Big Money Comes to Boston

The curious history of the Pine Tree Shilling

According to the 1652 act of the General Court that authorized the creation of the Massachusetts mint, the coins were supposed to be square.

“for forme flatt & square on the sides & Stamped on the one side with N E & on the other side with xiid. vid & iiidaccording to the value of each peece together with a privie marke which Shalbe appoynted every three monethes by the governor & knowne only to him & the sworne officers of the mint.”

In other words, Massachusetts would issue square coins, without pictorial design or embellishment, nothing but the letters N E (for New England) on one side and their value in Roman numerals on the other. Each coin would bear a secret mark, changed every few months at the governor’s discretion, to assure the public that the money was trustworthy.

But even as the committee appointed to implement this legislation was just forming, John Hull, the newly named mintmaster, began to undermine the concept of square coins and sketched designs for circular coins in the margins of the committee’s minutes. Before the first coins were minted, the General Court changed its orders and declared that Hull and his assistants “shall Coyne all the mony that they mints in A Round forme till the Gennerrall Corte shall otherwise declare their minds.” Even for Puritans given to iconoclasm, who would never think to put a graven image on their coins, square pegs simply could not fill the round holes that legitimate money occupied in their pockets and imaginations.

Why did the General Court contemplate this deviation from circular custom, and why did the mint committee reject it? An answer lies in the depths of European tradition concerning money and its representation of sovereignty and economic power. In the modern era, money has become nationalized. Each nation-state is expected to have its own exclusive currency. But before the middle of the nineteenth century, the basic division of the world’s moneys lay not along national lines but between what we might call “big money” and “little money.”

Big money was commodity money, money in which the claims about value and quality stamped on a coin’s surface were consistent with its value as a material substance, a sterling silver shilling or a gold florin. Big money was coined by monarchs and states, traded by international traders for expensive commodities in large volumes, and regulated carefully for consistency and stability.

Little money was fiduciary money, money made of an inexpensive and plentiful substance that bore little relation to the value stamped on it. It came in small denominations and was often issued by local authorities, corporations, or associations rather than by states or monarchs. Little money was not well integrated with big-money currencies, often fluctuating wildly in value from place to place or else circulating across narrowly confined geographical areas.

 

Cowrie shell. Courtesy of the Monticello/Thomas Jefferson Foundation, Inc.
Cowrie shell. Courtesy of the Monticello/Thomas Jefferson Foundation, Inc.

Cowrie shells performed this little-money function in Africa, India, China, and Southeast Asia, the areas linked by the Indian Ocean. Cowries, measured out in bags and bushels, were useful for trade in many different goods over an enormous geographical area, but it was difficult to correlate the fluctuating value of cowries with that of the high-grade gold and silver coins issued by the Mughal of India. In Europe, plentiful cheap metals were more commonly employed for similar purposes. In early seventeenth-century London, more than three thousand different businesses and organizations issued farthing coins of copper, tin, or lead, which circulated within only a few city blocks. Cowrie shells and farthings were prime examples of little money.

Square coins have always been rare, but before the Massachusetts General Court’s flirtation with the idea, square coins seem to have been associated with little money. The 1497 statute of Ferdinand and Isabella, specifying the weight, quality, and design of Spanish silver reales, ordered the coinage of various denominations, including the half-, quarter-, and eighth- real pieces. The whole, half, and quarter coins were to be round, but the smallest coin to be issued, the eighth real, would be square: “e que los ochavos sean quadrados.” Similarly, a description of early English monetary practices in Holinshed’s Chronicles (1577) claimed that “King Edward I did first coine the penie and smallest peeces of siluer roundwise, which before were square.”

Before 1652, Massachusetts had been a little-money economy. The gold and silver coins that some of the early migrants brought from England quickly flowed back across the Atlantic in payment for imported goods. In the absence of a circulating medium, colonists turned to substitutes like wampum and musket balls to conduct their local exchanges. But these forms of fiduciary money did not meet all the needs of the people of Boston, especially the merchants who began to enter the Atlantic trading economy in the 1640s. The General Court’s decision in 1652 to begin coining high-quality silver shillings expressed a desire among the colony’s leaders to move from a little-money to a big-money economy. The initial call for a square coinage may reflect a latent uneasiness about making such a bold move. Perhaps the square design was meant to disguise the fact that Boston was attempting to enter the world of big money by presenting their coins in what was traditionally a small money form. But Hull and his fellow merchants knew better—they were making big money, and big money, commodity money, was supposed to be round.

Entering the world of big money meant encountering the challenges of empire. Bostonians would inevitably face consequences for meddling in the affairs of the great imperial powers competing for dominion over the Atlantic world—Spain, Portugal, France, the Netherlands, England, even Sweden and the native American nations and confederacies that surrounded them. All these constituted threats to the autonomy to which Bostonians believed they were entitled by their founding charter and on which their newfound livelihood depended. Accepting the challenge of empire meant playing the complicated game of maintaining their autonomy in the face of external threats by means of negotiation, alliances, the payment of tribute, the development of mutually beneficial trading relationships, trickery, and if need be, by means of violence and war.

Boston’s move to enter the world of empire grew out of the city’s own modest imperial designs. Boston’s founders and commercial leaders were committed to gaining control over as much of the New England region as possible. To accomplish such a goal, this small, weak, and resource-poor commonwealth had to extend its authority over territory beyond its borders, martial its own meager resources to exploit the material wealth of alien regions, and influence the political economies of other places enough to suit their own needs.

These twin forces of imperial competition and transatlantic commerce presented the greatest challenges to Bostonians’ aspirations in the seventeenth century. Their desire, as a Puritan colony, for autonomy and brotherly interdependence would be severely tested by the incessant reach of empires and by the corrosive power of trade to measure all values in cash. But survival in the Atlantic world required coming to terms with the forces of empire and commerce, and for that reason, Boston had to resolve its money problems and the restricted commercial and political power that its small money signified.

Boston’s ability to dominate the New England region was initially constrained by the severe geographical limitations of its charter. The charter granted Massachusetts only a narrow band of coastline, between the Charles and Merrimac Rivers and a few additional miles on either side. These limits meant that upon settlement, Bostonians found that they had little access to the fur trade because the Charles and Merrimac could be navigated only a short distance into the interior. In addition, the key to the fur trade was wampum, the strung beads made from whelk or clam shells that the Dutch at New Amsterdam had transformed from an item of ritual diplomacy among Indians into a monetary system throughout the region. But the clams needed for wampum production and the Indians with the skill to make it lived only along the coast of Long Island Sound, well beyond the reach of Massachusetts.

To remedy this problem, Bostonians made their first attempt at imperial expansion, a simultaneous effort to hive off new colonies in Connecticut and to assert their dominance over the Pequot and Narragansett Indians who controlled wampum production. Intrusive colonization and blundering diplomacy quickly gave way to aggressive warfare. By 1637, Massachusetts had driven out the Dutch, destroyed the Pequots, and made tributaries of the Narragansetts, Niantics, and Mohegans. Over the course of the next forty years, Boston collected thousands of pounds sterling worth of wampum, enough to subsidize a substantial part of the cost of New England colonization.

In a remarkably short time span, between 1633 and 1637, Bostonians recognized the potential value of wampum and exploited that potential to achieve dominance over extraterritorial lands, to gain access to furs, and to organize political relations among Indians and colonists of the coastal northeast. Yet in subsequent years, in almost as short a period, the value of wampum collapsed. After a decade and more of inflation and devaluation, in 1661 the Massachusetts General Court demonetized wampum, ordering that no one could be forced to accept payment in wampum against their will.

 

Wampum. Reproduced from the original held by the Department of Special Collections of the University Libraries of Notre Dame.
Wampum. Reproduced from the original held by the Department of Special Collections of the University Libraries of Notre Dame.

By contrast, the cowrie shell money produced in the Maldive Islands of the Indian Ocean, which became the small money of the West African slave trade, remained relatively stable and reliable for centuries. Wampum seemed to have all the advantageous qualities of cowrie shells—decorative and ceremonial uses, lightweight, durable, uncounterfeitable, and available in large yet still limited supplies. What’s more, European merchants did not have to transport wampum across thousands of miles of ocean or desert to reach the markets where it was most in demand, and they had far greater control over its production and acquisition than the Dutch and English East India Companies had over cowries. So why did wampum fail?

The answer lies in understanding the difficult challenge of integrating local economies and small moneys into international trade and tributary networks. When sixteenth-century Portuguese traders arrived in coastal West Africa, they discovered that cowrie shells, despite their very low denominational value, were already part of an integrated and complex economy that spread across North Africa to the Indian Ocean and beyond. Once the Portuguese found their own source of shells, it was simple to extend that economy a bit further, to use shells to buy slaves for the sugar-producing islands off the African coast that they had recently acquired.

The Dutch and English traders who entered Long Island Sound in the 1620s believed they had found something like cowrie shells, but they were wrong. At the time they first encountered it, wampum was not money—it was a useful item in a native gift economy that was more like diplomacy than commerce. But by mistaking wampum for money, the Dutch monetized it, giving it a value as a currency and expanding the geography of its usage to new places. Still, wampum’s value as a currency was limited primarily to the American Northeast, in particular the regions adjoining the member tribes of the Iroquois League. Its exchange value depended on its value to those groups, the chief suppliers of furs to New England traders.

As Bostonians soon discovered, wampum’s utility as money vanished when it could no longer be relied on to produce furs for export to European markets. By the mid 1640s the fur-bearing animals that could be reached by New England’s rivers were disappearing. At the same time, New England’s expansion into Connecticut and across Long Island Sound in the 1630s, gave New Englanders easier access to wampum. The end result was the collapse of wampum’s value as more and more of this indigenous currency chased fewer and fewer pelts. In the late 1640s, Boston’s merchants dumped as much of their wampum as possible on the Dutch merchants of New Netherlands, who had once taught them its value and from whom they had struggled to wrest it only a decade before.

 

Potosi silver coin. Reproduced from the original held by the Department of Special Collections of the University Libraries of Notre Dame.
Potosi silver coin. Reproduced from the original held by the Department of Special Collections of the University Libraries of Notre Dame.

By the 1640s, as Bostonians began to trade in the West Indies, foreign currency began to wash up in New England, much of it clipped or counterfeit and all of it confusing in terms of value. With wampum’s value in rapid decline, Boston seized this opportunity to coin its own money. The timing of this decision hinged on developments at the opposite pole of the Western hemisphere. Most of the Spanish coins that drifted into Boston were made of silver mined in Potosi, the enormous silver mountain high in the Andes. Pieces of eight minted at Potosi were among the most common coins in early Boston, but at the end of the 1640s, word began to spread through the Atlantic of a scandal. The master of the mint had been issuing debased coinage for over a decade, skimming the difference for his personal profit. The resulting widespread distrust in the Spanish money supply motivated Bostonians to make their own coins.

 

Pine tree shilling. Reproduced from the original held by the Department of Special Collections of the University Libraries of Notre Dame.
Pine tree shilling. Reproduced from the original held by the Department of Special Collections of the University Libraries of Notre Dame.

For a colony to coin its own money was to usurp a privilege that monarchs jealously guarded. Of course, in 1652, there was no king in England, and Boston’s mintmaster, John Hull, followed the model of Cromwell’s commonwealth in casting the coinage. Like the Commonwealth shilling, the Massachusetts coins bore no human image, no images at all. But these first coins were so crude and so easily clipped that they were rapidly replaced by a more elaborate design, though still without a human image. These were the so-called Pine Tree Shillings. On the reverse was the date, 1652, the value in Roman numerals, and as a superscription on the two sides of the coin, the words “Masathusets in New England.” John Hull was ordered to produce coins of the same quality alloy as English sterling but only three-quarters the weight of their English equivalents. That is, a Massachusetts shilling was lighter and smaller than an English one, though valued at the same rate within New England. The lighter weight was to insure that Massachusetts currency would stay in Massachusetts, as foreign merchants would be less willing than local ones to accept underweight shillings.

During the years of Oliver Cromwell’s rule, the Massachusetts shillings went unchallenged, but after the Restoration of the monarch in 1660, King Charles II demanded a reckoning of the colony’s conduct. Massachusetts’s interests were represented by Sir Thomas Temple, who had lived and traded in Boston during the 1650s. Charles II questioned Temple closely about the Massachusetts currency, claiming that it was an invasion of his royal prerogative. Temple attempted to explain that the colony was ignorant of the law and had meant no harm in coining money strictly for their own use, and as he explained, he brought out a Massachusetts coin and presented it to the king.

“Charles inquired what tree that was? Sir Thomas informed him it was the royal oak; adding, that the Massachusetts people, not daring to put his majesty’s name on their coin, during the late troubles, had impressed upon it the emblem of the oak which preserved his majesty’s life. This account of the matter put the king into good humor and disposed him to hear what Sir Thomas had to say in their favor, calling them a parcel of honest dogs.”

In this dexterous act of verbal tribute, Temple insisted that Massachusetts had usurped nothing—that, in its coinage, the colony had been honoring the king in a hidden and invisible way. For the moment, the bluff succeeded.

Within a few years, pressure would be renewed when the crown sent a royal commission to investigate the laws of Massachusetts. In May 1665, the commission demanded that the law establishing “a mint house, &c, be repealed, for Coyning is a Royal prerogative.” In response, the General Court neither complied nor sent a representative to London to defend their case. Instead, they offered Charles more tribute: “It is ordered, that ye two very large masts now on board Capt Peirce his ship . . . be presented to his majty . . . as a testimony of loyalty and affection from ye country, & that all charge thereof be paid out of the country treasury . . . ” Meanwhile, they went right on minting their coins.

A decade later, facing another royal commission, Boston’s leadership decided to bluff once more. John Hull, now the colony’s treasurer as well as the mintmaster, consigned aboard his own ship The Blessing a handsome tribute consisting of eighteen hundred and sixty codfish, ten barrels of cranberries and three barrels of samp (high-grade cornmeal mush). Although it seems unlikely that the king accepted these commodities as adequate tribute, from Boston’s point of view, these gestures “worked”—John Hull continued to make Pine Tree Shillings. Only when the colony’s charter was vacated in the 1680s under pressure from James II did the mint stop producing coins.

By the time of its demise, the Pine Tree Shilling had done its appointed task. Massachusetts was now a big-money economy, the port of Boston was the second busiest shipping entrepot in the British empire, and its mercantile community had solidly established ties of credit around the Atlantic world. The notes these relationships produced would become the basis for various experiments in paper money in decades to come. Despite its lack of natural resources, or perhaps because of this very absence, Boston managed to become a thriving port city, an integral part of the Atlantic economy, and the powerful hub of New England, by finding and making money of the appropriate size.

