Group Title: Historic St. Augustine: Gallegos House
Title: Interpretive Plan for the Gallegos House
Full Citation
Permanent Link:
 Material Information
Title: Interpretive Plan for the Gallegos House
Series Title: Historic St. Augustine: Gallegos House
Physical Description: Interpretive outline
Language: English
Publication Date: 1975
Physical Location:
Box: 8
Divider: Interpretive Plans
Folder: Gallegos House
Subject: Saint Augustine (Fla.)
48 King Street (Saint Augustine, Fla.)
Government House (Saint Augustine, Fla.)
Spatial Coverage: North America -- United States of America -- Florida -- Saint Johns -- Saint Augustine -- 48 King Street
Coordinates: 29.892465 x -81.313142
 Record Information
Bibliographic ID: UF00095543
Volume ID: VID00004
Source Institution: University of Florida
Holding Location: University of Florida
Rights Management: All rights reserved by the source institution and holding location.

Full Text

Interpretive Furnishing Plan for the Gallegos House

The Gallegos will be the site of our efforts in interpreting a typical

soldier's dwelling during the closing years of the first Spanish occupation of

St. Augustine. The house should provide the visitor with a view of the typical

economic situation faced by the majority of families in St. Augustine and an in-

sight into some of the broader aspects of daily life in the mid-18th century.

In addition, we are going to stress the culinary arts typical of this time

and place so that our interpretive efforts will be concentrated or focused on

this particular aspect. We will be using the historical data and 18th century

lifestyle as a supportive backdrop.

As stated in the historical profile for the Gallegos House, we are dealing
with the home of Juan Garcia and Martin Martinez Gallegos and his family. In

1750 Martinez Gallegos as an artilleryman, 35 years old, married to Victoria

Escalona, 26, and they have three children: a son, 2, and two daughters, ages

unknown but less than 8. Living with them is Juan Garcia, 66, an infantryman

and an invalid.

What follows is a material cultural inventory designed to conform to the

historical data and the style of the period. The number, occupation and char-

acter of the occupants of the building will, in many cases, dictate the quantity

and type of objects found in the dwelling. In each case, the rationale and

suggestions for interpretation will be offered to qualify the presence of the

objects in the building.

The west room of the house should strike the visitor as an open, sparsely

furnished room. The perimeter is lined with the articles of daily living and the

walls, almost bare, support a religious shrine and articles of clothing.

A straight-backed side chair and two small stools are the only seating in-


side the house. The chair is for guests or the priest and is otherwise used by
Juan Garcia as senior of the household. The stools allow the two males to enter-

tain a guest or the Gallegos adults to converse with Garcia. Senora Gallegos

will occasionally sit on one of the stools to sew, but the chair must remain as

a place of honor in the household.

This seating arrangement can be useful in illustrating the social organization

within the home and how when visitors are received this organization is realigned,

the visitor is seated in the chair and the males sit on the stools.

The sleeping arrangement consists of three mats and three straw ticks rolled

and stored against the wall by day and spread in the evening, and a cradle now

used by the youngest but passed down from the other children. One tick each is
allowed for Garcia, the Gallegos adults and for the two older children. Three

large woolen blankets for the ticks and a smaller lighter blanket for the cradle

should be present. The cradle blanket should be in the cradle; the other blankets

will be folded and stored with the rolled ticks. The other piece of sleeping equip-

ment necessary will be mosquito netting over the doors and windows of both rooms

pulled back for daytime. These nets are described in DeBrahm's Report pp. 226.

All of the sleeping equipment can be used to round out the interpretation

of the daily routine in the house by explaining how each item was used and by


Evidence of the personal effects of the family will include adult clothing,

principally a 1740 Spanish Artillery uniform coat, waistcoat and hat, leather

acoutrements and sword, plus any clothing not being worn by the female interpreter,

such as winter petticoat, shawls, etc. hanging on wall hooks placed high on the

wall. Hooks lower on the wall will support a winter petticoat and shawl for a

6-8 year old girl to reinforce the presence of children in the house. Two simple,

medium-size wooden chests with locks--one chest appearing to be older and more

worn than the other--will suggest storage for the adults' personal belongings.

