The challenge for this week’s blog was to consider class and buildings – more specifically: houses. When I decided to write this post, I thought it’d be relatively straightforward – I have a really interesting house to tell you about, and it definitely has something to say about social stratification. But I’ve started writing this about four times now, and each time it’s beaten me, because I’m struggling to understand and outline what this house says about class. As Jessie outlined in our last post, class is tricky. And the more you look at it, the harder it seems to get. To echo our last post further, we just don’t understand class in 19th century Christchurch well enough yet to begin to try and interpret very real objects in relation to this slippery, ephemeral concept.
North elevation, cottage. Image: L. Tremlett and M. Hennessey.
Let’s start with the basics. I think we can all agree that social stratification is readily apparent in houses today. It was no different in 19th century Christchurch. But what sort of social stratification are we actually seeing? Class is only one means by which society is stratified. The two other primary means are power and wealth, both of which are easier to define than class – and can clearly be related to class, and/or each other. Power can be social power, or economic, political, financial or even the power of celebrity. At its most simplistic level, wealth relates to how much money you have, and can also include the value of your assets. I’m sure economists and accountants have much finer, more nuanced ways of defining this concept, but we’ll stick with the obvious for now.
Of these three concepts, it seems to me that wealth is easiest to examine through tangible objects (whether the china you buy or the house you live in). It’s still not that simple, though: you might not choose to spend your money on material goods, preferring instead to travel, or to invest for the future, or to donate to charity. Or you could live on credit, living beyond your means to maintain a facade of wealth (possibly for status-related reasons). Different things, after all, are important to different people.
When it comes to houses and interpreting the wealth of the occupant, there are some other factors that need to be considered. Did the occupant build this house for themselves? Or did they buy a house that someone else built? Or are they a tenant? And if this last is the case, is it an indication of a relative lack of wealth, of an inability to generate sufficient income to pay a deposit? New Zealand society today places a high value on owning your own house, but was this always the case? I don’t know too much about the housing market in 19th century Christchurch, in terms of what sort of deposit was required and/or what the mortgage rates were – this isn’t to say this research hasn’t been carried out, just that there hasn’t been time to look into this for this post.
The house I’m going to tell you about today was built as a rental property, but would eventually be occupied by someone who owned it. The house was in the northeast corner of the area bounded by the four avenues, and was built in the early-mid 1880s. It was a rather lovely little house. It was a single-storey bay villa, with a decorative barge board and a finial on the gable end (as an aside, we don’t often see these things on the 19th century villas we record, possibly because they get removed during the 20th century), and a verandah next to this. The bay had a decorative bay window with a pair of sash windows in it and the front door had both fan and sidelights, and there was another pair of sash windows next to this. In keeping with the fashion of the times, this facade was clad in rusticated weatherboards.
Decorative features on the street-facing facade: finial (top left), bay window (right) and bargeboard (lower left). Image: L. Tremlett.
Already, these components would have told the visitor to the house something about its occupants. The key things were the fashionable rusticated weatherboards; the double – rather than triple – sash windows; the decorative features; and the narrowness of the facade, indicating a relatively small building (this was no quarter-acre section). Based on what we’ve seen elsewhere in Christchurch, I think that these would’ve told the visitor that someone ‘respectable’ lived here, someone who could afford the niceties of life, but who also lived modestly, whether through choice or circumstance – and I cannot stress strongly enough that these are suppositions, untested hypotheses, and should not be taken as truths.
When the visitor opened the front door, they would have seen a ‘properly’ laid out Victorian home (regrettably, we know nothing about the furnishings, furniture or bric-a-brac the occupants used to decorate this house – another problem when examining status via a house). Straight ahead was an arch (with lovely plaster consoles) that separated the public and private spaces. Between the front door and the arch, there was a door to the master bedroom, where you could stow your coat while visiting and, to the left, the parlour or front room, where the visitor would have been entertained.
Looking down the hallway from just inside the front door, with the door to the master bedroom at right. Image: L. Tremlett.