Further Reading:

For a more extensive discussion of the Pine Tree Shilling and its role in Boston’s commercial and diplomatic affairs of the later seventeenth century, see Mark Peterson, “Boston Pays Tribute: Autonomy and Empire in the Atlantic World, 1630-1714,” in Allan Macinnes and Arthur Williamson, eds., Shaping the Stuart World, 1603-1714: The Atlantic Connection (Leiden and Boston, 2006). My discussion of fiduciary and commodity, or “big” and “little,” money relies heavily on Eric Helleiner, The Making of National Money: Territorial Currencies in Historical Perspective (Ithaca, 2003). On pre-modern British money, see John Craig, The Mint: A History of the London Mint from A.D. 287 to 1948 (Cambridge, 1953). On cowrie shells and their distribution in West Africa, see Jan Hogendorn and Marion Johnson, The Shell Money of the Slave Trade (Cambridge, 1986). Excellent discussions of wampum in early New England and its relationship to the Atlantic economy can be found in Lynn Ceci, “Native Wampum as a Peripheral Resource in the Seventeenth-Century World System,” in Laurence M. Hauptmann and James D. Wherry, eds., The Pequots in Southern New England (Norman, Okla., 1990); and in David Murray, Indian Giving: Economies of Power in Indian-White Exchanges (Amherst, Mass., 2000). Detailed information on the early currencies of Massachusetts can be found in Louis Jordan, John Hull, The Mint, and the Economics of Massachusetts Coinage (Hanover, N.H., 2002); and Sylvester Sage Crosby, The Early Coins of America, and the Laws Governing their Issue (Boston, 1875).

 

This article originally appeared in issue 6.3 (April, 2006).


Mark Peterson teaches in the history department at the University of Iowa. He is the author of The Price of Redemption: The Spiritual Economy of Puritan New England (Stanford, 1997) and is at work on a book on Boston in the Atlantic World.




Picturesque California

How westerners portrayed the West in the age of John Muir

In the late 1880s the far western states were attracting new residents from across the United States and around the world. This was especially true of the largest western state, California, which had joined the union in 1850: by 1880 its population surpassed 860,000 and would grow in the next decade to over 1.2 million—less than Virginia’s but more than Maryland’s, two states that had been absorbing immigrants since the seventeenth century. With several rail lines now completed, many immigrants, as T. S. Van Dyke wrote in Picturesque California, came in “Pullman cars instead of ‘prairie schooners’” and “built fine houses instead of log cabins.” Yet for most Americans, the Far West was still largely unknown. The great exceptions were the region’s prime natural wonders, Yosemite Valley, the giant sequoias, Yellowstone National Park, and the Grand Canyon. Some would have seen oil paintings, stereographs, or photographs of these famous sites, and many more would have seen wood-engraved illustrations in inexpensive periodicals with national circulations.

In 1888, the San Francisco-based publisher James Dewing (ca. 1846-1902) launched a project to provide the most comprehensive visual coverage of the Far West yet available: Picturesque California and the Region West of the Rocky Mountains, from Alaska to Mexico. Edited by John Muir, who wrote much of its text, it was the first major illustrated work on the West produced primarily by westerners. Sold by subscription, the work first appeared serially in thirty parts, with more than eight hundred images produced by an array of printing technologies.

A brief overview of what came before will help us understand Picturesque California’s contribution to the imagery of the West and its place in the history of graphics more generally. In the 1830s and 1840s several works published in Europe depicted the topography and indigenous peoples along the upper Missouri River. Few Americans saw these expensive works and their magnificent large plates—either aquatints or lithographs with hand coloring. They were designed for a wealthy European audience. Following the close of the Mexican War in 1848, when the United States acquired California and other western territory and the Gold Rush was in full swing, the U.S. government sponsored expeditions to explore the newly annexed territories and identify the best railroad routes. These expeditions yielded many volumes containing small lithographs and engravings of the landscape, the inhabitants, the geology, and the flora and fauna of these regions. Such reports were distributed primarily to government officials but sometimes reached a wider public. Interest in the West burgeoned after the Civil War and especially after the completion of the first transcontinental railroad in 1869. Popular, inexpensive periodicals, such as Harper’s Weekly, mainly based in New York, sent artists west to make sketches for wood-engraved illustrations, and Currier & Ives and other firms produced inexpensive lithographic views of western scenery and towns.

 

Fig. 1. Thomas Moran’s etching The Half-Dome—View from Moran Point is the first plate in the book and perhaps the most beautiful. Moran had visited the West to sketch for major paintings as well as illustrations. Courtesy of Special Collections, University of Virginia Library.
Fig. 1. Thomas Moran’s etching The Half-Dome—View from Moran Point is the first plate in the book and perhaps the most beautiful. Moran had visited the West to sketch for major paintings as well as illustrations. Courtesy of Special Collections, University of Virginia Library.

From 1872 to 1874, New York’s D. Appleton and Company published a work illustrating the scenery and cities of the entire country that was clearly a model for Dewing: Picturesque America, edited by the eminent poet William Cullen Bryant. Other similarities besides the title were the large format, the variety of media—both wood and steel engravings—and the serial publication (forty-eight parts at fifty cents each). But the earlier work covered only a few areas of the West—the San Francisco region and northern California, the Columbia River Valley, Yellowstone National Park, the Colorado Rockies, and the Grand Canyon—and the writers and artists were travelers from the East. Picturesque California’s treatment of the region would be much more comprehensive, and it was published by a San Francisco firm, with text and many images produced by westerners.

James Dewing, originally from Connecticut, had joined his brother in San Francisco after serving in the Union Army. By 1871 he was a partner in Francis Dewing and Company’s publishing firm. After Francis’s death in 1883, James Dewing operated a bookstore and publishing office and with other family members manufactured and sold pianos, organs, and school furniture. In January 1887 the J. Dewing Company was incorporated with a capital stock of $250,000, presumably from investors interested in Picturesque California’s publication. By 1888 the firm had established a New York office, no doubt to help promote the book.

Little is known about Picturesque California’s early genesis. But clearly, Dewing was well enough connected to engage John Muir (1838-1914) as editor and principal writer. Muir was not yet the household name he is today or even the nation’s premier conservationist (he would found the Sierra Club in 1892). Still, he was well known for his expertise on the Sierra Nevada Mountains and the Yosemite Valley, which President Lincoln had made a state park in 1864. An early review of Picturesque California described him as “the man of all others who has most lived with and expressed nature in California.” His articles expounding his theories on Yosemite’s formation and describing the glaciers he had found in the Sierras had appeared in the San Francisco periodical the Overland Monthly from 1872 and in Harper’s and Scribner’s, the nation’s leading illustrated monthly magazines, from 1875 through the 1880s. Dewing’s invitation to edit Picturesque California came at an opportune time for Muir. As a father and principal breadwinner, exploring the Sierras and California’s other natural wonders had become impractical for him. He accepted the commission and reworked some of his earlier articles in preparing his contributions.

Picturesque California was eventually issued in many different formats, at different prices, a marketing tactic popular with publishers of elegant illustrated worksThe initial issue was in thirty 16 x 12-inch parts, at one dollar each, distributed monthly. At least part of the printing was done in New York. The December 1888 Overland Monthly described the parts as “laid within grey cloth book-covers, tied with ribbon” and stamped in red with a vignette of the old Carmel Mission and mountains and a pine and palm in the background. The review explained that in more expensive editions many of the illustrations were printed on India paper (a thin, fine-quality paper) and in the most expensive, on satin. The array of boxes and bindings offered is suggested by the entries on Picturesque California in John Muir: A Reading Bibliography. An alternative, longer title was sometimes used: Picturesque California: The Rocky Mountains and the Pacific Slope. California, Oregon, Nevada, Washington, Alaska, Montana, Idaho, Arizona, Colorado, Utah, Wyoming, Etc. Eventually, in 1894, less expensive, shorter versions were issued on poorer quality paper, without the plates. The short title, Picturesque California, is in keeping with the work’s focus: of thirty-one separate articles, twenty-one pertain to regions of California, whereas the other areas are covered in one article each, with Utah, New Mexico, Arizona, and Nevada each receiving only four or five pages (and Idaho none at all).

 

Fig. 2 and 3. The paper the photogravure was printed on made a difference. Compare Redwoods on Boulder Creek, from a painting by Julian Rix, as printed on India paper, above, and on the heavy plate paper, to the right. The India paper absorbs more ink, producing richer, darker tones, while images printed on the heavier paper are not so dark and show more detail. Courtesy of Special Collections, University of Virginia Library.
Fig. 2 and 3. The paper the photogravure was printed on made a difference. Compare Redwoods on Boulder Creek, from a painting by Julian Rix, as printed on India paper, above, and on the heavy plate paper, to the right. The India paper absorbs more ink, producing richer, darker tones, while images printed on the heavier paper are not so dark and show more detail. Courtesy of Special Collections, University of Virginia Library.
fig. 3
fig. 3

The title page’s assertion that the work is “Illustrated with Etchings, Photogravures, Wood Engravings, Etc. By Eminent American Artists” is entirely justified. Picturesque California’s illustrations aestheticized the West using all the most popular processes of the moment—following the fashions of the East. In some processes, like etching, the artist created the image on the printing surface, while others, like photogravure and photoengraving used photography to prepare the printing surface. (The technology for printing photographs via the half-tone process was just being developed and was used sparingly in the book.) The etchings, photogravures, and photoetchings constitute the 120 “plates” on heavier paper that are interspersed between every four pages of text. The text paper is coated and lighter weight. At least thirty-seven different artists from across the country contributed to the work, all skilled and some quite well known. Many of the plates featured works of California painters, especially Thomas Hill (1829-1905), who had long painted Yosemite and other scenic regions; William Keith (1838-1911), a friend of his fellow Scotsman John Muir; Julian Rix (1850-1903); and Charles Dormon Robinson (1847-1933).

The original etchings, numbering only fifteen among the 120 plates, are some of the most appealing of the book’s illustrations. To prepare an intaglio etching, the artist uses etching needles and other tools to scratch through the ground covering the metal plate and then uses acid to bite the lines he or she has created. The incisions hold the ink and with the pressure of the printing press the ink is absorbed by the paper. The late 1870s and 1880s saw a revival of interest in the centuries-old process in the United States and publishers began including etchings in their most elaborate illustrated books (fig. 1). (The four photoetchings among the book’s plates have less of the artist’s touch.)

The majority of the plates, 101, are photogravures, a process that was first used in the 1880s to produce high-quality monochrome reproductions of paintings and photographs. It used photography to make intaglio printing plates. The prospectus for Picturesque California claimed that “by means of a new process of photo-gravure . . . the painter’s work is reproduced as in a mirror,” “losing nothing” of the artist’s “individuality” or “style.” Although admired by some at the time, most of the photogravures reproduced landscape paintings characterized by soft textures and little detail, and, without full color, the results are often rather muddy and dull. Photogravure more successfully reproduces photographs or works with distinct details (figs. 2 and 3).

 

Fig. 4. Victor Perard’s Lassen’s Butte, photoengraving printed in reddish brown ink. Courtesy Special Collections, University of Virginia Library.
Fig. 4. Victor Perard’s Lassen’s Butte, photoengraving printed in reddish brown ink. Courtesy Special Collections, University of Virginia Library.

Even more of the illustrations—the seven hundred printed along with the text—were produced either by wood engraving or the newer photoengraving, which could reproduce the artist’s lines through photographic means. Because both utilized a relief printing surface, they could be printed at the same time as letterpress type and were less expensive to produce than plates printed on an intaglio press. Most of the text illustrations are photoengravings; the few wood engravings may be identified by an engraver’s name in addition to the artist’s. Some of the text illustrations faithfully reproduce delicate ink drawings (fig. 4), and many are examples of the still-popular composite approach, with highly irregular shapes and overlapping or interlocking images (fig. 5).

 

Fig. 5. Chapter opening, "The Yosemite Valley," with overlapping wood engravings: Indian Squaws Gathering Strawberries in the Valley, by Thomas Hill, engraved by C. Woodley; The Upper Yosemite Fall, by George Spiel. Courtesy of Special Collections, University of Virginia Library.
Fig. 5. Chapter opening, “The Yosemite Valley,” with overlapping wood engravings: Indian Squaws Gathering Strawberries in the Valley, by Thomas Hill, engraved by C. Woodley; The Upper Yosemite Fall, by George Spiel. Courtesy of Special Collections, University of Virginia Library.

Further novelty was introduced by printing some of the plates and text illustrations in other colors besides the usual black or brown; some were printed entirely in either red, green, blue-gray, or reddish-brown. Picturesque California was initially published before the color half-tone process came to be used, so the publishers chose this unusual means of introducing color.

The writers for Picturesque California were primarily prominent Californians who wrote about areas they knew well. Next to Muir the best known was the colorful Joaquin Miller (1837-1913), whose long poem Song of the Sierras (1871) and subsequent travelogue My Life among the Modocs (1873) purportedly chronicled his California adventures. Others had already written about California: Charles Howard Shinn (1852-1924) had published Mining Camps: A Study in American Frontier Government (1885); George Hamlin Fitch (1852-1915) was the literary critic of the San Francisco Chronicle; T. S. Van Dyke (1840-1923) published Millionaires of a Day (1890), a critique of California real estate speculators; and the widely published naturalist Ernest Ingersoll (1852-1946) had covered Colorado and New Mexico in his The Crest of the Continent (1883).

 

Fig. 6. Many images show formidable peaks with glaciers, such as the photogravure of Tatoosh Mountains (Looking West from Camp of the Clouds), from a drawing by Victor Perard, after a painting by William Keith. These mountains are in Washington, near Mount Rainier. Courtesy of Special Collections, University of Virginia Library.
Fig. 6. Many images show formidable peaks with glaciers, such as the photogravure of Tatoosh Mountains (Looking West from Camp of the Clouds), from a drawing by Victor Perard, after a painting by William Keith. These mountains are in Washington, near Mount Rainier. Courtesy of Special Collections, University of Virginia Library.

The primary theme of Picturesque California is a dual one: that these western regions contain both countless natural wonders—surpassing those of the East—and impressive works of civilization. Further, these features make the region a worthy alternative to foreign travel. Indeed, for some of the contributors the natural wonders of the West promised visitors a nearly religious experience. As Muir wrote of the Sierras, “Visions of ineffable beauty and harmony, health and exhilaration of body and soul, and grand foundation lessons in Nature’s eternal love, are the sure reward of every earnest looker in this glorious wilderness.” The illustrations provide images of more peaks, mountain ranges, and waterfalls than had been included in any one publication previously—places both celebrated and unfamiliar. On the other hand, there is little attention to the barren desert regions of the West, which, after all, did not conform to the variety, irregularity, and contrast of the picturesque aesthetic.

 

Fig. 7. Some images show fashionably dressed hikers in the mountains, such as the photoetching Tourists among the Passes—Mt. Lyell Glacier in the Distance, from a drawing by A. J. Keller. Courtesy of Special Collections, University of Virginia Library.
Fig. 7. Some images show fashionably dressed hikers in the mountains, such as the photoetching Tourists among the Passes—Mt. Lyell Glacier in the Distance, from a drawing by A. J. Keller. Courtesy of Special Collections, University of Virginia Library.

The parallel emphasis on advancing civilization, including growing cities, tourist facilities, railroads, and agricultural expansion contains the implicit message that the region’s natural beauty can coexist with population growth and economic development. The writers expect that further amenities will make life in the West comparable to life in the East. In addition, they explain, southern California offers an idyllic environment unique in the United States—a sunny climate year round, with semi-tropical plants, fruits, olives, and vineyards—features that prompted the by-now-familiar comparison to Italy. For example, George Hamlin Fitch claimed of Santa Cruz, “Italy has no place on which the sun rests fairer, where the roses bloom more luxuriously, where the air is so warm and caressing.”

