The Swamp Fox Revealed: Francis Marion-Related Objects in the Charleston Museum

By Carl P. Borick, Assistant Director

A close examination of artifacts in the permanent exhibitions at the Charleston Museum will reveal a number of references to Francis Marion, one of the most recognized names in South Carolina history. A dedicated case in the Revolutionary War section, for instance, contains an array of Marion materials. Did these objects belong to the legendary Swamp Fox and were they used by him or his men? Such an inquiry by a museum visitor is perfectly reasonable, especially when it comes to someone as enigmatic as Marion.

Francis Marion was born in 1732 at Goatfield Plantation, in present day Berkeley County, South Carolina. That is certain, but other events surrounding Marion are shrouded in mystery. Artists have composed many romantic images of him, but none are known to exist from his lifetime, so we do not even really know what he looked like. Unfortunately, much of what we have heard about Marion comes from the pens of men such as Mason Locke Weems, an ordained Anglican minister and author. “Parson” Weems was a well-meaning chronicler of early American heroes, including George Washington and Marion. He gave us the stories of Washington throwing the coin across the Potomac and chopping down the cherry tree. In creating the work about Marion, Weems greatly embellished a manuscript prepared by Peter Horry, one of his lieutenants. Horry commented to the parson after it was published “tis not my history but your romance.” Others such as William Dobein James and William Gilmore Simms supplemented the legend. Among their additions was the story of the British officer who visited Marion’s camp, and seeing that that his men lived only on sweet potatoes, vowed never to serve again against such brave men. Certainly a neat story, but probably untrue.

We do know that Marion was a highly-effective, partisan commander against British and loyalist forces in South Carolina. Despite impressive victories at Charleston in May 1780 and at Camden the following August, the British soon discovered that they could not control the interior of South Carolina, principally due to the efforts of leaders such as Marion, Thomas Sumter, William Harden, and Elijah Clarke. Marion, sometimes operating with just a few men or at other times with several hundred, harassed British supply lines or made surprise attacks on enemy troops. He was particularly successful against loyalist militia in the region between the Pedee and Santee Rivers. He was such a thorn in the side of the Crown in this area that General Cornwallis dispatched Lieutenant Colonel Banastre Tarleton on an expedition to destroy Marion. After pursuing him through swamps and dense woodlands for several days, Tarleton ultimately gave up the chase. Marion later cooperated with Continental forces under the command of General Nathanael Greene to retake posts such as Georgetown, Fort Motte and Fort Watson and commanded South Carolina state troops in the Battle of Eutaw Springs. After the war, he served in the South Carolina legislature, and despite his effectiveness against loyalists during the conflict, he was strongly in favor of leniency toward them after it.

Regarding artifacts related to Marion in the Museum’s collections, some examples were purported to have been carried by men who served with him. Two of these are swords. One is a late 18^th century horseman’s saber typical of the kind carried by cavalrymen of the Revolution. Inscribed on the blade is the impressive motto “do not draw me without reason, do not sheath me without honor.” Scratched on the hilt of the sword is “Gen’l Marion, 1773”. The problem with this notation is that Marion was not promoted to general until 1780 and there was obviously no action taking place in South Carolina until after the war broke out in 1775. Although the owner of the sword may not have ridden with Marion, the piece is an excellent example of a period cavalry saber, and many like it were used during the war. It is on exhibit in the Museum’s armory.



Another sword is on exhibit in the Francis Marion case in the Revolutionary War exhibition. This was allegedly used by Sgt. Ezekiel Crawford while serving under Marion. The blade was fashioned from a whipsaw with a crude wooden hilt secured with iron straps. Whether Crawford carried it or not, this object is an exceptional example of patriots’ use of available materials to arm themselves during the American Revolution. Even more remarkably, the sword still has its original leather scabbard, very rare for an 18^th century bladed weapon.



Other objects in the same case relate directly to Marion, including a shoe buckle, Chinese porcelain and a decanter case. Provenance on these items is primarily based on family tradition, so their ownership by Marion is uncertain. When he died, his estate went to his wife Mary and his adopted son. The shoe buckle and porcelain were seemingly not designed for wartime use. The buckle is made of silver with what appear to be precious stones interspersed along the face. These are actually “brilliants” – essentially glass, however. When in the field, Marion probably would have worn riding boots, which were much more practical than buckled shoes when on horseback, so chances are he did not use these during the war. One would expect it unlikely that a Revolutionary War soldier would carry the elegant china in the case while serving against the enemy. Marion may not have brought this with him but archaeological evidence from Fort Watson, which Marion and Light Horse Harry Lee captured from the British in April 1781, shows us that at least one British officer had moderately upscale tableware with him while campaigning in America.