The worn chest would have belonged to Garcia and will be used to conceal the

interpreter's personal belongings, such as a purse, jewelry or anything else

which should be away from the visitor's view. This chest should be kept locked

and the key worn by the interpreter on a cord from the waist. The other chest

will be unlocked and filled with dowry-type items and a sewing basket with needles,

pins, thread and scissors, plus a small amount of ribbon and replacement buttons

for the uniform and the female interpreter's clothing. This chest would have be-

longed to the Gallegos adults, and visitors should be permitted to open it if they


All of the personal items can be used as interpretive points to explain the

historical occupants of the buildings--their occupations, sex, age and role in

this living unit.

On the north wall opposite the loggia door is the family's religious shrine.

Such shrines were found in a greater or lesser degree of elaboration in every

Spanish home. A small shelf will support a crucifix and a painted board with

the image of Santiago, the assumed object of devotion for this particular family.

A small ceramic cup for flowers, a rosary suspended from the shelf and blessed

palm frond behind the crucifix will complete the assemblage.

This religious group provides an interpretive opportunity to expand on the

Spanish-Catholic relationship in the colony, pointing out the devotion of the

populace and the importance of religion in their daily lives.

The final group of objects in this front room will enable the interpreter

to tell the visitor something about the multi-functional uses of this space. One

or two baskets, the cast net, gardening tools such as a shovel, axe, hoe and

dibble stick, and lighting devices such as a float lamp and lantern round out the

inventory of the room and help to expand its use as a secure storage area. These

items can be related back to other activities not shown by our living history

approach but are essential to a total interpretation of this family unit's subs-

istence activities. Fishing was certainly important, and the net together with

the line, hooks and paraphanelia belonging to the canoe can be explained as to

their use and the activity they represent even though their use cannot be demon-

strated. Gardening is similar, it will not always be possible for the visitor

to see the tools in use, but the interpreter can still discuss the routine of

gardening using the tools to help tell the story.

In summarizing, the material cultural assemblage in this room should be em-

ployed to arouse the curiosity of the viewer and promote questions about the use

of the various items by the historical occupants of the Gallegos House. Since

the focus of our interpretation will be culinary, this room should be used primarily

as a background and resource to expand some of the concepts put forward on cooking.

It should not be employed as a "tour of home furnishings" type of thing.

The kitchen is perhaps the most important area historically and interpre-

tively in the Gallegos House. This room is almost totally devoted to food and

its storage and preparation, the focal point of our interpretation.

A sturdy wooden table, unfinished, stands in the center of the room. Much

of the food preparation not done on the hearth will be performed on the table sur-

face, and it should be kept well scrubbed, allowing only the implements used in

preparing the food to remain on it for any length of time. With use, it should

quickly take on a patina which will cut the harshness of its fresh surface. Cer-

tain activities may dictate its relocation in the room. It is a working piece of

furniture and not a museum piece; move it if the need arises. The alacena will

be placed along the north wall and is the most elaborate piece of furniture in

the building. It too is a working member of the kitchen and its exposed upper

cupboard should not contain any extraneous articles to be seen by the visitor.

That type of item should be stored below within the closed compartment. The

alacena is a common kitchen furnishing appearing in many 18th-century kitchen

scenes and appropriate for this household. The better pieces of ceramic ware

and treen, along with spice containers and eating utensils, would probably be

put in the upper compartment or on top. Next to it a decorative wooden rack

with a sufficient number of holes to hold the hearth utensils will be present.

Again, this type of accessory is very often seen in 18th century paintings.

Ladles, the skimmer, fans and brushes should be kept here when not in use. The

hanging shelf suspended from the ceiling in the center of the room will support

some of the foodstuffs stored in the kitchen along with their containers, if any.

Generally anything on this shelf should be there so that rodents cannot get into

it. Cooking pots, utensils or other "rodent proof" items should be stored else-

where. Bunches of dried food, spice or meat can be hung directly from the ceiling,

again for rodent-free storage.

A mortar and pestle, heavy cooking pots and any other large items should be

set on the hearth bench. Trivets, pokers, spoons, flint and steel, and the

chocolatera would probably sit right on the hearth for easy access or hang from

the adjacent rack on the wall. The mano and metate are left on the floor, as

this is invariably where they are depicted in Spanish Colonial art.

Some Colonial baskets, water jars and oil jars will also be placed on the

floor against the wall to be out of the way. A wine skin or cask can be hung

or placed on the hearth bench. A glass bottle or two will be either on the bench

or on top of the alacena.