The superlatives throughout the text suggest the authors had two central purposes: on the one hand, to bolster the growing sense of regional pride among westerners and, on the other, to combat persistent notions of a lawless, uncivilized frontier among easterners. Of the brand-new state of Washington, Muir comments that although it is little known to easterners except as “wild west,” its citizens from diverse European backgrounds have put aside “sectarianism” to work there in harmony. John P. Irish implicitly chides those who might denigrate the West by pointing out a wheat field in the irrigated Sacramento Valley nearly twice the size of Rhode Island and worth more than sixteen million dollars, the same amount the federal government paid Mexico in 1848 for California, Nevada, Utah, Arizona, and parts of Colorado and New Mexico.

With Muir as editor, it is no surprise that mountains—both forbidding and accessible—receive more attention than any other feature of the region. Unlike earlier explorers such as Clarence King who used metaphors of battle to describe his ascents, Muir emphasized the “enduring blessing” and harmonious feelings of such excursions (despite the dangers he frequently encountered). And because many of the great western mountains were accessible, such experiences were not limited to the hardiest climbers. Muir pointed out that the southern Sierras have less ice and snow than the passes of Switzerland, and with the railroad to Sacramento, “everybody with money may go to Mount Shasta, the weak as well as the strong” (figs. 6 and 7).

 

Fig. 8. Stephen J. Ferris’s etching, After a Good Day’s Sport, after F. O. C. Darley (1822-1888), a very prominent illustrator of an earlier generation, who died the year publication of Picturesque California began. Courtesy of Special Collections, University of Virginia Library.
Fig. 8. Stephen J. Ferris’s etching, After a Good Day’s Sport, after F. O. C. Darley (1822-1888), a very prominent illustrator of an earlier generation, who died the year publication of Picturesque California began. Courtesy of Special Collections, University of Virginia Library.

Images of rock formations, especially Yosemite’s Half Dome and Sentinel, and waterfalls in many regions abound. The West’s vegetation, so different from the East’s, is depicted—from giant redwoods, sugar pines, and Douglas spruce forests to wildflower meadows with “larkspurs eight feet high and lilies with thirty flowers on a single stalk.” But the messages can be contradictory. While Muir stresses the need to protect some of the ancient forests, he is also impressed that the mills of Puget Sound and California “are said to be the largest and most effective lumber-makers in the world.” Attractive images of logging operations contrast with John P. Irish’s charge that using the trees of the Sacramento Valley for lumber is like breaking up Greek statuary “into stones to wall a well or build a sewer.” Similarly, images portray a wealth of animal life in the region, from hummingbirds to bears, and writers emphasize the excellent opportunities for hunting and fishing. For example, Miller praises the tributary waters of the Sacramento as the most favored spot in the world “for rod and gun,” with an abundance of grizzly bears and the world’s largest mountain elk (fig. 8). On the other hand, Muir notes that “tourist sportsmen” and ranchers are driving away the game.

 

Fig. 9. Al Hencke’s Cliff-Hunting for Eggs and Young Gulls, wood engraving by C. Woodley. Courtesy of Special Collections, University of Virginia Library.
Fig. 9. Al Hencke’s Cliff-Hunting for Eggs and Young Gulls, wood engraving by C. Woodley. Courtesy of Special Collections, University of Virginia Library.

In images the Indians who have lived for centuries in the West are depicted as picturesque elements in the landscape, but the text is more negative. While illustrations show them in traditional food-gathering activities, such as hunting for eggs of gulls and other seabirds (fig. 9), the writers more often view them as annoying intruders. Muir finds the Mono Indians “mostly ugly, or altogether hideous” but is kinder to the Indians of the McCloud River, who have “better features” and are “ambitious in their way.” Whereas Muir hopes for assimilation, Ingersoll is offended by those who disregard “Indian rights or feelings.” Similarly, while the illustrations of San Francisco’s Chinatown feature its picturesque qualities (fig. 10), Miller harshly describes the Chinese as “ugly” and “asleep for thousands of years.”

By 1888, the agricultural potential of the far West was of more interest than its potential for quick mining wealth. The writers praise several different river valleys as the most fertile in the West, and images of orchards and vineyards abound (fig. 11). For example, Jeanne C. Carr boasts that the irrigated fields of “Orange, Santa Ana and Tustin counties contain a greater wealth of products than any other equal portion of the country.”

 

Fig. 10. Chinese Market, photoengraving. Signed "J D," possibly J. O. Davidson. Courtesy of Special Collections, University of Virginia Library.
Fig. 10. Chinese Market, photoengraving. Signed “J D,” possibly J. O. Davidson. Courtesy of Special Collections, University of Virginia Library.

Picturesque California also depicts the West’s progress in establishing cities and towns with attractive homes and top-quality educational, religious, and scientific institutions. Text and image depict San Francisco’s magnificent bay, which could hold “all the navies of the world,” its cable cars, the new Golden Gate Park, and the “castles” of Nob Hill (fig. 12). Miller calls San Francisco “the New York of the broader and better side of this continent.” Among many other featured cities are Berkeley, with the University of California; Oakland, with “the most perfect ferry service in the world;” Santa Barbara, with “one of the most beautiful sites anywhere;” Denver, the most important city between Chicago and San Francisco; Vancouver, which has grown from a forest clearing in 1885 to a full-fledged seaport of twenty thousand; and Los Angeles, with sixty-five thousand inhabitants occupying about thirty square miles, served by fifteen railroad lines. Revealing the region’s cultural attainments are the new Lick Observatory, with “the greatest telescope in the world,” and the soon-to-be-completed “Cambridge of the west,” Leland Stanford Jr. University in Palo Alto.

 

Fig. 11. Thomas Moessner’s Luxuriant Fruits of the Rogue River Valley, photoengraving. Courtesy of Special Collections, University of Virginia Library.
Fig. 11. Thomas Moessner’s Luxuriant Fruits of the Rogue River Valley, photoengraving. Courtesy of Special Collections, University of Virginia Library.

A secondary but important theme derives from nostalgia for the region’s Spanish and Mexican past. This is clear, for example, in the admiration for Monterey, with its tile roofs and adobe walls, and nearby Carmel Mission. Fitch suggests a visit there, where “the dreamy Spanish life . . . takes no account of time or progress,” is “equivalent to going abroad without crossing the ocean” (fig. 13). Interest in identifying places associated with Helen Hunt Jackson’s best-selling 1884 novel about southern California, Ramona, also suggests the strength of romantic notions of California’s past, an interest that will fuel the tourist industry in the region.

 

Fig. 12. Photogravure, Protestant Orphan Asylum, from a drawing by Victor Perard. A city that could provide such an elegant building and garden for its orphans was civilized indeed. Courtesy of Special Collections, University of Virginia Library.
Fig. 12. Photogravure, Protestant Orphan Asylum, from a drawing by Victor Perard. A city that could provide such an elegant building and garden for its orphans was civilized indeed. Courtesy of Special Collections, University of Virginia Library.

This brief overview of the 478 pages and over eight hundred illustrations can only give a taste of Picturesque California’s riches. Soon after publication began, in February of 1890, a report to the Literary World (Boston) judged it the most important current “literary enterprise” in San Francisco. Several western newspapers ranked it high nationally.

 

Fig. 13. A Vision Through the Trellised Vine, photoengraving. Artist unknown. Courtesy of Special Collections, University of Virginia Library.
Fig. 13. A Vision Through the Trellised Vine, photoengraving. Artist unknown. Courtesy of Special Collections, University of Virginia Library.

According to the San Francisco Chronicle it was “one of the finest illustrated works ever produced in this country” and would “give to Eastern readers for the first time a satisfactory idea of the wonderful grandeur, beauty and variety of California scenery” (fig. 14). Some of California’s politicians and academics endorsed it, as did librarians from as far away as Minneapolis and Brooklyn. The San Bernardino Board of Trade thought the fact that it was “free from direct advertising or ‘booming’” would enable it to gain the attention of the “best people throughout the Union,” the type California needed. Similarly the San Jose Mercury expected it would “draw hither many permanent dwellers, which no other form of temptation could reach.”

Such endorsements, which were quoted in the 1894 edition, must have pleased Dewing, but they were evidently not enough to make the work a financial success. By the spring of 1891 Dewing and Company, at least the San Francisco office, had declared bankruptcy. Although the expense of employing so many artists and such elaborate and varied printing processes to depict the West’s variety and magnificence proved greater than the financial return, the publication no doubt played a part in enhancing the self-confidence of westerners and the respect afforded the region in the rest of the country.

 

Fig. 14. Photogravure, Farallones Islands, from a painting by Julian Rix. Text and images mention California’s dramatic coastline. Courtesy of Special Collections, University of Virginia Library.
Fig. 14. Photogravure, Farallones Islands, from a painting by Julian Rix. Text and images mention California’s dramatic coastline. Courtesy of Special Collections, University of Virginia Library.

Finally, in terms of its graphics, Picturesque California could and would have been produced only at the particular time it was: when artists still played a major role in landscape images in books; when etching was the new artistic craze; when printing of photogravures was a new (and short-lived) technology; when wood engraving was being gradually replaced by photoengraving; and when, although the allure of color was strong, the technology for four-color printing had yet to be worked out. Picturesque California was a most flamboyant example of the last major publications illustrating scenery and cities before photography and mechanization displaced artists and craftspeople.

Further Reading:

John Muir, A Reading Bibliography, compiled by William F. Kimes and Maymie B. Kimes (Palo Alto, Calif., 1977), contains details of many different issues and editions of Picturesque California. Two overviews of images of the West are: Ron Tyler, Prints of the West (Golden, Colo., 1994) and William H. Goetzmann and William N. Goetzmann, The West of the Imagination (New York, 1986). On Picturesque America, see Sue Rainey, Creating Picturesque America: Monument to the Natural and Cultural Landscape (Nashville, 1994). An excellent history of California in the latter half of the nineteenth century is Kevin Starr, Americans and the California Dream, 1850-1915 (New York, 1973). On Muir, see Linnie Marsh Wolfe, Son of the Wilderness: The Life of John Muir (New York, 1945), Frederick Turner, Rediscovering America: John Muir in His Time and Ours (New York, 1985), and Sally M. Miller, ed., John Muir in Historical Perspective (New York, 1999). Many of the quotations praising Picturesque California appearing in the text were printed on the back of the part covers of the 1894 edition; the San Francisco Public Library owns a set of this edition. The Sierra Club’s Website includes Muir’s contributions to Picturesque California and the prospectus for the original publication, which was printed inside the front cover.

 

This article originally appeared in issue 7.3 (April, 2007).


Sue Rainey is editor of Imprint: Journal of the American Historical Print Collectors Society and writes about artists who contributed illustrations to books and magazines in the latter half of the nineteenth century.




Following in His Footsteps: A Swiss Explorer Comes to America

The car came to a stop near a warehouse on the rail line, the sun slowly diving for the horizon. My guide and I entered, making our way to the back freight elevator, passing cases of pinot, chasselas, and fendant as forklifts pirouetted in the cavernous space. The elevator creaked and whined as we made our way down. It lurched to a stop and we were let out on a lower level that smelled vaguely of moist wood and chalk.

Passing through a long hallway, we finally arrived at our destination. After a jangle of keys, and a creaking hinge, we were inside a room replete with artifacts. Spears, masks, and instruments from the four corners of the earth lined the walls. This area had become a makeshift storage area for a local museum while it was remodeled. My host searched for a moment, methodically reading inventory numbers. Et voilà! He took a tubular container wrapped in plastic down from the shelf and handed it to me.

I looked around eagerly for a flat surface. On a wooden crate nearby I gingerly placed the treasure down and removed its protective layer. Even in the dim light, the colors were magnificent. Quelle merveille! My eyes fell upon an ornate headdress of vibrant yellow, iridescent blue, deep red, and lacquered black plumage (fig. 1).

My mind was a whirl. I held in my hands a ceremonial object of singular beauty, from one of the most fearsome head-hunting tribes of Brazil. It had been brought back along with a number of other artifacts, including a trophy head (or so the story goes), from South America in 1853 by Swiss explorer Henri de Büren. I imagined what it must have been like for him to see this object for the first time, in the rainforest 160 years ago.

Viewing this rare artifact was a great highlight in a journey that has consumed my life for the last six years, a journey that has taken many twists and turns and now feels at a crossroads. At the beginning, everything was fresh and uncomplicated. But that was a long while ago.

 

1. Mundurucú headdress that Henri de Büren brought back from Brazil in 1853. Photograph courtesy of the Musée d'ethnographie de Neuchâtel, Switzerland.
1. Mundurucú headdress that Henri de Büren brought back from Brazil in 1853. Photograph courtesy of the Musée d’ethnographie de Neuchâtel, Switzerland.

 

In 2007, while looking through old books in an armoire at my parents’ home north of San Francisco, I stumbled upon a tattered journal. A flood of memories returned to me. It was the same journal I remembered holding as a boy. As before, I didn’t know the journal’s provenance, but upon seeing it again I was intrigued anew. A watercolor on the first page showed the sun glistening off the surface of a blue sea, a small vessel gently rocking as it made its way to port. Mid-morning sunlight illuminated an imposing fort and lighthouse crowned by the Spanish colors. Below in elegant cursive was the word Havane (fig. 2).

Who had made this first-hand dispatch from nineteenth-century Cuba? As I thumbed through the journal, more locations jumped from the yellowing pages: Lima, Trujillo, Cajamarca, Iquitos, Santarem.

 

2. Detail of journal by Henri de Büren, with watercolor of Havana Harbor (1852). Photograph courtesy of the author.
2. Detail of journal by Henri de Büren, with watercolor of Havana Harbor (1852). Photograph courtesy of the author.

 

I would come to understand that the journal had been penned by my great-great-grandfather, Henri de Büren (1825-1909), a Swiss nobleman, botanist, explorer, and artist. His writings, including the journal along with letters home that I found months later, chronicle not just a voyage to Cuba and the Amazon but also a two-year journey through the Americas of the 1850s. His first-hand accounts of Boston, New York, Washington, D.C., New Orleans, and Mexico City mention important Swiss expatriates and scientific figures, discuss race and society, and marvel at the diversity of the natural world.

Why had no one ever mentioned Henri’s journey at family gatherings? Were they also ignorant of his feat? It would have seemed to be a great family story, passed down from generation to generation, told over sumptuous dinners, getting more fanciful in each retelling: “Did you hear how grandpère cleared the jungle with only his Swiss army knife?” Alas, all I knew about Henri was that he sold the family castle at the end of the nineteenth century, and I believe this choice stained his family legacy irreparably. I needed to learn more.

3a. Photograph of Vaumarcus Castle, circa 1890s. Courtesy of the author.
3a. Photograph of Vaumarcus Castle, circa 1890s. Courtesy of the author.