 

The decanter case is essentially a traveling liquor cabinet, which an officer could use to transport spirits while in the field. Some 19^th century sources claimed that Marion was “abstemious,” or that he was a very light drinker. Would a person who imbibed but little require such a facility for alcohol with spaces allocated for twelve bottles? The story about Marion being a “teetotaler” is probably fiction. In a letter he wrote to Benjamin Lincoln in March 1780 while he was guarding Ashley Ferry, he claimed that his men were “entirely out of rum.” Even if not a drinker himself, he certainly was in favor of the practice for his men. Moreover, a decanter case such as the Museum example would have been perfect for entertaining fellow officers while in camp. Circumstantial evidence is strong for ownership by Marion.

Two letter facsimiles in the case replicate originals in the Museum Archives. One was written to General Nathanael Greene on December 30, 1781. By this time in the war, the patriots had confined British forces to Charleston and its immediate environs. Marion informed Greene that he had posted large detachments of his men at Cainhoy and along the Wando River “to prevent small partys (sic) of the Enemy from ravaging the Country.” He also noted that he had found a way to sneak clothing out of British-held Charleston for his troops. The other letter, written after the war, concerns trade with several gentlemen who resided in the city. Both letters bear the unmistakable signature of Marion, and we can state unequivocally that the Swamp Fox held the originals in his hands.

The Heyward-Washington House, meanwhile, is currently home to a Windsor chair that Marion owned. This provenance is primarily based on family tradition, however. After his death, Marion’s widow supposedly gave the chair to the Schley family. It was kept in that family for nearly 150 years when Milby Burton, former director of the Museum, convinced descendants to donate it in 1957. Windsor chairs were common in the 18^th century, and wealthy plantation owners would have had several, so Marion’s ownership of this piece is entirely possible. The card room in a gentleman’s home, where men drank, gambled, smoked and talked about issues of the day was a natural place for such chairs. Appropriately, you can see this example in the Heyward House card room. Possibly, Marion sat in this chair at his plantation house as he and Peter Horry recalled their exploits from the Revolutionary War. These discussions contributed to the Horry manuscript on which Parson Weems based his account of Marion. Little did the legendary Marion know he was unwittingly contributing to his own legend.

Hand-drawn Map of James Island

Jennifer Sheetz, Archivist


It is not often that archival items can be displayed. Due to their fragile nature (easily damaged by light, which is irreversible), it can be challenging to exhibit paper-based items. Luckily with the advent of social media – blogs, Tumblr, etc. – archival items are getting to “see the light of day” although not literally. While getting some of these pieces to social media sites can be problematic (we are still constrained by what can be scanned), it is extremely rewarding when we do as these objects provide some of the most fascinating, and sometimes personal, glimpses into the lives of our ancestors. For instance historical maps, a valuable and fascinating resource, offer us a chance to see our present world the way it used to be. While maps are inarguably an important means of studying the past and especially any given war, they are also valued for their beauty. Many of the early pieces were hand-colored and contain unique content making them collectible works of art. Maps produced in wartime are especially distinctive as troop positions and battle information were occasionally hand-drawn onto an existing map to create a truly precious item.



One of our favorite maps, featured here of course, is a hand-drawn map of James Island, signed R.E.M., circa 1887. R.E.M. is very likely Robert Eliott Mellichamp. While we are still conducting research, evidence indicates that Robert is the son of Reverend Stiles Mellichamp and Sarah Fowler Cromwell. Reverend Stiles Mellichamp was an Episcopalian pastor, possibly serving in the Civil War as a Chaplain. Robert was born in Beaufort in 1836 and the family moved to Charleston shortly thereafter. What is more certain is that during the war, he served in the Confederate Army, enlisting as a Sergeant in Buist’s Light Artillery (17^th Regiment). The unit was split during a reorganization, becoming a company in the 18^th Battalion, also known as the Siege Train, commanded by Major Edward Manigault. Robert’s rank at the end of the war was 2^nd Lieutenant. Not only did Robert live his life in Charleston, with his extended family living on James Island, his Confederate service was in this area as well.

