with this you can flip all the objects horizontally with this or flip them vertically with this h tiles how many you want and stacks horizontally if you set it to four there will be four objects in each face v does the same thing vertically if you set it to three there will be three rows of objects stacked up vertically on each face there are a bunch of preset patterns you can play with over here you can randomize the distribution with this and if you really like the distribution but you want to reroll the seed you can do that right here insert points just means when you left click on a face it'll create a point right in the middle if you hold alt you can left click to plan your targets when you left click then it'll insert a point to every single white polygon insert poly loops is an easy way to expand and add extra loops by left click dragging on your target area if target is set to single poly and you left click drag horizontally you'll expand your target if you drag vertically you'll increase the number of edge loops if you tap alt you will change the color of the poly group interactive splits means it will combine triangles and quads even splits means it will never allow triangles and if you want a specific number of edge loops you can set that here loops mode means it will apply the action horizontally grid turns the action into what plus and sunbursts will include triangles that come from the center alternate poly loops means it will alternate poly groups each edge loop same poly loop means every new piece of topology will be the same color and keep poly group is very similar to same poly loop face instead allows you to left click to create incisions on a polygon if you mess with the size and left click it will try and keep the size the same as when you last adjust it if you tap alt you'll be able to change the color of the new poly groups and if you hold alt before left clicker you can click and drag specific positions you want to apply the inset to and while holding alt left click again to remove a selection center and border gives you a new center and border border just gives you a border and center only gives you the middle instead each poly will apply one action to each face individually but if you have this set to region it will apply one action to the entire region equidistant tries tries to keep all the edges the same border and size standard is more flexible with the border sizes and legacy only works if you have this set to each poly no size limit means you can shrink and grow them to any size default size limit means they can't get any smaller than this and if you want to manually set the limit to how small they can be do that over here default snap is usually what you need but if you find yourself getting some weird triangles try the custom setting and kicking this all the way up and if you're lucky it might get rid of them face mask allows you to mask an area by left clicking it depending on your target is where it will mask if you want to mask specific areas just hold alt and left click if you're on all polygons it masks everything if you're on poly group island it only masks faces that are the same color and if you're on poly loop it masks the entire edge loop mesh to brush this just turns whatever you click into a brush if you're on a line to orientation it aligns the mesh based on your camera if target is set to align to face normal it aligns the mesh based on the face you click how you align the mesh determines the default values of your brush the reason why you want to face the front most of the time is so it will be perfectly flat when you need it to be if you create a brush when it's not aligned you're gonna have a lot of trouble whenever you need something to be perfectly flat or perfectly straight face move allows you to left click on a target and can move it based on the direction the face is oriented if you hold shift it will slide the target along the surface but if target is set to align to axis and you hold shift it will try and slide based on the x y and z coordinates poly groups allows you to left click on a face and give it a new color if you left click drag on a face and tap shift you will absorb that color so that the next time you left click you will copy that color to the next target if you left click drag and tap alt you will cycle through new colors for the polygon and if you hold alt before left clicking you'll be able to plan your targets ahead of time override means it will apply the current colors to your target if we are applying purple it doesn't matter what color the old face was as soon as we click it it's going to be purple additive just means the new color of the target will be consistent here you can see we have a blue and a purple group if we override the entire side there are still only going to be two groups they just changed colors pick exist and is the same thing as holding down left click and tap and shift to absorb the color it just lets you left click the color you want so that when you go back to override the color will be the same as the one you grabbed full coverage means it will only apply the action to the entire target you have set for example if we have targets at the poly group island mean in every face around the one we clicked that is the same color it will target that entire island but if we set coverage to random and something like 25 percent that means only 25 percent of the island is going to have the color changed and if you drag left click you'll be able to cycle through new random arrangements these determine the pattern of the groups that get applied one group ID means the action will be the same color through the left click some of these make a little more sense than others like three sides means it will try and color the poly group based on a front and back left and right and top and bottom six sides means that the front back left right top and bottom sides get its own color and check it just means that it alternates colors like a checker board the other ones are very unique and i don't really understand them but i'll demonstrate them anyway in order you have one group ID topological relative plus one three sides poly order relative minus one six sides point order and checker q mesh allows you to extrude faces with left click and when two faces get close to each other they will merge together if you hold shift it will move the face inward and outward if you hold control it will detach the face and if you tap all it will change the color of the new poly group and as usual you can hold alt to left click and drag select targets ahead of time this area here determines how the snapping together occurs it defaults to a tenth step which means it will take 10 small steps until it reaches equal to the face next to it if you set it to a half it will only take two steps to merge one two if you set it to a quarter it'll take four steps instead one two three four on full step it just snaps automatically every third takes three steps one two three and no alignment means that there are no snaps in between it's just smooth until you get to the end one sided poly means new topology has no edge loops multi-sided by brush means that when you left click drag it will create new edge loops the interval in between each loop depends on the size of your brush so if we increase the size then the intervals between each edge loop will be bigger and if you want a specific size for the interval between each edge loop you can set that here the smaller the number the more edge loops you will have now supposedly attraction determines how strong the snap is but i haven't been able to notice any significant effects when i change these settings so as far as i can tell the default is probably the one you want normally when extruding a new face and snapping together it will always try and keep things as quads but if you enable triangles then when you start extruding a new