 

Henri de Büren was the only son of Baron Albert de Büren (1791-1873) and Baroness Catherine de Senarclens (1796-1857). He grew up at the family castle of Vaumarcus (figs. 3a, 3b), overlooking the lake of Neuchâtel in French-speaking Switzerland. He was a great lover of nature and a prolific artist. As did his father before him, he received his botanical training at Albrecht Thaer’s Agriculture School near Berlin. Upon his return from Prussia, he also received forestry training in Switzerland, a skill that was crucial to ensure the health of the vast wooded lands that surrounded the castle.

 

3b. Photograph of the "Palais" at Vaumarcus Castle, circa 1890s. Courtesy of the author.
3b. Photograph of the “Palais” at Vaumarcus Castle, circa 1890s. Courtesy of the author.

 

Henri (fig. 4) was born into privilege and wealth and certainly did not want for much, but unlike his ancestors he would not have a title. Social change and revolution finally came to Neuchâtel in the 1831 when noble titles were abolished. Henri knew from the age of six that he would not be granted the same status his ancestors had enjoyed. How this affected Henri is unclear, but I surmise that it was one factor that propelled him to look beyond Europe’s borders to find his own place in the world.

Like many of his day, Henri was deeply moved to travel to the Americas by Alexander von Humboldt’s accounts of the flora and fauna of Latin America. He was also certainly intrigued by the customs and lifestyles of the indigenous peoples of the new world. Another source of attraction for Henri was an opportunity to visit many preeminent Neuchâtel scientists who had left Switzerland in the 1840s for the more liberal scientific climate in the United States. After a period of considerable persuasion, his father and mother relented and agreed to fund their only son’s wanderlust.

Henri de Büren left Switzerland in 1852. He would not return for almost two years, with sporadic letters home the only contact with his family during that time. He spent his first six months traveling the United States and parts of Canada, before sailing to Havana. After a short stay in Cuba, he traveled to Mexico, where he spent four more months (fig. 5), then journeyed on to Panama and then Lima. From Lima he had originally intended to go overland to Buenos Aires through Bolivia. However, due to political instability in Bolivia, he was instead persuaded to join a Peruvian expedition leading the first wave of German settlers to the town of Caballo-Cocha near the border with Brazil. His full journey across South America took him overland from Trujillo on the Pacific to the Brazilian state of Parà on the Atlantic, where he found a steamer back to Europe.

 

4. Oil portrait of Henri de Büren by Swiss artist Rodolphe Léon-Berthoud (1859). Photograph courtesy of the author.
4. Oil portrait of Henri de Büren by Swiss artist Rodolphe Léon-Berthoud (1859). Photograph courtesy of the author.

 

The first place Henri visited in 1852 was Boston, where he spent a fortnight, most of it at the home of his compatriot, Louis Agassiz. Agassiz was one of the most important scientists of his day, and knew Henri and his father well. For Henri, a young man in his late 20s, it would have been a significant honor to stay at the home of such a notable figure. The relationship seems to have been respectful and supportive: “Mr. Agassiz told me that he had an extensive collection of native forest samples, and as he knew they were of great interest to me, offered to let me look at them at my leisure. I could not resist his most gracious offer because his collection would be a perfect guide to acquaint myself with the local flora before I begin my trip in earnest through the Americas.”

 

5. Pencil drawing by Henri de Büren of Cuernavaca, Mexico, with view of the Palace of Cortés in background (1853). Photograph courtesy of the author.
5. Pencil drawing by Henri de Büren of Cuernavaca, Mexico, with view of the Palace of Cortés in background (1853). Photograph courtesy of the author.

 

Henri was a botanist first and foremost, so his biggest thrill in Boston was the time he spent with the preeminent American botanist, Asa Gray. “I visited Mr. Gray the other day at Harvard, who received me with great warmth. He is, as you are well aware, a botanical genius, and at the same time a great man in all aspects. While we walked together in the botanical garden he collected over 50 different samples for my collection, climbing the trees himself to get me the best ones.”

After Boston, Henri traveled to Albany, marveled at Lake George (“the most beautiful sight that I have seen in America to this point”), and toured Montreal before heading to New York. In a letter from New York he speaks of the palpable excitement of new discoveries: “Not a day goes by that I don’t feel countless new sensations here. I will try and share some of my experiences which are all so new and exciting it is hard to remember them all.”

While in New York, he took in Barnum’s American Museum. P.T. Barnum, later of circus fame, operated a museum that was part concert hall, part zoo, and part freak show. For Henri, Barnum’s museum represented the merging of the scientific and the fanciful—a very American creation: “Our science at home is liberal; in America, it is totally different. The cities here are not willing to build monuments to science, or are doing it very imperfectly, but it is individuals … who take care of the whole thing inspired by the immense curiosity the inhabitants of this country have.”

 

6. Detail of map drawn by Henri de Büren of the Peruvian Amazon river (1853). Photograph courtesy of the author.
7. Photograph of Henri de Büren’s journals. Courtesy of the author.

 

While Henri was focused on scientific concerns, he could not resist commenting on the social environment of his new surroundings as well. “To sum it up, with Americans, the head leads and trumps the heart. It is the head that dictates their laws and instructs them on their behavior. This industrial spirit transforms the society by reducing all relationships between men to usefulness. There are noble passions that enrich the soul, money spoils and withers it. It seems that greed is blowing a harmful wind upon America, which, focusing on what is moral within man, cuts down genius, smothers enthusiasm, perhaps down to the bottom of the heart, in order to dry the source of noble inspiration and generous impulses.”

Henri continued on through the U.S. for months, by stagecoach, steamer, and train. After leaving New York, he ventured west, first to Columbus, Ohio. He continued to St. Louis and spent a number of weeks in the Swiss settlement of Highland, Illinois. After Highland he came east again to visit Philadelphia, then traveled southward by train to Baltimore, Washington, D.C., Charleston, and Atlanta before ending up in New Orleans.

He left the United States by steamer from Mobile, heading for Havana. The lengthiest part of his journal is dedicated to his voyage across the Andes and down the Amazon (fig. 6) with the first German settlers to Peru. At the end of his journey in the Amazon basin he bartered with the Mundurucú people and secured the feathered headdress that I saw for the first time 160 years later in a world far away.

Like Henri’s adventure, my project concerning him has continued to evolve. When I found the original journal (fig. 7), my fascination with it took me in its grasp and refused to let go. Beyond the intellectual calculations of its historical value, there was a deeply emotional component. The journal felt viscerally part of me, a creative product that called to me, desiring to be expressed. Publishing the journal was my first thought, but I also thought of a documentary film, retracing Henri’s route in the present day, and perhaps ultimately even a feature film. (As I have never made a documentary, many around me have considered me, well, crazy. Yet the project of Henri’s descendant retracing his route felt like a great story, and still does.)

The most exciting discoveries with the journal came early on. Once I realized that Henri’s voyage had been ignored by his descendants, I felt I could write a new chapter in my family history. It also helped that as a man of the Americas and a French speaker, I found Henri’s writings not only of great interest but also accessible. There have been times when I felt that these words were left for me. A great many other family documents—far older than Henri’s journals and written in German—had been deciphered by others. If Henri had written his journals in German, I might never have realized their value.

Following Henri’s footsteps, I have ventured twice to Switzerland, have introduced my project to many in Mexico and Brazil and most recently made a pilgrimage to Harvard University, Henri’s first stop in the U.S. My most successful trip to Switzerland involved a stop at the ethnological museum in Neuchâtel, where I found the headdress. I also spent some time at the Natural History Museum, co-founded by Henri’s father, where the director commented matter-of-factly, “Well, we do have a monkey.” Taken aback, I inquired what he meant. He took me into a room full of taxidermy animals and showed a capuchin monkey that Henri had brought back from Brazil and donated to the museum.

My time researching Henri’s life and journals is a metaphor for the voyage itself. In the past six years I have slowly embraced his adventurous spirit and it has allowed me to redefine how I see myself. As I followed him down the Continent, I simultaneously went deeper into myself and found out what I really wanted from this life. I still intend to retrace his physical journey, but my explorations through his words have been no less meaningful.

Certain passages are windows into Henri’s soul, offering indications of the kind of man he would become later in life. During his travels, he was deeply moved by orphan homes, and by deaf and blind schools in Philadelphia. He called Girard College (founded in 1833 as a school for poor, fatherless boys), “the most beautiful building ever erected in the name of charity.” And after attending a concert given by blind musicians, he remarked, “I have very rarely listened to music that touched me that much.” In such passages, I see a man who cared deeply for innocence, and children in particular, and with the advent of hindsight, his passages almost seem predictive. Seven years after his return from South America, Henri would marry and become a father. Three of his eight children would be deaf and mute from birth. In order to move his family to Geneva, closer to services for his deaf children, he sold the family’s ancestral castle in 1888.

I sadly do not have personal journals for Henri’s later life, only anecdotes of those who knew him. One passage comes from Adèle de Rougemont, daughter of Frédéric de Rougemont, a contemporary of Henri’s father and author of over 50 books on geography, ethnography, and theology. She wrote to Natalie de Freudenreich, Henri’s fiancée, shortly after their engagement in 1860. “That the most gracious God blesses you abundantly, and allows you to do all the good that you wish around the ancient manor. It’s true the times of the troubadours have passed. No passing minstrel will immortalize a song of love to you beneath its windows. Hopefully in exchange however, you will hear the joyous voices of poor children, who will celebrate the goodness of their young lady of the manor. The de Bürens of Vaumarcus are well known in the area for their generosity towards the poor and Mr de Büren was very wise to choose you to become a partner in his charitable works. He could not have found a more compatible mate in caring about orphaned children or the miseries endured by the sick.”

As he aged, Henri moderated many of his more strident positions and became more open. It must also be noted that he never saw his deaf children as handicapped, and only wanted the best for them. Beautiful art from his daughter Jeanne remains, as well as a boyhood journal from Albert Gustave, Henri’s second deaf child. When the children were young they had tutors at the castle and their life seemed idyllic, reveling in the beauty of everyday life, as Gustave’s small quote portrays: “We were very happy to find small flowers in the fields today announcing the start of Spring. Yesterday we saw butterflies who had left their chrysalis and flew happily on the breeze. As the weather warms, more insects and flowers show themselves, God is bringing them back to life.” Henri made posthumous donations to the School for the Deaf in Geneva, and wanted advantages for his children. His three deaf children represented Switzerland at the International Congress of the Deaf and Mute at the 1900 Universal Exposition in Paris, which spoke interestingly about the U.S. and the great achievements of Thomas H. Gallaudet.

Along the way, I have learned important lessons about Henri and about myself, traits that we share and ways in which we are vastly different, similarities that elicited pride and others that led to self-examination. Henri was a man of his time for good and ill. He cared very deeply for his family, as an early passage written from New York demonstrates: “I think of you and the family often, what you are doing, what you are thinking, and how I would like you to share in my adventure. I feel that your thoughts are with me, they give me strength and confidence to participate in all the new sensations and experiences that the new world has to offer.” He did not like to see animals suffer and yet he was also a hunter. He was a great lover of nature and agriculture, but openly characterized indigenous farmers in South America as lazy for not aggressively exploiting their land. He was a cultural snob, a classist, and most painfully to me, a racist, as seen in his assertion that blacks could not “get by without the help of whites.”

Passages demonstrating racial and social prejudice made me shift in my chair as I read them—it would have been more convenient for me if Henri had been a Swiss abolitionist. While I vehemently disagreed with his prejudices, simply judging him 160 years later would be too easy. Instead I needed to ask myself, why do so many of his passages stir such great emotion in me? I needed to go deeper.

Henri’s views invariably made me re-examine my own. They helped me recognize, in my younger self, my own reliance on judgment. He was quick to judge, quick to dismiss, and was fairly pessimistic about human nature. Wasn’t I just like him at his age? The realization shocked me, and has helped me re-examine how I see the world.

Over time many questions have arisen for me. What is the nature of my inspiration? Why does this project hold such a special resonance for me? How can I honor a family legacy and still be true to my own values? How can I acknowledge Henri’s racism, without tainting the man as a whole? These are questions I would not have thought of asking at the beginning. Something has changed for me. How did I get to a place of seeming uncertainty when my project appeared so clear?

The answer is complicated and it isn’t. The project is about Henri and it isn’t.

As an American, the more I sit with his work, the more I realize that it was never just about Henri. His journey provides a unique glimpse of the pre-Civil War era. One that, through his lens, highlights scientific optimism, celebrates nature, explores social dynamics, and documents racial injustice. His thoughts and observations on the nineteenth century open a larger window into the past, one that shows at times how far we have come and at others how far we still have to go.

 

This article originally appeared in issue 13.4 (Summer, 2013).


 

 




French Revolutionary Song for Federal Philadelphia

Benjamin Carr’s Music Sheets

The composer, performer, printer, and publisher Benjamin Carr (1768-1831) left his native England in 1793 to open a music shop in Philadelphia. His father, Joseph, followed suit a year later, starting a satellite store in Baltimore. Combined with the opening of Philadelphia’s Chestnut Street Theater early in 1794, Joseph’s arrival secured Benjamin’s success. The father-son team pooled resources, meeting the music-sheet demand that theatrical performances generated. Together with his competitor, George Willig, the younger Carr would issue most of Philadelphia’s printed music between 1793 and 1801, when he turned to other pursuits.

Profitable though it was, Carr’s U.S. publishing career began at a turbulent time. The execution of French King Louis XVI in January 1793, combined with the ensuing Terror and the notorious diplomacy of Edmond-Charles Genet, ended the near-universal enthusiasm with which Americans had greeted the French Revolution. And as Haitian refugees poured into U.S. ports that same year, controversy over Franco-American relations grew. For Carr, whose elite, music-reading clients were often conservative, the publication of radical French songs was, on the face of it, a risky venture.

But the public and oral transmission of French revolutionary song, which fueled early American dissent, was a different matter than its private consumption in music-sheet form. Music’s abstraction from performance, via print, freed it from physical expressions like marching and dancing. And song’s separation from public utterance made it seem less politically charged. Silent arrangements of ink on paper and the salon performances that they enabled were safely removed from the volatile contexts in which French revolutionary song initially flourished.

Carr’s printed music reconciled the three most popular songs of the French Revolution to the cultured climate of Philadelphia’s drawing rooms. To be sure, he was not the first to publish these. They shuttled between sound and print from early on, and Carr in fact based his sheets on existing British ones. But each tune nonetheless had an initial purpose other than singing, which editions like Carr’s obscured. “La Marseillaise,” for example, was a march. Though it displays an artful pairing of melody and lyrics, it was devised to coordinate military movement. For its part, “La Carmagnole” was as a ronde, a popular group dance accompanied by song, and “Ça Ira,” a contredanse, came from the ballroom.

Carr’s editions uncoupled this music from bodily action, but not entirely. Despite their remove from extra-musical function, they remain marked by the march and the dance. I begin with the most inherently songful of the three tunes, “La Marseillaise,” and then consider the more problematic cases of “La Carmagnole” and “Ça Ira.” Finally, Carr’s editions of all three tunes informed his storied Federal Overture (1794), enabling it to transcend Philadelphia’s partisan rancor.