This is significant because the map depicts the positions of the Union and Confederate forces, both Army and Navy, as well as the blockade runners. The legend itemizes, by color code, Union batteries and encampments, Confederate batteries and Confederate wagon roads and bridges. Old carriage roads and bridges in addition to planters' houses that survived the war are also noted; and, the map even details private avenues with ink dotted lines. The harbor entrance shows piles in a line from James Island connected to a Confederate Army boom from Sullivan's Island with a break (possibly for the passage of blockade runners).



On the reverse of the map is a handwritten history titled Sketch of James Island. The sketch contains the history of James Island, from the author’s perspective, mentioning items of agricultural, historical and archaeological interest. Names of property owners, their seasonal work and movements are included. The sketch also details the author's observations of life on James Island recounting the history of the local churches, perceptions of slavery and former enslaved people, habits of the property owners with notes on the conduct of their personal lives, the disappearance of public and private buildings and burial grounds of both whites and blacks.

This handwritten history was written by William Godber Hinson, another native of James Island, and the gentleman for whom the corresponding map was drawn. William was the son of Joseph Benjamin Hinson and Juliana Bee Rivers. He was the fourth of eight children, born in 1838. During the war, he served in the Confederate Army in the Rutledge Mounted Rifleman as a 2^nd Lieutenant and was wounded three times in the line of duty. After the war, he returned to James Island. He inherited Stiles Point plantation from his uncle, William Godber, for whom he was named. He became a successful planter, a community leader and a well-read scholar.

The original Sketch of James Island is written in pencil, making it very difficult to read, and also quite light sensitive. The information, while roughly grouped into sections, is haphazardly placed so that the reader must turn the paper as not all the paragraphs are written cohesively. However, approximately a year later, in 1888, W.G. Hinson updated his history. This updated history reads very close to the original, and in fact, it was assumed to be a copy. Closer scrutiny has shown this not to be the case. The update is in ink and is aligned in perfect columns, making it much more legible. The transcription here is from the updated version. To date, a transcription of the original Sketch of James Island does not exist.

I hope you enjoy this piece as much as we do. Maps are one of the archival items from which you tend to learn something new every time you read it. This one is no exception.

The Charleston Museum Archives needs your help!

by Jennifer Sheetz, Archivist

The Charleston Museum Archives needs your help! We are asking for donations of older Charleston City Directories. Curators (among other researchers) use these resources almost daily to expand our knowledge of Charleston companies and families. More particularly, here at the museum, we use them to determine when establishments were in business as a means to determine the date of collection items – or even to just narrow the date range of an artifact. In addition, in the Archives, we use directories to not only determine date, but to identify and verify the location as shown in our photographs.

We already hold a fairly substantial run of the Charleston City Directory but there are several gaps in the series. Specifically we are asking for donations of any 19th century (1800s) or early 20th century directories. Our earliest directory is 1822 and there were several issued before then. If you have any of these and would like to donate them, we would be thrilled to accept them. We will not be able to accept donations of any directories that would be duplicated in the collection, as they do take up quite a bit of space.

We have included some images of what your City Directory might look like. Please keep in mind that older ones may have been re-bound at some point and might not have anything on the covers at all. Sometime in the late 19th and then on into the 20th century, advertisements were on both the outside and inside. And so the covers – both back and front – will look very “busy” but only the spine will indicate that it is a City Directory.

If you have any questions, please contact:
Jennifer Scheetz, Archivist, jscheetz@charlestonmuseum.org
Jennifer McCormick, Assistant Archivist, jmccormick@charlestonmuseum.org

“Whatever is to be Performed or Endured”

The Charleston Museum’s 71^st Regiment Cartridge Box Badge
By Carl P. Borick, Assistant Director



Many of the artifacts in The Charleston Museum’s collections have fascinating stories behind them. Among them is the British 71^st Regiment cartridge box badge in the “Becoming Americans” permanent exhibit. Such badges frequently adorned Revolutionary era cartridge boxes, which were leather pouches used to carry soldiers’ ammunition. The metal decoration, generally a copper alloy, usually included the number of the regiment that the soldier belonged to and other embellishment such as the unit’s motto. The 71^st’s badge, for instance, includes a thistle, symbolic of the unit’s native Scotland, and the regimental motto in Latin: Quicquid aut facere aut patee which translates to “whatever is to be performed or endured.” What is particularly intriguing about the Museum’s example is that we can isolate the exact week in which it was lost during the Revolutionary War.