face it will start you off with a triangle disable extended snap means that when you snap two faces together you will not be able to drag past the face you are snapping to but if you enable extensions that means you can keep dragging past the point the faces are parallel scale as you left click and change the size of your target this area down here represents where the origin of the scale takes place stick of origin like the gizmo if you move it here the pivot point becomes over there if you move it over there instead then that becomes the new pivot point mesh center just puts the pivot in the middle of the mesh click center puts the pivot on the face you clicked so if we click this face it'll collapse over here and if we click that face it collapses around there axis center puts the pivot around the world center if we turn this on you can see the center is right here and if we move our object around and then try to scale again it's still gonna try and collapse around this center polygon center is one that i don't use much but i've heard it works really well when your target is set to curved island and you want the origin to be in the middle of the group of polygons that gets affected local symmetry means it will set the origin to the center of whatever target you have selected so if we are on poly group island meaning every face that is the same color as the one we clicked and we click the blue side the center of the blue group is right here so that is where it's going to collapse if we click on a different color then it will collapse to the middle of that instead set camera perpendicular allows you to left click on a face in order to automatically center the camera perfectly on that face so when you click on a face is going to try and align itself with that face if you say do not center that just means that when you left click on a face it's going to make sure that it's oriented in the same direction but it's not going to center on it slice mesh allows you to left click and slice from one face to another every time you click it's going to connect the new face to the last face if you need a specific angle you can hold down drag and if you ever need to reset your starting point just press the spacebar as you can tell it normally defaults to crease in the slice but if you don't want to crease just set it to uncreased here sphere rise lets you turn any mesh into a ball if you drag click to the left it will try and make the corners of your mesh into a circle if you drag click out it'll try and make the body of your mesh into a circle but if you hold shift and drag out it'll do both at the same time spin controls are very similar to the scale controls the origin of the spin is determined over here and how it spins is controlled over here no alignment means the rotation is smooth 15 degrees means it will snap every 15 degrees and if you want a custom amount of snap like 45 degrees you can set that right here align to access means the position of the pivot will depend on the world position and not the mesh mesh center puts spin origin on the middle of the object polygon center puts the spin origin in the middle of whatever face you click access center puts the spin origin in the middle of the world position clicked center puts the origin where the mouse was when you left clicked local symmetry puts the origin in the middle of your target so if your target is set to poly group island the origin is going to be in the middle of the group of faces that are all the same color as the one you clicked and clicked polygon corner is like clicked polygon except it rotates around the corner of the polygon you clicked spin edges is a thing that you do with nano mesh once you've inserted a nano mesh and you just want to quickly rotate a single target you can rotate them really quick clockwise will rotate them clockwise and counterclockwise will rotate them counterclockwise dependent on your target you can do them all together or you can do it one at a time split allows you to left click on a polygon and divide it into more topology this works on quads it works on tries as usual if you hold all you can plan your targets ahead of time and this option works exceptionally well when used in conjunction with the point split action when you want to extrude a shape from a face transpose just allows you to left click a target and move it with the gizmo if target is set to a single face you'll control the face if target is set to poly group island you will control that island and if target is set to all you will control everything increases the literal opposite of crease all sides means it increases all types of crease lines in your target long sides means it increases all the horizontal creases and short sides means it increases all the vertical creases all faces literally targets all faces of the target poly group border only increases the edges that are on the border of the poly group island and poly group inner only increases edges that are on the inside of the poly group island all transitions mean it won't discriminate creases based on their angles shallow means it won't increase any edge with an angle greater than this value so this is a 90 degree angle which is greater than the value we have said which is 80 so when we click on the blue poly group all decreases except these will disappear sharp transition is the opposite only angles with a value greater than this number will be uncreased so if this is set to 70 it means the only creases that are bigger than 70 degrees will be uncreased and since these edges are 90 degrees if we left click they will be the only edges that get uncreased if target is set to something like flat island meaning all faces that are parallel to the one we clicked all targets means every crease inside the target will be uncreased outer targets means that only the creases on the edge of the target get uncreased and inner means every crease except the borders get uncreased if you have an open hole all the edges means every crease regardless of whether it borders the hole or not get uncreased if it's set to outer edges only the creases bordering the hole will get uncreased if it's set to inner edge only creases not bordering the hole will get uncreased unweld lets you left click a poly group island and separate it from the rest of the topology once you've separated it you can hold control and shift and left click to see what it looks like by itself if you change target to single face you can do this one face at a time the z modeler modifier is not a function like the others it affects how the other tools behave so for example when you're on something like q mesh and you have targets set to flat island mean in any face that is facing the same direction as the one you click the default flatness is 15 degrees meaning that any face that is bent no more than 15 degrees from the one you click will be included on your action but if you wanted to change it to something like 30 degrees that just means that now the next time you click on a flat island everything that is less than 30 degrees different from the face you clicked will be included repeat last tolerance is the required amount of movement to repeat an action on a tablet and pause repeat is related to the feature where z brush remembers the value of your last action let's say you're on inset and this is the perfect border for most of your work so now when you tap left click it will keep the borders exactly the same each time but for whatever reason you need to change the size the problem is after you change the size if you click now it's using the new size instead of the old size well when you pause repeat that tells z brush hey i don't want you to remember the changes i make to the values when i left click so that when you turn it back on it continues from the value before you pause hope that helps and as always hope you have a fantastic day and i'll see you around