“La Marseillaise”

The music that we know as “La Marseillaise,” a title it acquired in the nineteenth century, was first published in Strasbourg in 1792 as the “Chant de guerre pour l’armée du Rhin” (“War Song of the Rhine Army”). It was written in April of that year by an officer, Claude Joseph Rouget de Lisle, to boost troop morale and accompany their march. A battalion from Marseilles brought the tune to Paris, where in September it became known as the “Hymne des Marseillaise.” At about the same time the song reached London, where various publishers issued it as “The Marseilles March.”

Carr had at least one of the latter sheets to hand when he produced “The Marseilles Hymn” in French and English (“Marche des Marseillois”) in 1793. His and the London editions have identical keyboard arrangements with four English verses based loosely on de Lisle’s. They also separately present the song’s melody with its six original French verses (fig. 1).

 

1. "Marseilles Hymn" in French and English, C. Rouget de Lisle, published by Benjamin Carr (Philadelphia, 1793). Courtesy of the Keffer Collection of Sheet Music, Rare Book and Manuscript Library, University of Pennsylvania, Philadelphia, Pennsylvania.
1. “Marseilles Hymn” in French and English, C. Rouget de Lisle, published by Benjamin Carr (Philadelphia, 1793). Courtesy of the Keffer Collection of Sheet Music, Rare Book and Manuscript Library, University of Pennsylvania, Philadelphia, Pennsylvania.

Allons enfants de la Patrie,

Le jour de gloire est arrivé.

Contre nous de la tyrannie,

L’étendard sanglant est levé. (bis)

Entendez-vous dans les campagnes,

Mugir ces féroces soldats?

Ils viennent jusques dans vos bras,

égorger vos fils, vos compagnes.

Aux armes, citoyens,

Formez vos bataillons.

Marchez, marchez,

Qu’un sang impur

Abreuve nos sillons.

Marchons, marchons,

Qu’un sang impur

Abreuve nos sillons.

 

Come, children of the Fatherland,

The day of glory is arrived.

Against us, the bloody flag

Of tyranny is raised. (repeat)

Don’t you hear, in the countryside,

The braying of these savage soldiers?

They come right into your midst,

To slaughter your children, your wives.

To arms, citizens,

Form your battalions.

March, march,

So that an impure blood

Shall water our furrows.

Let’s march, let’s march,

So that an impure blood

Shall water our furrows.

 

Carr’s score betrays the contradictory impulses at work in “La Marseillaise”—its songful complementarity of music and text, on the one hand, and its military functionalism, on the other. Let me first highlight a few places where the music reflects the meaning of the words. One begins with the seventh line of the text (“Ils viennent jusques dans vos bras”), where the lyrics take a grim turn. Here the music shifts from the buoyant major mode to the sullen minor, which persists until the refrain (“Marchez, marchez”) brings the return of the major mode.

More localized text expression happens on the word “est” (“is”) in the second line of the text, and with the word “mugir” (“braying”), at the beginning of the sixth line. In the first case, although the alignment is unclear in Carr’s printing, “est” is matched with a long, high note. Such emphasis is normally reserved for a more striking word, and here “gloire” (“glory”) would have been a more conventional choice. But instead de Lisle pairs the more important note with the less important word, creating a musical surprise. He thus depicts the arrival of “the day of glory,” which jolts the Fatherland’s children into action.

With the exception of “Mugir ces féroces soldats,” de Lisle begins each line of his text at a rhythmically weak moment. All the other lines start with transient notes, but “mugir” begins with a heavy, sustained tone. Here de Lisle also omits the usual pause between phrases, so that “mugir” seems to arrive early. And he enhances this surprise by altering the pitch of the syllable “mu-” from what is expected. This abrupt melodic change combines with the rhythmic displacement of “mugir” to convey the enemy’s crude braying.

Such examples suggest that de Lisle wrote the words of the first verse before its music, a view that is further supported by his allotment of the same amount of music to each line of text. There is an exception to this, however. About half-way through the score, beneath the words, “La General,” a series of repeated notes imitates a drum. This is an insertion and may have originated in the London source(s) from which Carr copied his edition. The “General” was a rhythmic signal that instructed armies to arise and prepare for the march, so here it amplifies the commands given in the lyrics: “Aux armes, citoyens / Formez vos bataillons.”

Since it did not accompany the march itself, however, the “General” was an artificial addition to de Lisle’s song. Two centuries earlier, the music theorist Thoinot Arbeau had notated the rhythm used to regulate the movement of French armies. It consisted of eight beats, the first five of which were struck, and the last three of which were silent. The first four beats were sounded with one stick, but the fifth was hit with both, creating an accent. This suggests a modern transcription in two bars of duple meter (ex. 1), the same amount of time to which de Lisle assigned each line of his text.

Example 1. Transcription of march rhythm in Thoinot Arbeau, Orchesographie (Langres, 1589).

When repeated, Arbeau’s rhythm forms a pattern with which we can compare de Lisle’s tune (ex. 2). The melody doesn’t follow it strictly—that was the drum’s role. Instead, it provides embellishments that keep the music interesting. But even so, the rhythmic framework is evident. Most of the notes in bars one, five, and seven, for example, correspond with the strokes of the drum. When the drummer rests, the tune becomes rhythmically freer, consisting either of held notes and rests or multiplied activity. In the intervening bars, the pulse is more insistent.

Example 2. Opening quatrain of “La Marseillaise,” as edited by Carr, overlaid with march rhythm.

Eighteenth-century French armies marched at one of two tempos. The pas redoublé, or doubled step, was used for short maneuvers and had a cadence of 120 steps per minute, whereas the pas ordinaire, or standard step, was approximately half as fast. “La Marseillaise” worked with both. If the step was assigned to the quarter note (four per bar), the song served as a pas redoublé. If the step was assigned to the half note (two per bar), then it functioned as a pas ordinaire. Since a regulation step was twenty-four inches, a single verse of “La Marseillaise” represented a walking distance of either 272 or 136 feet.

Even though it was conceived as a song, then, with a tune shaped to represent its words, “La Marseillaise” is marked by the movement of soldiers. In music-sheet form, its ink symbols betray its former embodiment. In 1796, Carr reissued this tune in two collections of nonvocal music, his Evening Amusement and Military Amusement. Once he had made it into a parlor song, it was possible to publish arrangements of “La Marseillaise” that abstracted it not only from extra-musical function, but from verbal meaning, too.

“La Carmagnole”

“La Carmagnole” became popular in Paris at the same time as “La Marseillaise.” It, too, accompanied French army maneuvers and reached America via Britain. But here the comparison falters. “La Carmagnole” was rooted in oral practice and the ronde, a rustic dance in which participants formed a ring around an object like a tree or liberty pole. Dancers circled left and right, moved in and out from the center, and made special steps at melodically marked moments. The sung tune was their only accompaniment. The song had no definitive text apart from its title (which designates a coat imported from Italy by French laborers) and its militant refrain. Verses were often made up on the spot to commemorate local issues and people. Indeed, in the early twentieth century, the head librarian at the French National Conservatory identified more than fifty verses that were paired with the following chorus:

 

Dansons la carmagnole,

Vive le son, vive le son,

Dansons la carmagnole,

Vive le son, du cannon.

 

Let’s dance the carmagnole,

Long live the sound, long live the sound,

Let’s dance the carmagnole,

Long live the sound of the cannon.

 

2. The music shown (from Benjamin Carr's Collection of New and Favorite Songs, ca. 1800) is a reprint of the following edition: "La Carmagnole," published by Benjamin Carr (Philadelphia, 1794). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
2. The music shown (from Benjamin Carr’s Collection of New and Favorite Songs, ca. 1800) is a reprint of the following edition: “La Carmagnole,” published by Benjamin Carr (Philadelphia, 1794). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

Given its popular origins, music publishers aiming to cast “La Carmagnole” as an elite diversion faced a challenge—one that Carr’s 1794 edition met head-on. Arranged for solo voice and keyboard, it was copied from an existing London sheet and includes four French verses along with a self-standing version for the guitar (fig. 2).

This sheet departs radically from the renditions of “La Carmagnole” that sounded in the public spaces of Philadelphia. It is framed by an introduction and conclusion for the keyboard, which provides accompaniment throughout. This becomes conspicuous when an out-of-context chord (an A7) appears with the first repetition of “vive le son” on page two, and when this is echoed by an acute dissonance (an F-sharp against a C major chord) during the next repetition of the same text. An amateur keyboardist would have struggled to play this music at the tempo of the dance, so salon performances of “La Carmagnole” were comparatively slow.

Like the music itself, the visual arrangement of Carr’s “Carmagnole” gives the impression of a methodically crafted song rather than an unrefined, semi-improvisatory dance. For the already songful “Marseillaise,” it sufficed to combine the voice and keyboard on a double staff. The vocal part of “La Carmagnole,” by contrast, is printed separately from the keyboard part, on a third staff. This makes it look independent, even though the keyboard mostly doubles it. For part of page two (the second line of combined staves), however, the melody is entrusted to the voice alone. “La Carmagnole” was thus changed from a vocally accompanied dance into an instrumentally accompanied song.

Verses for “La Carmagnole” were short and simple. The most famous ones took aim at Marie-Antoinette and Louis XVI:

 

Madame Veto avait promis (bis)

De faire égorger tout Paris, (bis)

Mais son coup a manqué

Grâce à nos canonniers.

Monsieur Veto avait promis (bis)

D’être fidèle à son pays,(bis)

Mais il y a manqué;

Ne faisons plus quartier.

 

Mrs. Veto had promised (repeat)

To slaughter all of Paris, (repeat)

But her coup has failed

Thanks to our gunners.

Mr. Veto had promised (repeat)

To be true to his country, (repeat)

But he has failed;

Let’s show no mercy.

 

But these didn’t make it into Carr’s edition, which begins more generically:

 

Le cannon vient de résonner, (bis)

Guerriers soyons prêts à marcher. (bis)

Citoyens et soldats

En volant aux combats.

 

The cannon have sounded, (repeat)

Warriors are ready to go. (repeat)

Citizens and soldiers

Are flying into combat.

 

The repetition of each line in the opening couplet reflects the call-and-response manner in which it was originally performed. Parallel musical units are normally assigned to such repeated text, but not in this case. The first statement of “Le cannon vient de résonner” is set to a lilting tune whose rhythm matches the words. We expect this to be answered by a unit of the same length (as in ex. 3a), but it is instead followed by an extended phrase, with which it forms an asymmetrical pair (ex. 3b).

Example 3a. Expected setting of opening text repetition in “La Carmagnole.”

Example 3b. Setting of opening text repetition in “La Carmagnole,” as edited by Carr.

Example 3a is fictional and shows a symmetrical response to the initial statement. The main difference between this normalization and the phrase as it appears in Carr’s edition is the placement of the word “de.” In example 3a it is assigned to a fleeting note, but in example 3b it is emphasized by duration and by placement on a strong beat. Carr is not to blame for this faulty accentuation, though, because the “Carmagnole” tune wasn’t devised to suit its text. Although we don’t know what the step entailed, this otherwise unaccountable phrase must have accompanied a distinctive moment in the “Carmagnole” dance.

Along with “La Marseillaise,” Carr included the melody of “La Carmagnole,” without words, in his Evening Amusement of 1796. And he later reissued the texted version from the plates he had made in 1794, including it in his Collection of New and Favorite Songs(ca. 1800). He thus published it one time less than he would “Ça Ira.”

“Ça Ira”

Like “La Carmagnole,” “Ça Ira” originated as a social dance, albeit a more sophisticated one. Composed by a Parisian theater musician named Bécourt, it was initially called “Le Carillon National” and its earliest known printing is an arrangement for two violins. As a contredanse, “Le Carillon” had roots in the English country dances (which, despite their name, were genteel) introduced at the court of Louis XIV, and was performed by four couples in a square formation. The music was played through four times, giving each pair a chance to lead. Among the dance figures indicated in an early Paris edition are the rigaudon, pirouette, hand-turn, and English half-chain. Like all contredanses, “Le Carillon” is in rounded binary form, meaning that it has two musical sections, the first of which returns after the second.

This dance became a song during the early French Revolution. Its verses were as varied as those of “La Carmagnole,” but it had a consistent refrain, set to a repetitive tune:

Example 4. “Ça Ira” refrain.

The original verses were devised by a street singer named Ladré, and became popular during preparations for Paris’s Fête de la Fédération of July 1790. The first one was as follows:

 

Ah! Ça ira, ça ira, ça ira,

Le peuple en ce jour sans cesse répète,

Ah! Ça ira, ça ira, ça ira,

Malgré les mutins tout réussira.

Nos ennemis confus en restent là,

Et nous allons chanter “Alléluia.”

Ah! Ça ira, ça ira, ça ira,

Quand Boileau jadis du clergé parla,

Comme un prophète il a prédit cela;

En chantant ma chansonette,

Avec plaisir on dira,

Ah! Ça ira, ça ira, ça ira.

 

Oh, it’ll turn out well,

The people on this day incessantly repeat,

Oh, it’ll turn out well,

Despite the mutineers, all will succeed.

Our enemies remain confused,

And we shall sing “Hallelujah.”

Oh, it’ll turn out well,

When Boileau spoke of the clergy,

Like a prophet, he predicted as much;

By singing my little song,

With pleasure you’ll say,

Oh, it’ll turn out well.

By default, songs have one note per syllable of text. Because Bécourt wrote his melody for nonvocal instruments, however, it has stray notes that don’t correspond to the lyrics. This becomes a problem when setting the second line of Ladré’s text, a likely solution to which is shown in example 5a. At least one Parisian printer had other ideas, however, as seen in example 5b.

Example 5a. Plausible alignment of “Le peuple en ce jour sans cesse répète” in “Ça Ira.”

Example 5b. Alignment of “Le peuple en ce jour sans cesse répète” in “Ah! Ça Ira” (Paris: Frère, 1790).

In the same Paris edition, the assignment of text to music becomes altogether haphazard at times. Example 6 shows three successive settings of the phrase, “Ça ira,” each of which differs in terms of rhythmic emphasis, and none of which is desirable when compared to example 4.

Example 6. Indiscriminate accentuation of “ça ira” in “Ah! Ça Ira” (Paris: Frère, 1790).

Bécourt’s tune resists songfulness in further ways. The simplicity of its opening phrase is both a virtue and a vice: it is rhythmically memorable but has almost no melodic interest. A bigger problem, however, arises from the fact that Bécourt wrote his melody without consideration for the range of the human voice. In its original form, it reaches from a low G (near the bottom limit for a bass or alto) to a high B (near the upper limit for a tenor or soprano). This led the foremost historian of French revolutionary song to describe “Ça Ira” as unsingable, but we know that it was sung nevertheless. Performances of “Ça Ira,” especially those by popular crowds, therefore edged closer to rhythmic shouting than to song.

Such considerations deterred Carr from publishing “Ça Ira” in an arrangement for voice and keyboard, in the manner of “La Marseillaise” and “La Carmagnole.” As far as we know, he never issued it with lyrics. The challenge of transforming a dance with revolutionary words into an urbane song, while considerable in the case of “La Carmagnole,” may have seemed insuperable in the case of “Ça Ira.” Carr’s first edition of it, from 1793, was an arrangement for solo keyboard, which he combined on a single page with Philip Phile’s “President’s March” (fig. 3). He later reproduced the melody alone in three different collections: the Philadelphia Pocket Companion (1794), Gentleman’s Amusement (1795), and Evening Amusement (1796).