Most visitors probably never went into the ‘private’ part, and thus never knew what was in there. So they wouldn’t have known that, while there were ceiling roses in the parlour and master bedroom, there were none in the rooms in the rear of the house. In addition, the height of the skirting boards reduced behind that arch and so did the thickness of the doors. And there were plinth blocks in front of the arch, but none to the rear. Plinth blocks aren’t even something we find in homes that we think belong to the moderately or the comfortably well-off – I think of plinth blocks as being restricted to the homes of the truly wealthy. We don’t see them often. There might have been other differences, too, but these were the ones that were still evident in 2013. Of course, the visitor could well have suspected these differences, given the image presented by the house’s facade, and because these differences between public and private spaces were not uncommon in Victorian villas. But the reality is that, in houses of this size (and in a house with ‘only’ pairs of sash windows on its street-facing facade), I wouldn’t have expected these differences, because we don’t often see them in small houses – which could be a problem of survival.
Top: the ceiling rose in the parlour. Bottom: a plinth block at the base of the door between the parlour and the hall. Image: L. Tremlett.
The first occupant of this house was a Mrs Sarah Gault, a dressmaker who lived there from 1886 until 1889. Mrs Gault was Irish. She arrived in New Zealand in 1883, with her father Davis Black, other members of her paternal family and an Alexander Gault (Press 23/4/1883: 2, 9/6/1890: 4) – husband, brother-in-law, son? It’s not been possible to work out so far. Mrs Gault set up her dress-making business in Fitzgerald Avenue, operating from her home, a common practice for dressmakers in the 19th century (Malthus 1992, Star 21/4/1884: 4). A year later she moved into the house in question here, and continued to operate her business from home (Star 3/11/1885: 4). In the Wises Post Office directories (sort of like the White Pages, listing who lived at what address), she was listed as the only occupant of the house in question – this doesn’t mean that she was the only occupant, but it does mean that she was the chief breadwinner, and possibly that there wasn’t a man living at the house (as the male of the house was typically listed in the directories). In 1889, Sarah Gault moved elsewhere in the city, and continued to run her business from home (Star 10/9/1889: 2).
Mrs Gault’s trade meant that she would have received her clients at home, measuring and fitting them in her parlour (Malthus 1992). In her line of work, image may have been very important, depending on the type of clientele she wished to attract. The ceiling roses and plinth blocks, and the barge boards and finial, may have conveyed to her clients that, although she lived in a small house, she understood how one was ‘supposed’ to live and even – this could be quite a stretch – that she was ‘respectable’, often held to be a terribly middle class characteristic. (But to me those plinth blocks suggest something more than middle class.) These features may also indicate the type of client she wished to attract.
So maybe you can tell something about class by looking at a building? While this building doesn’t say much to me about power (at least, not in a simple, immediately obvious way – it might be possible to extract some more subtle readings of power), it may say something about the relative wealth of its occupants: it suggests to me that Mrs Gault was doing reasonably well, business-wise, as this is unlikely to have been cheapest rental around – but maybe it was a financial stretch for her, and she chose it because of the image it conveyed to her clients? It’d be interesting to know about the house she moved to next, and why she moved there. Certainly, there’s nothing in the newspapers to suggest that she was in financial difficulties. What I’ve outlined is a theory only, though, it’s an untested hypothesis, and the next houses we record may prove all of this completely wrong. But I guess that’s the joy of doing research: you develop a theory, you test it, you see what you learn. And slowly, slowly, you maybe begin to understand.
Katharine Watson, Luke Tremlett & Rosie Geary Nichol
References
Malthus, J., 1992. Dressmakers in nineteenth century New Zealand. In Brookes, B., Macdonald, C. and Tennant, M. (eds). Women in History 2: Essays on women in New Zealand. Bridget Williams Books, Wellington.
Press. [online] Available at www.paperspast.natlib.govt.nz.
Star. [online] Available at www.paperspast.natlib.govt.nz.