Two items which will not be used but should be in evidence are a pair of

stemware wine glasses used by the males on special occasions or for guests. The

Gallegos household, while near the bottom of the economic ladder, would have had

a few very nice pieces. Every family aspires to possess the finer things of life,

and these glasses can not only serve to fill this need but can be used to show

how few fine articles this family would have been likely to own.

The other fine pieces prevalent in St. Augustine and abundant in the

archaeology, are the ceramics. Decorative tin-glazed pieces known as Majolica

would have certainly figured in the Gallegos's inventory. All of these items,

however, were utilitarian in form: plates, cups, bowls and serving dishes rather

than candleholders, inkwells or other non-utilitarian forms. There would be

enough, say, for the three adults and a guest--four services. The children and

adults would probably have used treen bowls for the most part. Majolica was not

easily acquired nor regarded lightly by anyone who had to labor as hard as this

family to acquire them.

The ceramic ensemble is rounded out with pieces of green or red-glazed

earthenware and several pieces of native Indian earthenware executed in the local

tradition. These ceramics would be very utilitarian in form and function and

typify pottery in everyday use in the Spanish colonial home.

The kitchen should have the appearance of daily use; consequently there should

not be any decorative or atmospheric paraphernalia present. The activities in the

kitchen and the utensils needed to perform those activities will be sufficient

to achieve this appearance. The daily routine of preparing ingredients, cooking

the meal, serving it and cleaning the area will create a self-maintaining area

which should require little in the way of extra care or maintenance.

The exterior of the building, the loggia, yard and garden should again show

evidence of daily activity. The loggia will contain a bench, the large wooden

mortar and pestle, firewood stacked to keep it dry, and any tools, implements or

containers which are in use for part of the day to prepare garden produce or food

for the kitchen. Presumably this area will be more active during certain times

of the day and certain seasons of the year. The evidence of this activity can

remain in place throughout the day and be taken in or put away in the evening.

The look of use is most easily achieved by actually using the area, and this can

be extended by leaving the evidence of completed work for the remainder of the day.

It shouldn't be necessary to artificially "enhance" the area. If it isn't used

on a particular day, there is a reason and that reason is a good interpretive


The yard should be maintained grassless and swept daily when the rest of

the house is swept down. The canoe will be in the yard along with the well,

garden, large cooking pot and outside tools. A wooden washing basin, which should

be on the loggia or near the well, can be occasionally used to wash clothing

and be employed interpretively to explain personal cleanliness, household routine

and the woman's overall work role.

The care of the garden will be set out in the food preparation section of

the manual and won't be dealt with here. Generally, however, it is another area

of use and a large part of the culinary interpretive story. It again should look

used because it is used.

To summarize, the kitchen, loggia and yard of the Gallegos House are the

primary areas in our living-history, culinary approach. These areas, unlike the

front, or west room, are in use according to their original functions so that the

appearance they take on and the story they tell are a natural result of the

activities performed there. Spanish colonial cuisine and its preparation are the

plot, theme and main events in our story, and the setting, space and utensils are

there to help the interpreter tell it. No more and no less than is necessary to

put this point across will be included in these areas. There is no need for win-

dow dressing or elaboration. If it isn't used, it won't look used and it won't

look right, so it needn't be included. These areas are one of the best oppor-

tunities we have in our Interpretive Program to effectively impress upon our visi-

tors the routine, the effort and the hardship required to survive in Spanish

Colonial St. Augustine in the 18th Century.

Care and Maintenance of the Building and Contents

In the proceeding account we have tried to develop an atmosphere and

provide the necessary accessories to interpret the Gallegos house effectively

for our visitors. Every item included or excluded has been considered from a

historical and stylistic viewpoint derived from the available historical and

archaeological research. We do not consider this the ultimate solution or a de-

finitive material-culture outline; rather, it is a working guide to be used and

modified as the state of our research dictates.

Functionally we are dealing with two interpretively different areas. The

front room is, for the most part, a static exhibit, which for various reasons we

are not able to fully utilize for active living history demonstrations. The ticks

won't be rolled out and slept on, the blankets seldom used, the fishing equipment

may never even get wet. This isn't to say they couldn't be. They are authentic

reproductions, not props, and so lend themselves to realistic interpretation.