In each of these editions, Carr presented “Ça Ira” as a wordless, instrumental arrangement of a popular song, but it remains marked by its origins as a dance. In figure 3, notice that the tune begins (half-way down the page) with an incomplete bar. The music itself doesn’t suggest this. It makes more sense, in fact, to notate the opening melody this way:

Example 7. Re-notated opening of “Ça Ira.”

 

3. "President's March and Ça Ira," Philip Phile and Bécourt, published by Benjamin Carr (Philadelphia,1793). Courtesy of the Keffer Collection of Sheet Music, Rare Book and Manuscript Library, University of Pennsylvania, Philadelphia, Pennsylvania.
3. “President’s March and Ça Ira,” Philip Phile and Bécourt, published by Benjamin Carr (Philadelphia,1793). Courtesy of the Keffer Collection of Sheet Music, Rare Book and Manuscript Library, University of Pennsylvania, Philadelphia, Pennsylvania.

Carr’s unusual barring owes to the song’s history as a contredanse, and more specifically to a convention known as “dancing across the bar.” Opening on the weaker, second half of the bar accommodated an upward motion of the hand or foot, which was then lowered in accordance with the downbeat.

The most popular tunes of the French Revolution resisted the identity of song as a self-standing form of vocal expression: “La Marseillaise” betrayed the movement of soldiers, the music and words of “La Carmagnole” were bent to accommodate the dance, and “Ça Ira” was better suited to the rhythmic chanting of the crowd than the cultured singing of the drawing room. It is thus no surprise that Carr’s next treatment of this music took nonvocal form. The Federal Overture was a fitting culmination to Carr’s career as a publisher of French revolutionary song, for it brought “La Marseillaise,” “La Carmagnole,” and “Ça Ira” together in a single, wordless work. Though it represents a different genre, it advances the same purpose seen in his other editions—broadening the appeal of an otherwise partisan repertory.

The Federal Overture

Carr’s Federal Overture was premiered by an orchestra at Philadelphia’s Southwark Theater in September 1794 and issued in a keyboard arrangement two months later. He composed introductory, transitional, and closing material for this work, which was otherwise an arrangement of nine existing melodies, and exemplified the British genre of the medley overture. It had a uniquely American purpose, however, which was to preempt the disorder that could erupt when theatergoers didn’t hear their favorite tunes. It featured Federalist favorites like “Yankee Doodle” and “The President’s March,” along with the songs we’ve been considering.

The idea of uniting ideologically opposed pieces in a single publication was not unique to the Federal Overture, as figure 3 suggests. Nor was pairing tunes like “The President’s March” and “Ça Ira” necessarily a conciliatory gesture. As the historian Liam Riordan has argued, the Overture appealed to Republican taste while subtly validating Federalism. Its title suggests as much, but, according to Riordan, Carr also musically affirmed the status quo. His newly composed material lent a menacing quality to the French selections while foregrounding “Yankee Doodle” and “The President’s March.”

Carr’s other editions of French revolutionary song don’t underscore Federalism in this way. But they did separate music from public utterance and from social actions like marching and dancing, and these trends continued in the Federal Overture. Carr’s orchestral score for the Overture hasn’t been located, so we only have the keyboard arrangement (along with an abridged version for flute duet, shared between the fifth and sixth numbers of Carr’s Gentleman’s Amusement) to compare with his other publications. The three discussed here were issued before the Overture—”The Marseilles Hymn” and “Ça Ira” in 1793 and “La Carmagnole” by June 1794. Even in the absence of its original performing version, however, it is clear that Carr’s medley further removed this music from the functions it formerly knew. His earlier editions had made it into a parlor song (or a keyboard solo in the case of “Ça Ira”), but now it became a nonverbal orchestral symbol.

In his first edition of “La Marseillaise,” for instance, Carr reserved the eighth-note beam for cases when multiple notes were assigned to a single syllable. He abandoned this vocal consideration in the Overture, however, where the tune also appears in a fuller texture and with a new, symphonic accompaniment in the chorus. For their part, Carr reconceived the melodies of “La Carmagnole” and “Ça Ira” for a nonvocal instrument. Each ascends in the Overture to an E above the treble staff—well beyond vocal range. In addition, “Ça Ira” is realigned so as to begin with a complete bar, and the harmonic complexity of the “Carmagnole” accompaniment is curtailed, although its introductory and closing material is retained. He also added orchestral volume contrasts to each number, according to the conventions of instrumental theater music.

Carr’s editions initially distanced “La Marseillaise,” “La Carmagnole,” and “Ça Ira” from public utterance, turning them into private amusements. But his Federal Overture restored these songs to the public in a carefully managed and wordless form. His political ambition in doing so shouldn’t be exaggerated—he was selling music. But Carr’s publications did soften the radicalism of French revolutionary song, if only to make it more palatable to drawing-room and theater-going consumers alike.

Further Reading

On the role of French revolutionary song in early American popular culture, see Simon Newman, Parades and the Politics of the Street: Festive Culture in the Early American Republic (Philadelphia, 1997). Laura Mason’s Singing the French Revolution: Popular Culture and Politics, 1787-1799 (Ithaca, 1996) and Constant Pierre’s Hymnes et chansons de la Révolution (Paris, 1904) are indispensable studies of the same music across the Atlantic. For more on Carr and musical print, see Richard Wolfe’s Early American Music Engraving and Printing: A History of Music Publishing in America from 1787 to 1825 (Urbana, 1980) and Oscar Sonneck’s Bibliography of Early Secular American Music, 18thCentury, revised and enlarged by William Treat Upton (New York, 1964). On European and American military music of the period, see Raoul Camus, Military Music of the American Revolution (Chapel Hill, 1976).

Liam Riordan’s “‘O Dear, What Can the Matter Be?’: The Urban Early Republic and the Politics of Popular Song in Benjamin Carr’s Federal Overture” appears in the Journal of the Early Republic 31 (Summer 2011). For more on the politics and music of the theater, see Heather Nathans, Early American Theatre from the Revolution to Thomas Jefferson: Into the Hands of the People (New York, 2003), and Susan Porter, With an Air Debonair: Musical Theatre in America, 1785-1815 (Washington, D.C., 1991).

Carr’s “Marseilles Hymn” and “President’s March and Ça Ira” are available online in the Johns Hopkins University’s Lester Levy Collection of Sheet Music. There are recordings of “La Marseillaise,” “La Carmagnole,” and “Ça Ira” on Youtube, but they don’t specifically reflect Carr’s editions. Patrick Gallois and the Sinfonia Finlandia Jyväskylä’s 18th-Century American Overture (Naxos, 8.559654, 2011) features an orchestral reconstruction of the Federal Overture.

 

This article originally appeared in issue 13.2 (Winter, 2013).


Myron Gray is a PhD candidate in music history at the University of Pennsylvania. His dissertation considers the relationship of Philadelphian music to Franco-American politics between 1778 and 1801.




The End of the War: The Dartmoor Massacre and a Tainted Peace

Historians who teach the War of 1812 often end their lecture by explaining that amid the smoldering ruins of a capital that had been burned in August 1814, many Americans ignored more than two years of military disasters, and the fact that the peace agreement settled none of the issues that led to the war, by proclaiming victory. A victory made all the more plausible by an odd coincidence of news reporting: on February 4, 1815, word arrived in Washington, D.C., of Andrew Jackson’s defeat of the British at New Orleans; ten days later the Treaty of Ghent appeared, bringing the war to an end. Although the two events were unrelated, with Jackson’s triumph (January 8, 1815) occurring after the peace accord at Ghent (December 24, 1814), historians like to assert that the events were connected in the popular mind. As I have announced in many a lecture hall: one headline read “JACKSON VICTORY AT NEW ORLEANS,” and the other “PEACE SIGNED WITH THE BRITISH.”

Such fabricated headlines may be great in the classroom. But they obscure a more complicated story. The supposed victory in the war was not so clear to the people who lived in 1815. For many Americans, and not just the arch Federalists who had all along opposed fighting the British, the treaty did not speak to the war’s root causes. It failed to address free trade, America’s ability to trade unhindered by British restrictions. Nor did it protect American sailors from impressment. The problematic nature of the treaty came into bold relief in late spring and early summer in the wake of the tragedy that became known as the Dartmoor Massacre.

Dartmoor is a fogbound corner of southwest England, perhaps best known as the setting of Sir Arthur Conan Doyle’s Sherlock Holmes mystery The Hound of the Baskervilles. It is just the kind of place where it is possible to believe that a large, primeval, supernatural beast could wreak havoc. When the shroud of mist lifts, Dartmoor can be starkly beautiful. More often the weather is oppressive and the countryside nearly invisible. During the Napoleonic Wars, the British selected the site for a prison to house the French sailors and soldiers they captured, locating the compound just far enough inland to keep it safe from raiders hoping to liberate their comrades, but close enough to Plymouth to make it a day’s march from the coast. The prison, constructed with a huge circular wall around it, was erected in a valley, increasing the likelihood of fog. The strategy worked. When I visited the region one early spring day in 2006, the combination of low-hanging clouds, mist, and rain, made it almost impossible to see the gate as I drove by. (The building is still used as a prison.)

During the War of 1812, Dartmoor gradually became a prison for Americans. Initially, the British lodged Americans captured on the high seas at Dartmoor with the French. As conflict with France wound down, French prisoners were sent home across the channel. And, as the British captured an increasing number of American ships, more and more Americans were concentrated in the compound. The British even sent men who had been serving in the royal navy, and who claimed American citizenship, to Dartmoor. Many of these sailors had been impressed and resented the way they were being treated now that His Majesty’s Navy no longer needed them to fight Bonaparte’s navy. By the end of 1814, there were 6,000 Americans in Dartmoor, about one fourth of whom had been released to the prison from the British navy, while the rest had been captured at sea.

 

Fig. 1. Bird's-eye view of Dartmoor Prison in England shows the massacre of American privateers held there during the War of 1812. "Dartmoor Prison," drawn by Glover Broughton, Tappan & Bradford, lithographer, 47 x 61 cm. (Boston, ca. 1815). Courtesy of the American Antiquarian Society, Worcester, Massachusetts. Click to enlarge in new window.
Fig. 1. Bird’s-eye view of Dartmoor Prison in England shows the massacre of American privateers held there during the War of 1812. “Dartmoor Prison,” drawn by Glover Broughton, Tappan & Bradford, lithographer, 47 x 61 cm. (Boston, ca. 1815). Courtesy of the American Antiquarian Society, Worcester, Massachusetts. Click to enlarge in new window.

Between the signing of the Treaty of Ghent and April 6, 1815, the day of the incident the Americans called the Dartmoor Massacre, the prison on the desolate moor was fraught with tension. As soon as the American prisoners heard of the treaty in December, they ran up a banner announcing “free trade and sailors’ rights,” using the slogan that had been ubiquitous in the United States and was an accepted shorthand for the causes of the war. The prison commandant found the slogan so offensive that he insisted that the banner be taken down. After tense negotiations, the prisoners agreed to remove their standard for the time being, and the commandant promised to fly both the British and the American flags atop the prison. In the weeks and months that followed, the prisoners tested their British guards at every opportunity. They tried American agent Reuben Beasley in effigy for not alleviating their harsh conditions. Finding him guilty, the prisoners then hanged his effigy. Later they rioted over the type of bread served.

 

Fig. 2. "Free Trade & Sailors Rights," watercolor on board, 29 x 23.5 cm. (Massachusetts? s.n., ca. 1813-1816). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
Fig. 2. “Free Trade & Sailors Rights,” watercolor on board, 29 x 23.5 cm. (Massachusetts? s.n., ca. 1813-1816). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

As a bleak and miserable winter gave way to a bleak and miserable spring, the prisoners began to wonder why, if there really was a peace, they had not been exchanged. They had reason to be concerned. The Treaty of Ghent had stipulated that “All Prisoners of war taken on either side as well by land as by sea shall be restored as soon as practicable after the Ratifications of this Treaty.” The difficulty was what was “practicable.” It was easy enough for the Americans to return British prisoners to Canada or some other nearby British possession, but the expense of sending the prisoners in England across the Atlantic proved to be a stumbling block. As the British and Americans dithered over who was to pay this extra cost, the sailors in Dartmoor watched one cold and bleak day blur into the next. With many of the prisoners sick and malnourished, discontent soared. Then in March, smallpox broke out in Dartmoor, leading to additional deaths and further delays.

 

Fig. 3. "Description of Dartmoor Prison, England; Followed by a Report of a Committee of the Prisoners appointed to inquire into the Causes of the late Massacre at Dartmoor Prison," broadside, 62 x 48 cm., published at the office of the National Advocate by Naphtalie Phillips (New York, 1815). Courtesy of the American Antiquarian Society, Worcester, Massachusetts. Click to enlarge in new window.
Fig. 3. “Description of Dartmoor Prison, England; Followed by a Report of a Committee of the Prisoners appointed to inquire into the Causes of the late Massacre at Dartmoor Prison,” broadside, 62 x 48 cm., published at the office of the National Advocate by Naphtalie Phillips (New York, 1815). Courtesy of the American Antiquarian Society, Worcester, Massachusetts. Click to enlarge in new window.

This was the background for the massacre. The sixth of April was one of the first nice days that spring, and the prisoners amused themselves playing ball or lolling about in the unusual sunshine. Toward the end of the day, some of the Americans repeatedly tossed a ball over the wall and called upon a guard to retrieve it. When the British soldier tired of what was turning into a game of fetch, he told the prisoners to go get the ball themselves if it went over the wall again. Soon enough, the ball was over the wall, and heeding the soldier’s advice, the sailors began to break a hole through the wall. This small confrontation soon escalated and the British guard rang the warning bell for the sailors to return to their prison buildings. When the Americans rushed the gate instead, the situation turned serious. The commandant ordered the prisoners back at the point of bayonets. The sailors tossed dirt and rocks at the soldiers. A shot rang out from the British ranks, followed by other shots from soldiers on the wall. The Americans ran back to their buildings amid a hail of bullets. The shooting continued for twenty minutes and left six dead and over sixty wounded.

Lord Castlereagh, the British foreign minister, recognized that the events at Dartmoor jeopardized relations with the United States. A quick military inquest at Dartmoor exonerated the British commandant and blamed the violence on the prisoners. This report, Castlereagh knew, only made matters worse. What was needed was a more neutral investigation with American involvement. He turned to Henry Clay and Albert Gallatin, who had arrived in London after completing the Ghent negotiations to discuss a commercial agreement, and asked them to travel to Dartmoor with one of the British representatives who had been at Ghent to investigate the affair and draw up a report. These two Republican politicians refused to go anywhere near the inquest, no doubt believing that a report that did not condemn the British would be political suicide in the United States. They recommended sending Reuben Beasley, lately tried in effigy, who claimed he was too busy arranging transport for the prisoners to leave London. Ultimately, Clay and Gallatin convinced Richard King, who happened to be in London on personal business and was the son of Federalist leader Rufus King, to travel to Dartmoor. Joined by an English lawyer named Francis Seymour Larpent, King interviewed all sides at Dartmoor and wrote a balanced report blaming both the sailor prisoners and the British soldiers, but not the commandant.