The 71^st Regiment saw extensive action in South Carolina during 1779-1781. Raised in the highlands of Scotland, recruits for the regiment were rugged men who were used to living a tough existence. Originally, they were issued kilts and carried broadswords. Neither of these saw much use in America. The heavy broadswords were difficult to carry in the rough terrain of North America and were soon abandoned. The kilts, meanwhile, seem never to have been issued. Early in the war, the regiment’s shipment of kilts was captured by American privateers; the garments were subsequently given to the Continental Army for use as blankets.

The 71^st was involved in the Southern campaigns from beginning to end. A detachment assisted in the capture of Savannah from the Americans in December 1778, while another detachment was captured by patriot forces at Yorktown in October 1781. In the interim, they participated in almost every major action in South Carolina. It was the relatively unrecognized campaigning in 1779 in the South Carolina Lowcountry, however, that is the focus of the story surrounding the Museum’s cartridge box badge.

71^st Regiment Cartridge Box Badge

 
The piece in the Museum’s collection was found by Mr. Jack Boineau, a former member of the Museum’s Board of Trustees, while walking on a beach on Edisto Island in 1966. The specific area is now called Point of Pines and is on the northeast end of the island along the North Edisto River. How did it end up on this remote beach?

After the capture of Savannah, British forces under General Augustine Prevost attempted to secure their hold on Georgia. In response, American commander General Benjamin Lincoln crossed his army to Augusta in April 1779 to prevent them from driving into the Georgia backcountry. Rather than engage Lincoln directly, Prevost gambled by crossing the Savannah River and marching toward relatively undefended Charleston. Among his troops were the 71^st Regiment.

Alarmed by Prevost’s quick descent on the city, the civilian authorities panicked and offered South Carolina’s neutrality for the remainder of the war if the British would spare the town. Fortunately, Prevost insisted on dealing only with the garrison’s military officers, and General William Moultrie, the senior officer in the city, boldly announced to him that they would “fight” and defend Charleston. After receiving word that Lincoln was returning from Georgia, the British army retreated to James Island and Johns Island.

Detail from 1779 map showing British route across Edisto Island.
Image Courtesy William L. Clements Library, University of Michigan

In early June, Prevost began a slow march toward Beaufort. Lincoln attacked the British rear guard, which resulted in the bloody Battle of Stono Ferry on June 20. The 71^st Regiment was in the thick of the fight and played a key role in driving off the attacking American force. After Stono Ferry, the British advanced uncontested, encamping at various points on the sea islands between Charleston and Beaufort. An unknown British officer sketched a map of the campaign which is now in the Sir Henry Clinton Papers at the University of Michigan’s William L. Clements Library. The map shows Prevost’s army encamping on the northeast end of Edisto Island from June 28 to July 4. The encampment site is precisely where Mr. Boineau found the Museum badge. While the 71^st Regiment returned to the Charleston area the following year during the siege of the city, they were not posted near Edisto Island. It seems almost certain that one the unit’s soldiers lost the badge while on Edisto during this seven day period in 1779.

Fortunately, the owner of the property on which the badge was found agreed to donate the piece to The Charleston Museum where it has resided ever since. For years, it was thought to be a bonnet badge which one of the Scottish soldiers wore on his bonnet, but the fact that it is a heavy casting and has attachments appropriate for leather rather than cloth confirm that it is a cartridge box badge.

The Museum is privileged to have such a piece since only two other examples are known to have been found in South Carolina; one came from Camden battlefield and the other was found in the Savannah River. As for the soldier who lost the decorative device, he most likely continued to “perform” and “endure” without it.


Related:
See it for yourself! The 71^st Regiment cartridge box badge is on permanent exhibit in the Museum’s “Becoming Americans” section of our second hall. While you’re here, be sure to check out the Royal Artillery cartridge box in the same case. It is one of the best-preserved examples of a Revolutionary War cartridge box.
 

