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126. Draper, "Process," 224-25.

127. Draper, "First Portrait," 5.

128. Draper, "Remarks," 403.

129. Draper, "Process," 220.

130. Draper to Committee, 3 May 1858.

131. Draper "Process," 224.

132. Many thanks to Edward L. Heck for pointing out to me the possible significance of this draped cloth.

133. Draper, "Process," 220.

134. The similarity of features between this woman and Draper's portrait of Dorothy Catherine is the most obvious evidence but there are other speculative possibilities. The woman in the center of plate M is adorned by three separate fabrics--the draped white cloth, a patterned shawl or scarf, and a lacy embroidered garment tucked into the top of her dress and draped around her shoulders. The triangular fold and lace pattern visible in this latter garment is intriguingly similar to the fabric pattern and triangular seams visible in the pellarian Dorothy Catherine Draper wore in the famous portrait sent to Herschel.

Did 1839 fashion style allow wearing a pellarian (usually draped around the shoulders outside a dress as in the Herschel image) in an alternate fashion--folded, turned inside out (the frills now on the inside), and worn around the shoulders tucked inside the dress? If so, the same style garment might be visible in both the Dorothy Catherine daguerreotype and in plate M. Someone with expertise in fall 1839 women's fabrics and fashion should carefully examine both images with this possibility in mind.



The top photo shows the pellarian worn in the Dorothy Catherine Draper daguerreotype (detail). The bottom photo shows detail of the quarter plate daguerreotype "M". The garment in this image is tucked down into the top of the dress.
135. G. Brown Goode, Virginia Cousins (Richmond, Virginia: J. W. Randolph & English, 1887).

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