If Clay and Gallatin refused to go to Dartmoor for political reasons, they were right. News of the so-called massacre created a firestorm in the United States. Information traveled slowly across the Atlantic, but by late May word of the incident drifted into American ports. Vague and unsubstantiated, these first reports merely indicated that there had been some sort of riot at Dartmoor and reflected what had appeared in British newspapers. However, after months of delay, both the British and the Americans wanted to empty Dartmoor as quickly as possible after the massacre, and the American prisoners of war soon began to arrive from England. Outraged by their treatment as prisoners, these sailors viewed the events of the sixth of April as a preconcerted atrocity exacted as vengeance for Jackson’s victory at New Orleans and the American “triumph” in the war. Republican editors rushed the prisoners’ stories into print, filling their columns with first-person accounts, and publishing memoirs and even selling prints depicting the prison and its massacre. The sailors dismissed the King-Larpent report as a whitewash and issued their own report that declared that the commandant had ordered his men to fire. When the official report became public in the United States in mid July, Republican editors joined in the chorus attacking King and Larpent. As one editor noted: The inquiry was “of too high import to be settled between young Mr. King, and an unknown British lawyer; for if sailors’ rights are worthy of the consideration of government, sailors’ blood is a subject of equal magnitude.”

Federalists at first reacted cautiously to the news of Dartmoor, asking the public to hold off on its judgment until all the facts were known. For them, the King-Larpent report confirmed their faith in the British who had been willing to compromise. In response to the Republican attacks on Richard King, a few Federalists wondered out loud why such talented men as Clay, one of the most gifted lawyers in the land, and Gallatin, an experienced diplomat, had refused to go to Dartmoor and left such a delicate task to an inexperienced private citizen who then became their “scapegoat.”

Whatever the fulminations of Republican editors and the exclamations of perfidy by so many returning sailors, the Madison administration did not want the Dartmoor Massacre to lead to a break in relations with the British. Certainly, there was no way the nation would return to war. Clay and Gallatin, and then joined by John Quincy Adams, had completed their commercial negotiations with the Convention of 1815. This landmark agreement provided for the reciprocal trade that had been the goal of American diplomacy since 1776. Hereafter, the British and Americans would treat each other’s merchants, in terms of imposts and shipping duties, the same as they treated their own merchants. Neither nation wanted a few dead and wounded sailors to get in the way of the promise of free trade and open commercial relations.

Common folk saw things differently. Dartmoor became etched in popular memory, reflecting the image of a nefarious, inimical, and perfidious enemy—the detested British. In short, a war that had been painted in such triumphant colors early in 1815 had by the same summer come to include a dark streak—a deep scar on the popular consciousness. American historians often overlook that scar. Examining the end of the war within its international context and viewing events on both sides of the Atlantic allows a more balanced assessment. Sailors’ rights remained violated by both the treaty of peace and the Dartmoor Massacre. For many Americans, whatever the assertions of the Madison administration, the so-called victory was tainted and incomplete.

Further reading:

In addition to Paul Gilje’s forthcoming Free Trade and Sailors’ Rights in the War of 1812, you can read more about Dartmoor in his Liberty on the Waterfront: American Maritime Culture in the Age of Revolution (Philadelphia, 2004) and in Jeffrey Bolster, Black Jacks: African American Seamen in the Age of Sail (Cambridge, Mass., 1997). For a standard account of the diplomacy at the end of the war see Bradford Perkins, Castlereagh and Adams: England and the United States, 1812-1823 (Berkeley, Calif., 1964).

 

This article originally appeared in issue 12.4 (July, 2012).


Paul A. Gilje, the George Lynn Cross Research Professor in History at the University of Oklahoma, writes on the American Revolution and the early republic. Material from this essay was drawn from his new book, Free Trade and Sailors’ Rights in the War of 1812, which will be published by Cambridge University Press this fall.

 




The In-Laws

Haughty Stepmother Standing Over Cinderella

Stepfamilies before Blending

Sitting in a sunlit reading room at the Massachusetts Historical Society, I pored over letters I knew from genealogical records and internal evidence were the material remains of a stepfamily. The letters were full of the typical familial references used in the eighteenth century and today: mother, father, sister, brother. I noticed fine pencil markings gently correcting these references, however. Mother became stepmother and son became stepson, and so on. The editor, perhaps a descendant organizing family records for donation, made the corrections based on more modern sensibilities. Why was the accuracy of the letters so important? Was respect for the “real,” now dead, mother the motivation for the editor? What strong motivation made someone deface an historical document in this way?

If to be middle class meant to have a certain kind of family structure, one centered on children and run by an idealized mother, how could a supposedly evil stepmother, for example, do the job?

I share his/her desire for precision, at least as a researcher. If everyone is named Father and Mother, then who is who? In other words, how does one find stepfamilies in the past? There were actually a number of alternative names used to refer to family members. For example, a stepfather could be a stepfather, but he could also be referred to as a father-in-law or even a father. Accuracy aside, these naming patterns could reflect relative familial closeness.

These inscriptions in eighteenth-century documents remind us that stepfamilies are not a new familial structure or a pathological symbol of the so-called deteriorating, modern, American family. They are as old as the hills. George Washington was both the father of our country and a stepfather to two children. To be sure, in early America, death, not divorce, created stepfamilies, but regardless of how they were formed, stepfamilies were common then as now. Today, according to a recent survey, 42 percent of us say we have some sort of step-relationship. Purveyors of “family values” still use our negative feelings about stepfamilies to further their agenda, however. Now children raised in remarried families come from “broken” homes. Americans, nonetheless, idealize a past when families remained “intact.”

The topic of stepfamilies has attracted sociologists, psychologists, anthropologists, even literary scholars interested in fairytales, but few historians. Historians seem to assume that, at best, these families were somehow the same as other families or, at worst, were as troubled as the fairytales suggest. Stepfamilies were unique in some ways. In fact, they became more distinctive as ideas about the form of an ideal, middle-class family changed at the end of the eighteenth century. If to be middle class meant to have a certain kind of family structure, one centered on children and run by an idealized mother, how could a supposedly evil stepmother, for example, do the job? New comparisons of stepfamilies to first-marriage families made stepfamilies clearly the inferior form, especially stepmother families.

 

Haughty Stepmother Standing Over Cinderella
“Haughty Stepmother Standing Over Cinderella Washing the Floor,” wood engraving, William H. Thwaites, illustrator. Page one of “Cinderella” taken from Popular Fairy Tales, James Miller, publisher (New York, 1871). Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

The idea of a stepfamily itself is closely linked to nuclear families as well as to the white middle class. Nuclear families were inherently fragile. When a partner died, particularly in early America, the surviving member needed help. Informal marriages and complex living arrangements among the poor, as well as Native and African traditions of polygyny, often proved more resilient than the nuclear family. They often managed loss of a spouse without the collapse and complete reconstruction of the family system. The very idea of a stepfamily, therefore, I would argue, is a profoundly white, middle class notion in early America.

For the white, middle class population, stepfamilies were rooted in bereavement. The “step” label linguistically derived its meaning from the word stepbarne. A stepmother or stepfather was someone who took on the care of a child that was grieving—an orphan. Over time this label took on a negative connotation, particularly for stepmothers, or stepdames as they were sometimes called. A stepmother became a generic term in early modern England for a terrible mother, whether she was remarried or not. A woman who murdered her own child, for instance, would be characterized as a stepmother. By the eighteenth century, “step” was used almost always with reference to a stepmother. Stepmothers tried to “step” into the role of a dead mother. Sentimental ideology assured their failure.

In addition, during the Revolution a new cultural character emerged exemplifying the negative image of stepmothers. Britain, the Mother Country, morphed into the Revolutionary character of Stepmother England; her wickedness, not a metaphorical remarriage, earned her the title of stepmother. “Farewell! Farewell, infatuated, besotted stepdame.” So John Adams enthused to his beloved Abigail after signing the Declaration of Independence, echoing references to stepmother England that had begun to appear in the American press during the French and Indian War. The year after that costly war ended, England had turned to her colonies to both foot the bill and to house the large British army. As Americans began rioting in the streets over “taxation without representation,” the press followed suit with a campaign against Stepmother England. One writer in the New York Gazette warned his countrymen that their new, wicked stepmother country would only stop her unjust behavior once she had “STAMP[ed] on thy bowels.” The Stamp Act had exposed her as she “cast off the mask” of an indulgent mother. She had become a “cruel step-mother, unbounded in her malice” who had clearly “resolved to stamp them to the earth.” The colonies, now cast as “insolent, undutiful and rebellious” stepchildren by their formerly supportive mother, suffered as their inhuman stepmother drained, vampire-like, their “vital blood.” Unlike the pure venom aimed at stepmothers or stepdames, stepfathers were spared much of this vitriol.

“In-law” was the formal term in early America for those individuals we now refer to as step-relatives. An “in-law” meant just that: a mother or father “in-law” only. This label in a will or a court record made for accuracy, but in other contexts the term could have a sharp edge.

For example, Mary Pilkington’s Mentorial Tales, first published in London in 1811 and later available in the United States, included a story titled, “The Amiable Mother-in-Law; or, Prejudice Subdued.” Pilkington considered that “Of all the antipathies natural to childhood, that against mothers-in-law, in general, is the most forcibly imprest; and the little tongue, that scarcely can lisp in broken accents, is taught to express its hatred of the name.” In this story, the widower in question chose for his next wife a family friend and “a great favourite” of one of the daughters. Unfortunately, “From the moment that one of the daughters lost her amiable parent,” her caretaker gave “the account of stepmothers’ cruelty” so that “her infant mind imperceptibly became prejudiced against the character, long before she knew what the word prejudice could mean.” In fact, “The very sound of mother-in-law excited in her bosom a sensation bordering on contempt and hate.” Although the woman had carefully cared for her stepdaughter after her mother’s death, the girl’s ignorance “prevented her mind from being improved, and prejudice has supplied the place of experience, and taught her to indulge opinions, which the liberal and intelligent must despise.” This stepmother began the hard but ultimately successful work of subduing her stepchild’s prejudice. In this more explicitly didactic version, the author hoped that “those young persons who have unfortunately been prejudiced” against stepmothers could take this as a cautionary tale.

 

Letter from Richard Norton to Jacob Norton
Letter from Richard Norton to Jacob Norton, March 1, 1817. Original manuscript from the Jacob Norton Papers. Collection of the Massachusetts Historical Society. Richard Norton announced to his father, Jacob Norton, that he could not love his stepmother as he had his mother. A latter-day editor helped him make the distinction between a stepmother and a mother in this “corrected” manuscript. Click image to enlarge.

Often people made no distinction between biological and step-relations, at least in how they referred to these individuals. Stepmothers were simply mothers and stepfathers were simply fathers. The death of a parent rather than divorce made this transition easier with no one left to hold the revered titles. Mother and Father were in fact the monikers expected in a properly functioning and properly mended sentimental family. This may have been the most common pattern of naming stepparents, but these terms for some still carried a remnant of their former meaning. Using them to refer to stepparents sometimes felt like a betrayal to a dead parent.

Richard Norton, a budding lawyer studying in Virginia, confided to his newly remarried father in 1817 that the idea of a stepmother rather than the actual woman his father had chosen irked him. He would never call her mother. “I feel for her the most sincere respect &, an affection as great as I ever felt for one whom I never saw, & with whom I had no personal acquaintance; but, at the same time, I candidly confess that I cannot feel for her that filial love & affection which a son ought to feel for a mother—I consider the name of mother as sacred—as comprehending in its meaning the warmest affections & tenderest charities of the heart, & to apply the title where these sentiments do not accompany it appears to me a kind of hypocrisy.” The hapless Mrs. Norton never had a chance to win her stepson over. Richard died young, never meeting his “new mother.”

A stepchild comfortable with using the terms Mother or Father to refer to a stepparent could result in a dizzying complexity when parents and stepparents were both the subjects of the same conversation. Mather Byles saw himself as having two mothers. He was a Congregationalist minister turned Anglican, loyalist, and eventually exile. Finding himself at the end of the Revolution in Halifax, Nova Scotia, Mather was far from his aged father of the same name in Boston. His half-sisters, Katherine and Mary, “rocked the Cradle of reposing Age” for his father. When Mather’s father finally died at the age of eighty, he wrote to his half-sisters about his grief. Although they were all moved, they were also resigned to the senior Byles’s passing, given his advanced age. The sisters worried about the estate, however. Mather assured them that he would help them with the specifics. “Rest satisfied, my dear Sisters, that in the Settlement of our Fathers Estate I have no Interest distinct from your’s. Let us convince the World, by our Example, that such Matters may be easily accommodated upon the plain Principles of Equity, Candor, & mutual confidence: & Nothing, in my Opinion, can be plainer than this; that ‘it would be highly unjust to blend the personal Property of our two Mothers with that of our Father.'” For these children of a stepfamily the idea of two mothers seemed natural, both women deserving the revered title.

My examination of late eighteenth- and early nineteenth-century American newspapers revealed that “stepbrother” and “stepsister” were almost never used. A simple “brother” or “sister” referred to one’s sibling and that included stepsiblings, half-siblings, and even one’s in-laws. The siblings often found common cause, and that was certainly society’s expectation. The bad feelings of a divorce perhaps being absent smoothed the road. The issue of inheritance was also clear—one inherited from one’s natural father. Stepparents were not obligated to leave their stepchildren a legacy or even support them. Without a battle over resources, the brothers and sisters of stepfamilies seemed to find friendship more often than conflict.

The children of John Lay of Lyme, Connecticut, demonstrated their ingenuity when confronted with the unusual circumstance of two children from two marriages, both named John. It was not unusual to find parents naming a child after a dead sibling. What was unusual in the Lay family was that John had a son, John, in his first marriage who survived his mother’s death and his father’s remarriage. Nonetheless, when his father remarried, he named a son from this second marriage John as well. When the father John died he distinguished between these two children in his will: “My son John which I had by my former wife” and “John whom I had by my present wife.” When another child, the brother and half-brother of the “Johns,” died he also needed to distinguish between the two men. Peter Lay left a legacy to “John Lay, my younger Brother” or “my brother John Lay Junior” as well as to “my Elder brother John Lay” or “John Lay Senior.” Both “Johns” were his brothers. One was older, his half-brother, and one was younger, his biological brother. It is clear such creativity was preferable to using a term to clarify the relationship. Brother was better than half-brother.

Does naming still reflect emotion in stepfamilies? I began this essay by mentioning that our first president was a stepfather. I’d like now to turn to the family of our first divorced president, Ronald Reagan. How did the moniker of “step” work in this modern presidential family? Patti Davis lost her half-sister, Maureen Regan, to melanoma at the age of sixty. According to a Newsweek article at the time, Davis, the daughter of Ronald Regan’s second marriage, felt Maureen resented her relationship with their father. The half-sisters went through “years of distance and tension.” “Many times we just seemed angry at each other.” But over time, according to Patti, their relationship changed for the better. “I don’t know when Maureen and I dropped the word ‘half’ and began referring to ourselves as sisters; it’s only important that we did.” The name they chose for one another reflected their feelings. The term “step” implied conflict echoing a not-so-distant past.