The scene of household activity is elsewhere in the home and the room and its

contents will probably not realize many of the functions and uses which are

suggested or implied by the arrangement.

It follows that this area will not be as self maintaining as the kitchen

area, so attention should be paid to dusting, sweeping and a weekly "housecleaning"

operation in order to maintain the room's suggestive appearance. Sweeping will

be a natural daily chore and continuous throughout the house and yard. Dusting

and a fairly thorough clean-up should be maintained on a weekly basis. This will

help to control pests and keep the room fresh. Because their placement is appro-

priate and convincing, the furnishings should be maintained in their proper places

at all times except when they are pulled aside for cleaning. There are items

which will be moved from time to time, such as the gardening tools, a sewing kit,

a stool and some of the storage baskets, but they should be replaced in their

original positions when they are no longer needed. The mats on the floor will

undoubtedly bear hanging outside and beating every so often but this would be

appropriate and well within our interpretive scope. Senora Gallegos would have

undoubtedly taken some time to perform these tasks and so they reinforce our inter-

pretation rather than detract from it.

The kitchen and other areas will be kept crisp through daily use and a periodic

clean-up should not be necessary. The utensils will be scrubbed along with the

working surfaces, and the floor will be swept as a matter of course every day.

These activities fall within the daily culinary routine in the house. Any items

periodically used in the kitchen, on the loggia or out in the yard would be atten-

ded to as soon as that particular activity is completed. Knock the dirt from the

garden tools, clean the soapmaking equipment, wash off the work table in the yard.

Put yourself into the historic character's place; you will need to use all of this

equipment and these areas again and they are all you have. It should become ob-

vious that you would spend time to maintain them. These activities, again, are

very much in keeping with the interpretation of domestic life and can be used

effectively as interpretive tools when explaining to the visitor just what it is

you are doing.

One additional point should be mentioned. The canoe will be kept in the yard.

Unfortunately, it can only be used for special projects at present, but in order

to preserve it, the hull must be kept full of water almost up to the gunwales in

order to prevent drying, which may damage it. This should be attended to weekly

during the dry season and checked occasionally in the rainy season.

To conclude, this plan is an attempt to provide the interpreter of the Gallegos

House with everything necessary to actively pursue living history at this site.

Experience may prove that certain items are lacking or not necessary. We expect

feed-back from the interpreter to make us aware of these shortcomings so that we

can remedy the problem. The intelligent use and interpretation of this site and

its accoutrements is essential; the site must live and breath for the visitor.


It falls squarely on the interpreters to perform their tasks, to use the mat-

erial culture properly and to maintain it so that our visitors may hopefully

come away from Gallegos House with some real impression of the historic occupants

of the house and the manner in which they sought to support their daily lives in

St. Augustine.


Interpretive Costume Plan for the Gallegos House

The Gallegos House is a mid-eighteenth century dwelling of a Spanish

soldier and his family. The clothing selected for the house will conform to

the prevalent style of the 1750 period and should reflect the status and role

of the occupants of this house.
/ i
Martin Martinez Gallegos is an artilleryman of the Castillo de San Marcos

garrison and his clothing is fairly well defined by Spanish military style.

Details of the uniform can be derived from the situados of the period. The

entire uniform will be reproduced should an occasion arise where it might be

worn, however, only the hat, coat and accoutrements will be displayed in the

house. The uniform coat is French cut with a very full skirt and will be

indigo blue wool with red collar and cuffs. Indigo blue flannel will be used

to line the coat and make up the waistcoat. All buttons are pewter. The hat

is black felt with a white tape binding and a red wool cockade. A waist belt

and sword hanger were issued in buff or natural leather. The sword and leather

scabbard will be attached to the belt. These uniform elements are hung in the

front room on the hooks while the remainder of the costume will be held in re-

serve at the wardrobe room. This clothing consists of a white linen shirt and

breeches, a white cravat, blue flannel waistcoat, red wool stockings and black

shoes with red heels.

This is the typical Spanish military uniform worn in St. Augustine from

1740 to 1763. It was probably worn by the infantry here as well as the artillery

since there is no indication of other uniform materials coming into St. Augustine

during this period. This clothing should be used by the interpreter to help ex-

plain Sr. Gallegos's role in St. Augustine and to tie the house into the military

garrison theme. Each soldier received enough cloth, thread and buttons to make

a shirt, waistcoat, cravat and regimental coat, and this was presumably done in

the home. In addition he was given a hat and a pair of breeches which were

ready to wear and evidently made in Mexico. Shoes were probably made up locally

by a cobbler since only hides and sole leather were brought in and shoe making

was beyond the capability of a household.

