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Anxious to preserve the colonial heritage in the face of industrialization, the architects of the homespun age envisioned a rural past that was self-sufficient and rigidly divided by gender. In this imagined world, men dominated politics, economics, and market relations, while women took charge of the material and domestic realms. Fervidly, New Englanders dug deep into their attics to find the hard evidence—the spinning wheels and the antique clothing—that testified to great-grandma's handicraft skills. Colonial women were celebrated for the objects they had used or made, for the baskets, stockings, bed coverings, tablecloths, and embroideries lovingly passed down through the ages.
This focus on material life, buttressed by a passion for genealogy, further skewed the nineteenth-century vision of the colonial period. Cultural conflict, economic exigency, revolutionary politics, slavery, transatlantic trade, and industrialization were all downplayed in favor of a whitewashed heritage that served the gender dynamics of Victorian America. While old-stock New Englanders documented their pedigrees and donated family relics to museums, few curators or historians possessed the desire or the know-how to unravel the real history behind those objects.
Generations of scholars continued to reference the spinning wheel as a handy symbol of the way things had been in the halcyon days before the mills. Ulrich breaks away from this pattern by combining the judicious study of artifacts with in-depth documentary research.