New Native American exhibits in the Lowcountry gallery

Martha Zierden, Curator of Historical Archaeology

Hand-tinted map of South Carolina coast and inland area, published in 1696 by Nicholas Sanson, a French cartographer. The map, based on the c. 1695 Thornton-Morden map, was first published in Sanson’s Atlas Nouveau Contenant Toutes Les Parties du Monde. It depicts the area from the South Edisto River to the Santee River. Relief shown pictorially, depth shown by soundings and bathymetric shading. Landowners, rivers, creeks, Native American settlements, mountains, and trees are represented. Charleston Museum Archives

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In archaeology, new interpretations usually come from new excavations. But just as often, new interpretations arise from study of old collections – materials excavated or recovered decades ago, preserved in Museum collections. Both are the source of materials featured in new exhibits in our Lowcountry gallery. Recently, our colleagues from across the state, and graduate students at the University of South Carolina, have used the Charleston Museum’s collections (excavated and donated to the Museum throughout the 20th century) to identify pottery types produced by Native residents of the 16th -17th centuries. Their ‘new’ discoveries in ‘old’ collections brought these items out of storage and onto exhibit.

Since installation of the gallery in 1985, archaeologists have identified sites and artifacts relating to the small groups living in the Lowcountry at the time of European arrival, and materials and towns reflecting the movement and upheaval following Spanish and English settlement.Artifacts from recent digs, as well as materials from older Museum collections, can now be identified as Yamasee, a group that migrated to Carolina from Spanish Missions in the 1680s. The Yamasee eventually settled in towns in the Beaufort area. Archaeologists have identified a number of these town sites during survey, and have excavated some in advance of development. Through work of Chester DePratter, Alex Sweeny, Bobby Southerlin, Eric Poplin, and others, we were able to identify Yamasee pottery in our own collections, including a fragment recovered from the Tradd Street redan in Charleston in 2009. More recently, Chester DePratter identified large pottery fragments recovered by divers in the Ashepoo as Yamasee.

Yamasee pottery, 1686-1690, from the waterfront at Bluff Plantation, Combahee River. Charleston Museum

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The research of Jon Marcoux, James Nyman, and John Cable has identified the stamped pottery of 17th century Lowcountry Indians as Ashley series; this ware was first identified by Stanley South at Charles Town Landing in the late 1960s. This pottery has been recovered on our own digs, including the Charleston Museum’s Dill Sanctuary on James Island.

Kasita Red Filmed pottery from Stono Plantaton, Dill Santuary, James Island. Excavated from early 18th century contexts. Charleston Museum

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Not all pottery recovered here was from local groups. We have identified pottery associated with the peoples eventually identified as Creeks in central Alabama. Creek pottery of the late 17th-early 18th century was recovered at the Lord Ashley site, Dill Sanctuary, and even our Heyward-Washington House!

All of these wares are now on permanent display. We would like to thank our colleagues, Jon Marcoux, Chester DePratter, Eric Poplin, Charlie Phillips, and Chris Judge for their expertise and guidance, and for suggested maps and illustrations. We also added images of archaeological sites to the Mississippian and Woodland exhibits. Thanks to Chris Judge, Sean Taylor and South Carolina Wildlife Magazine for sharing those images.

Charleston Commemorates the War of 1812

Graham Long, Curator of History

For the month of February 2013, The Charleston Museum is pleased to join with the Old Exchange and Provost Dungeon, Karpeles Manuscript Museum, Washington Light Infantry, Charleston Library Society, Powder Magazine and South Carolina Historical Society in observing the bicentennial of the War of 1812.

On exhibit here at the Museum are a selection of materials to commemorate this dramatic event. See period weaponry and archival material, as well as several textile items, including the hussar-style uniform cape worn by James Ferguson of Charleston. Born in Charleston on March 4, 1784, Ferguson was commissioned a lieutenant in the 8th Regiment of Infantry and served as aide-de-camp to General Thomas Pinckney.


Also be sure to take in The War of 1812 Bicentennial Symposium at the Old Exchange & Provost Dungeon happening Saturday February 9th. Moderated by Dr, Don Hickey from the Citadel. This is your chance to learn more about this intense period in American history. Speakers include Nicole Eustace (New York University), R. David Edmunds (University of Texas at Dallas), Alan Taylor (University of California - Davis), Donald E. Graves (Ensign Heritage Group) and J.C.A. Stagg (University of Virginia). In addition to the symposium, lectures and special events will be held at various other locations around town.