In the event a male interpreter is used in the building, he should wear

the small clothes of the uniform: white linen shirt and breeches, red stockings

and lachet shoes with red heels. In cool weather the waistcoat may be worn and

he should put on the hat when he goes out on the street. The regimental coat

and accoutrements should only be worn when a military function requires it to

save daily wear and tear on these items.

There will be a few garments to suggest the presence of the children in

the household. A linen shift to fit a girl about 7 years old and a small shawl

or wrap will be provided and hung from the lower hooks in the west room.

All of these items, the uniform and the children's clothing, while not

actually worn on a regular basis, are essential interpretive tools. They

accurately reflect the style and fashion of the mid-eighteenth century and

suggest the occupation and economic status of the hypothetical wearers.

The other group of clothing which will be essential to the interpretation

of the building is the wardrobe of the female interpreter. The clothing should

be a functioning assemblage, adaptable to the different household tasks and

seasons of the year. It will be a complete ensemble with everything which

Senora Gallegos would have owned at any one time.

The basic garment was a linen shift or chemise with a drawstring neck

and reached almost to the knee. Except to change to a clean or new shift, this

was never taken off. It was slept in, worn all through the day and large

enough to accommodate a full term pregnancy. The drawstring neck was made to

be lowered to allow the mother to nurse conveniently. The shift was a basic

female garment from the early seventeenth century lasting into the nine-

teenth century and invariably appears in costume prints of the period.

Daytime apparel consisted of a petticoat, waistcoat or bodice, apron,

head covering or rebozo and shoes. These are the basic items but a necker-

chief, woolen shawl or wrap, stockings and jewelry would certainly have been

found in the wardrobe of the lady of the house for cooler weather or special


The petticoat was worn during the day, has a drawstring at the waist

and is hemmed above the ankles. The material is dependent on what was avail-

able but would range from a light linen in summer to wool for winter. Color

is also determined by availability but there was a great variety of dyes used

in the eighteenth century which can provide some guidelines. The basic petti-

coat will be linen of medium weight worn on warm days. It should not be de-

corated to any extent as it is a work-type garment. In addition the Gallegos

interpreter will have a heavier petticoat of linen or wool which may be worn

over the summer petticoat in cool weather. This petticoat may bear a little

decoration comparable with the period and status of the house, hemmed a little

above the ankle and worn with the drawstring waist. While the lighter petticoat

will be worn year round, the heavy petticoat will often not be desirable and

should be hung from the high pegs in the west room when not in use.

Aprons were a highly practical item used not only to protect the petticoat

beneath from being soiled, but as a pot holder, garden basket and towel as the

need dictated. Again they are worn on a drawstring from the waist and are

long enough to cover the petticoat. There should be enough material in it so

that the apron wraps almost completely around the waist. Of course occasions

will arise when it will be more useful gathered to the front and the interpreter

should adapt the apron to suit her needs. Aprons were made of sturdy material--

a tight linen for example--to withstand hard daily use.

The bodice is an external foundation garment and when properly cut and

worn is comfortable and provides all of the support of a modern foundation gar-

ment. It is quite likely that most women did not wear a bodice around the house

but it would have been worn abroad and should be worn while in the interpretive

area by our personnel. It would have been made of a heavy wool and in Gallegos

it could be cut from "scraps" left over from the regimental coat an indigo blue.

Head coverings are almost universally worn during the eighteenth century

by all social and economic classes because it was practical to keep the hair

from getting too dirty, there being few opportunities to wash it. There are a

great variety of head coverings and methods of wearing them available. With the

exception of the mob cap which we haven't been able to sufficiently document for

Spanish women, all of the types of headgear can be suited to the taste and con-

venience of the interpreter. It will have to be worn all day so it might as

well be comfortable.

One particular type of head covering which is commonly seen in portraits

and paintings of the period is the rebozo. This is a rectangular shawl usually

cotton, wool or silk striped in bright colors. All social classes wore them and

the quality of the weaving and material vary accordingly. A colonial woman wore

a rebozo from the time of her birth, when she was carried on her mother's back

in one,until she died, when she was carefully wrapped in the garment which she

was seldom without in her life.

Shoes, when they were worn, were of three basic types: the cut away pump

with a short heel and lachets, a rope soled sandal and the wooden clog. One of

these types will be recommended for the interpreter and should be worn unless

a particular daily chore, like washing clothes, might suggest going barefooted.

Bare feet, however, do not appear to have been in fashion and if any foot wear

was available it would have been worn.

The proceeding items form a basic group of clothing of which every piece

is essential to properly portray a female of the eighteenth century in a domes-

tic situation. There are other items however, which will be necessary for the

convenience of the interpreter and the accuracy of interpretation.

A neckerchief, sometimes called a Fichu, is a triangular piece of light

weight linen which is worn about the neck and covers the neck and breast. It

can be used for modesty, for warmth and to protect against sunburn. There are

several variations in how it was worn but basically the tails are tucked into

the bodice from around the neck. The neckerchief can often be elaborately em-

broideried and laced, however the Gallegos House doesn't warrant such elaborate

treatment and this garment should be kept very simple.

In the winter a woolen shawl or cotton rebozo will be very useful. Both

types of garment are depicted in contemporary art and the rebozo in particular

seems to be worn much of the time by colonial women. Should these garments not

be worn they should hang with any other unused items on the clothing hooks.

Stockings may also be worn when the weather dictates and they should be made of

light wool. These should come to just above the knee and be rolled down to just

below the knee to keep them up. Anytime these aren't worn they may be kept in

the front room in the Gallegos chest.

There are few luxury accessories which would be appropriate in the Gallegos

House, however a piece of jewelry or two would be well within the possibilities

of this site. A small silver cross worn on a chord around the neck and pierced

earrings for interpreters with pierced ears should be sufficient to get the point

across that while the Gallegos House was in an economically disadvantageous

position, there would have been a few more elaborate things about. It follows

that no other jewelry will be permitted during working hours except wedding rings

and bands and storage in a locked box in the west room will be provided for any-

thing which might be worn to work, like a watch.

The interpreter should not wear any make-up while at work in the Gallegos

House. Hair should be set up or braided and if it is long always covered.

Nail polish should also be avoided. While make-up and nail polishes were used

in the eighteenth century they were expensive luxury items confined to use at

court among the very wealthy.

This clothing, properly worn and used, will be of inestimable value in in-

terpreting the Gallegos House. It will accurately reflect the status and role

of the historical occupants and provide another opportunity for the visitor to

seek answers for their questions.

Care and Cleaning of the Wardrobe

There are a few words which should be said about the care of this clothing.

The uniform and children's clothing should be shaken out once a week and inspec-

ted for mildew or moth damage. The heavy winter garments will need to be dry-

cleaned only once or twice a season barring any accidents. However, the daily

wardrobe will need more frequent attention.

The linen items may all be machine washed in warm water with the washer

set to the gentle cycle if available and removed before the spin dry cycle. It

should then be air dried either on the line or spread out over whatever is avail-

able. Linen should never be dried in a mechanical dryer, and if the material is

drawn out fairly tight while wet, it will pick up few wrinkles as it drys.

Linen must never be pressed or ironed, pressing gives the linen an unrealistic

appearance and shouldn't be necessary if the garment was dried properly.

All woolens may be washed in cold water with or without Woolite depending

on how soiled the garment becomes. After rinsing in cold water it should be

gently squeezed to remove excess water and laid out on a towel to dry. Never

use hot or warm water and never wring a woolen garment. If there isn't time

or the inclination to do this hand washing, drycleaning is a good alternative.

However, remind the cleaner that the garment is not to be pressed.

With these few precautions, the interpreter should be able to maintain

her clothing to minimize wear and keep the garments in good condition.

Over and above keeping a wardrobe in good condition, the interpreter

in the Gallegos House has the advantage of actually washing the clothing as an


interpretive activity. The same rules apply even more so because mechanical
devices will not be present. We do not feel at present that the Spanish were
boiling clothing as the English did so cold water will be used throughout the
operation. It will give the public an opportunity to see how washing was done
and it can be profitably compared to how it is accomplished today. A little
laundry hanging out in the yard will enhance the feeling of use and activity
necessary for successful interpretation as well. The entire activity will be
more convincing because you aren't play acting, you're trying to keeping your
clothes clean.


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