War of 1812 – Background

2012 marked the 200th anniversary of the War of 1812, which began in June. There were several factors that led to our declaration of war against Britain including the impressment of American sailors into the British navy, restrictions on trade (due to Britain and France’s constant war) and British support of Native Americans against colonial expansion.

Even given these significant reasons, the country was far from unified on this issue with the Northeast, primarily, being the most discontented. Unfortunately, the United States was unprepared to wage a war. If it were not for our naval successes – most notably Captain Hull (of the U.S.S. Constitution or “Old Ironsides”) and Captain Perry at the Battle of Lake Erie – it is doubtful the war would have lasted long

The War of 1812 officially ended with the signing of the Treaty of Ghent on 24 December 1814. Due to the slow communication of the time, word of the treaty did not reach America in time to prevent one final battle. The Battle of New Orleans was fought on 8 January 1815. Major General Andrew Jackson successfully and decisively repulsed an attempted British invasion. Jackson became a national hero as this feat was seen to successfully restore the American honor.

Oyster Roast 2013

On January 13, The Charleston Museum celebrated its 240th birthday with an oyster roast out at the Dill Sanctuary. It was a special treat to spend a mild winter day with new and long-time friends of the Museum at this scenic and peaceful spot alongside the Stono River.

Once again, the oysters cooked up by Ben Moise were fantastic and plentiful. A Southern Bartender helped us all chill out on an unseasonably warm day (and, rumor has it, they served up the best Bloody Marys in Charleston!). Curator of History Grahame Long treated folks to tour of Battery Pringle and some other rarely seen areas of the sanctuary. Last, but not least, we all enjoyed fabulous bluegrass by Blue Plantation Band.

Great friends, food, views, history and music = a perfect Lowcountry afternoon. Thanks to all who helped us celebrated our birthday!

The Walled City excavation efforts

 Martha Zierden and Eric Poplin.  Photos courtesy of Katherine Pemberton.

We asked Martha Zierden, the Charleston Museum’s Curator of Historical Archaeology, to fill us in on the latest news coming from the The Walled City excavation efforts. Here’s what we found out:

We have good locations on three fortifications, the Half Moon, Granville, and the redan at Tradd St. But we've got no good location on the curtain line that ran along East Bay and connected the forts.

The curtain wall was the wall that connected all the bastions, redans, drawbridge, and other projections of the walled city. This section of the curtain wall was made of brick in the 1690s and fronted the harbor. It doubled as the wharf wall, or sea wall, with water lapping up to its base when constructed.

Because Anson Construction has been working on a project for Charleston Water Systems at the intersection of Tradd and East Bay for a few months, the Task Force requested an opportunity to look for the curtain line in their open excavations. Instead, Charleston Water offered the services of Anson Construction for 'a day' to look in the street and sidewalk for the curtain line. We worked from the parallel parking space through the green shoulder into the sidewalk. There were numerous other features, including iron pipes and a later wall. But we eventually discovered the characteristic soft red brick and white mortar of the early wall, wedged between these later features. We were able to take photographs and, perhaps more importantly, take GPS readings of exact location. This will help our long-term effort of mapping the fortifications. Because the wall seems to be well-preserved below the current ground surface, we were able to locate the top of the feature with minimal digging.

We are really grateful to Charleston Water Systems and Anson Construction for this opportunity. I was joined by Eric Poplin of Brockington and Katherine Pemberton of Historic Charleston Foundation, both long-time research partners with the Walled City Task Force.

We are really grateful to Charleston Water Systems and Anson Construction for this opportunity.

Learn more about the The Walled City

 Martha Zierden and Eric Poplin (Brockington Associates)

 

2012 Holiday Decorations at the Joseph Manigault House

We invite you to visit the Museum’s Joseph Manigault House during this holiday season. This c. 1803 house has been decorated by the Garden Club of Charleston in the theme of “A Lowcountry Christmas.” The decorations can be viewed during any of our regular house tours. Come and enjoy!

Holdiay Decorations Setup 2012 at Joseph Manigualt House

Every year, the Garden Club of Charleston decorates the Museum’s Joseph Manigault House. This year’s theme is “A Lowcountry Christmas” and the talented ladies of the Garden Club were hard at work yesterday making the house festive. Thank you!

Enjoy the following images and then check back here next week for a peek at the finished decorations!