Families today do not reflect the cultural ideal of heterosexual, first-marriage couples with children. We are more varied than ever. Cohabitating couples and same-sex marriages join with stepfamilies as the overwhelming majority of families today. Why do we cling to an ideology about family structure that was contested since the nation’s founding? Blended families sound like they combined effortlessly. “In-law” has its own baggage in modern America. Mother and Father as alternatives work less well with stepfamilies of divorce, with two individuals still alive and carrying the same name. Maybe we should reclaim “step” and make it a neutral term? People in stepfamilies still struggle with cultural prejudice and work to name their relationships in part to reflect their feelings. We have not broken free from this familial past or the prejudice that stepfamilies (particularly stepmothers) still endure.

 

This article originally appeared in issue 15.2 (Winter, 2015).


Lisa Wilson is the Charles J. MacCurdy Professor of American History at Connecticut College and the author of A History of Stepfamilies in Early America (2014).

 




Legacies

Small Stock

Seasons of Misery is a great book. I’d like to begin with that comment because we are not meant to fawn in this colloquy; we are meant to open up questions for discussion. And all of my questions that follow really amount to just this: How do we think about early American legacies today? And should we be thinking about them at all?

Let me open those framing questions with two particular moments. The first comes from the famous preface of Perry Miller’s Errand into the Wilderness, where he dismisses Jamestown for lacking coherence—a settlement that cannot serve his purpose as a point of origin for “America” and therefore gets sidelined for a narrative that begins instead with the Puritans in Boston. Miller, as we all know, sought a clear narrative, a comprehensive and coherent legacy, a way to say that early America laid the foundations for the predicaments and possibilities we have today.

Four decades later, David Shields suggested a different sort of project. In a review of several works, he called for and celebrated scholarship that focused on early America without any desire to move beyond it—scholarship that cared about early America on its own and did not treat it as merely the beginning of a better, more interesting, more aesthetically pleasing and intellectually compelling literature or culture that came later. His review marked a dramatic shift in early American literature. Perhaps it had been building for some time, but around 1990 several scholars began more explicitly detaching early America from longer narratives of American literary history. In particular, scholars separated their subject matter from the question of Americanization. The Puritans had always been the prime culprit here with Errand into the Wilderness, Sacvan Bercovitch’s The Puritan Origins of the American Self, and so on. Such work focused primarily on genealogical narratives: origins mattered because they led to today.

Origins matter in Donegan’s work as well, but in a much different way: not because they lead to something else, but because they so often lead nowhere at all. It was the sixth trip to North Carolina that led to the Lost Colony, and all the other attempts failed as well. In the absence of a story leading from the past to the present, what kind of questions can emerge? For Donegan, the key question is not how settlers became American, but rather how they became colonial. Becoming colonial, Donegan shows, is a process of loss with very little gain; it is the disorientation of no longer being English, but not necessarily the new orientation of being something else either. Donegan dwells in the incoherence of Jamestown because it is precisely that lack of coherence which signaled the new formation of colonial (not American) identity. And in so many cases, the result of so much disorientation and incoherence was a suffering that resulted from, and produced, violence; and a violence that led to further suffering. What we see in Donegan’s book is story after story of bewildering confusion and death.

There are two questions I’d like to raise from this account for further discussion. In separating out those first years of settlement from later representations of them, are we interested in what David Shields celebrates: “an early American literature that does away with genealogy”? Or are we in fact still interested in genealogy, guided into the study by misguided genealogies in order to rewrite the story at its start? The Lost Colony, as Donegan demonstrates, is a nice tale we have come to tell that mythologizes and disembodies the misery of the actual experience, making it palatable for a modern audience. What gets lost in the myth of a Lost Colony is the terror of a people who were abandoned yet again in one more failed English attempt at settlement. The story of a Lost Colony, Donegan explains, “replaces the violence that arose from not knowing with a melancholy arising from loss; it disavows a history of failed colonization through a mystery about wandering off into the woods.” Yet in revealing the function of this legend and its mismatch with experience, Donegan seems motivated, in part, by a desire to unmask the myth.

This approach seems clearest in the chapter on Plymouth, where Donegan adeptly demonstrates the difference between the immediate experience of mortality and later representations of it—the way historians recast pilgrim suffering as a sacrifice paving the way for American society. In showing how pilgrim mortality held little meaning in the process of being experienced—that it had not yet been corralled into significance—Donegan rewrites origins as confusion, but she does so specifically because origins still matter: “What follows is a comparison of two kinds of reckoning with catastrophe: the actual disposition of those physical remains left in the wake of death; and the discursive reckoning with those remains in the writing of the colony’s history.” She does both of these well, but what I want to know is this: Is the first kind of study ever enough without the second? And does it ever proceed without the shadow of the second? Or, are we continually drawn back to questions of origins and genealogy, always hopeful, in spite of ourselves, that we can set the record straight?

The second question I have is blatantly unfair and self-serving. In her survey of four sites, Donegan includes two that Perry Miller and others specifically mention and reject: Jamestown and Plymouth. Meanwhile, she does not discuss the site that so much focuses the attention of Miller, Bercovitch, and—I hope in a much different way—me: Boston. Which leads me to this question: Was Boston different? Was it an exception to the general rule of settlement and the general process of becoming colonial? Or did it follow the same patterns? Seasons of Misery in many ways successfully overturns false celebrations of English settlers—showing the way, for example, that later histories portray pilgrim sacrifice as the beginning of something (the seeds of American society), while treating Native American deaths as the end of something. But in reading such accounts I began to wonder if this book made its point so well about its four chosen “chaos zones” that, in an odd way, it justified the choice of Miller and others to start with Boston, to see Boston as a unique kind of origin with potentially different results and ramifications—a place, in short, that was not quite so chaotic.

Almost all scholars today turn away from theses of Puritan origins, and we do not want to re-venture large-scale claims linking Puritans to the whole of American culture or treating them as an exception to general rules. We know the dangers of exceptionalism all too well. But this question about Boston raises a different sort of query: is there a middle ground between an early American literature detached from later American histories and the Miller-Bercovitch-Puritan-origins exceptionalism so largely now debunked? Can we write new genealogical narratives that take the initial incoherences of colonial identity and trace them forward? To put it differently: does becoming colonial tell us, in the end, anything about becoming “American”? It would seem that early America must have some connection to later formations of American self-conceptions, American cultures, and American literatures. And in fact, scholars in Native American studies often now emphasize continuity, the continuing presence—the long links—between then and now, precisely to overturn a prior generation’s use of termination narratives to confine Indians solely in the past. Are we now confining European settlers and their cultures to the past? And should we?

Perhaps we still need to resist the pull of genealogical work and set aside questions of “Americanization” as things inherently misguided and morally dubious. But I am not so sure. Over the last two decades we have passed through a positive period—where scholars reasserted the significance of early American literatures and cultures in their own right; now, perhaps, we may want to find new ways of writing long stories that link early American literatures to later traditions of American literary history. After all, I’d suggest, those longer narratives are seemingly always implied—seemingly always in the background—even when a good book like Donegan’s focuses so acutely and perceptively on the first, flawed, incoherent experiences of English settlers.

 

This article originally appeared in issue 15.2 (Winter, 2015).


 




‘Case’ History: A Louisiana Creole Armoire at Colonial Williamsburg

Carried away by “an inundation of Yankee furniture,” New Orleans cabinetmaker Thomas P. Willard announced in an Orleans Gazette advertisement of June 7, 1820, that he had “landed in the wooden country in the Parish of St. Helena where he can make the article of Bedsteads as cheap as the Yankees, and much more adapted to the taste of the Louisianians” (fig. 1). Willard’s notice reflects early mythologizing of an opportunistic Yankee versus genteel Southern Cavalier or aristocratic planter. (A history existed by the Civil War era that the North had been settled by Puritan Roundheads and the South by English Cavaliers, speaking to an English-inspired cultural divide.) Willard’s ad further points to the dramatic increase in imported northeastern goods to the port of New Orleans following the Louisiana Purchase (1803) and simultaneously highlights a contemporary demand for furniture specifically appealing to local taste. As one might infer from Willard’s exasperation with the flood of “Yankee” goods, some surviving Louisiana-made furniture of his era evinces northeastern influence.

Early fine furniture of the Deep South is just beginning to be discovered and appreciated by American historians for its relationship to social and political history. In spring 2009, sixty years after Joseph Downs, American Wing curator at the Metropolitan Museum of Art, quipped that “little of artistic merit was made south of Baltimore,” in his lecture Regional Characteristics in American Furniture, the Colonial Williamsburg Foundation announced its savvy acquisition of an unmatched Louisiana Creole inlaid mahogany armoire, ca. 1810-30 (fig. 2). “Creole,” from the Latin verb creare (to breed), derives from the Spanish criollo or more directly from the Portuguese crioulo, meaning native to locality; as an adjective it generally refers to people or products native to the New World or to people of Old World parentage, and much later to those of mixed African and European origins. The term also applies to aspects of material culture, including architecture and crafts. The intermingling of stylistic influences apparent in objects like this armoire has given rise to the newly defined “Creole style,” reflecting a fusion of French, French Canadian, West Indian, African, and Anglo-American aesthetic tastes.

 

Fig.1 Advertisement by Thos. P. Willard, taken from the New Orleans Gazette, June 7, 1820. Courtesy of the Library of Congress, Washington, D.C.
Fig.1 Advertisement by Thos. P. Willard, taken from the New Orleans Gazette, June 7, 1820. Courtesy of the Library of Congress, Washington, D.C.

This cabriole-leg armoire was likely constructed for a wealthy planter or merchant by a French émigré or by one of thousands of Saint-Domingue (present-day Haiti) refugees who arrived from Cuba in the wake of the Haitian Revolution (1791-1804). Between 1791 and 1812, following the revolution, the number of émigrés arriving in New Orleans from Saint-Domingue surpassed 15,000. Several thousand more lighted on Baltimore, Philadelphia, Norfolk and New York. Surviving New Orleans indenture contracts show that Saint-Dominguans frequently entered the cabinetmaking trade. Made to furnish a stately Vieux Carré (or French Quarter) townhouse or outlying plantation manse, the armoire, crafted after French models, evokes Louisiana’s Gallic heritage. Heavily decorated with typical American Federal inlay patterns (including a neoclassical urn), this cabinet underscores an old guard French Creole populace’s well-documented resistance—if gradual acquiescence—to the rapid phase of Americanization following the Louisiana Purchase. For example, American eighteenth- and early nineteenth-century furniture crafted outside of Louisiana is often “inlaid” (as opposed to painted or carved), meaning that pieces of contrasting wood or other material are set into its surfaces to form decorative patterns. In Louisiana, most furniture remained unembellished and the appearance of fashionable neoclassical designs on locally made armoires heralded an influx of Anglo-Americans and imports.

 

Fig. 2 Exterior view, armoire, New Orleans (1800-1820), mahogany, tulip poplar, yellow pine satinwood, holly and maple (accession No. 2009-67, image No. D2010-CMD-043). Courtesy of the Colonial Williamsburg Foundation, Williamsburg, Virginia (purchased with the Sara and Fred Hoyt Furniture Fund). Click image for slideshow of details.
Fig. 2 Exterior view, armoire, New Orleans (1800-1820), mahogany, tulip poplar, yellow pine satinwood, holly and maple (accession No. 2009-67, image No. D2010-CMD-043). Courtesy of the Colonial Williamsburg Foundation, Williamsburg, Virginia (purchased with the Sara and Fred Hoyt Furniture Fund). Click image for slideshow of details.

Discovered in a Natchez, Mississippi, antiques store in the 1970s, Williamsburg’s armoire remained in a private collection until recently placed on museum display. Elegantly poised on traditional French carved pieds de biche (deer feet), it stands apart from any other known wardrobe (or clothes press)—painted, inlaid, or carved—crafted in this country during the Federal era. In comparison with the many that have been documented in and around New Orleans, its façade is far more extravagant, with lively patterns that scarcely permit the eye to rest. The frieze is festooned clear across with seven inlaid three-tiered swags with dainty checkered string bows suspending bellflower tassels. The doors’ figured mahogany surfaces bear four fictive panels defined by satinwood borders and barber-pole banding, all surrounded with a guilloche pattern of treble stringing. A center or “false” stile (door divider) is decorated above with a serpent-handled urn from which erupts a leafy vine with red berries; below is an elegant inlaid strapwork pattern calling to mind eighteenth-century fretwork. (These stile inlays are incongruous in appearance with other patterning on the piece, as well as on other Louisiana examples. This may indicate the use of stock inlay on the rest of the piece with an original pattern devised for the stile.) Canted stiles are inlaid with acanthus leaves and stringing. Finally, original brass fiche or “French” hinges allow the doors to open fully, revealing an interior belt of drawers whose skirt echoes the external apron.

While nothing is known of its history prior to its twentieth-century life, it is probable that the cabinet was crafted in the Vieux Carré, where dozens of cabinetmakers produced related pieces in the first few decades after the Purchase. While noted in the extensive armoire catalogue of the new regional study, Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835, it has remained unexamined in any methodical way. It challenges us to peer more closely, re-considering not only details of inlay and construction, but the cabinet’s relationship to its counterparts. What might it teach us about the history, local use, and craftsmanship of such cabinets?

 

Fig. 3 Lunette with St. Lawrence carrying the cross of martyrdom, mosaic, early Christian, 425 CE. Mausoleum of Galla Placidia, Ravenna. Cameraphoto Arte, Venice/Art Resource, N.Y. Click image for detail.
Fig. 3 Lunette with St. Lawrence carrying the cross of martyrdom, mosaic, early Christian, 425 CE. Mausoleum of Galla Placidia, Ravenna. Cameraphoto Arte, Venice/Art Resource, N.Y. Click image for detail.

Armoires have been in use since antiquity. The word armoire is derived from the Latin word armarium, meaning a place for storing arms. The related terms armoire, armarie, aumaire, and almaire all abound in French literary references, many of which are listed in the entry on the topic in Henry Havard’s classic tome, Dictionnaire de L’Ameublement et de la decoration, Vol. 1. One of the earliest depictions appears in a Ravenna mosaic at the Mausoleum of Galla Placidia (425-450 CE) (fig. 3). A mosaic lunette shows the Roman martyr St. Lawrence near a flaming gridiron. Nearby stands a cabinet, its doors open to reveal the Gospels resting on shelves within.

One may still hear such wardrobes called “armers” in the Deep South, where they were ubiquitous in an era before built-in closets and pantries became de rigeur. An ad in the New Orleans Louisiana Advertiser of December 6, 1827, for “Bedsteads, Armours, &c.—Received per brig Ivory Lord, an invoice of high-post Bedsteads, Armours, &c. for sale by C.D. Jordan, 35 Gravier street” seems to confirm the duration of such regional pronunciation as well as the importation of these objects from the northeast (fig. 4). The similarity of the word “Armours” to amour humorously reminds us of countless dramas in which hapless lovers are forced to hide inside such cabinets, a scene captured by Jean-Honore Fragonard in his print L’Armoire of 1778 (fig. 5).

Fig. 4 Advertisement in the Louisiana Advertiser, December 6, 1827 (negative No. 80658d). Courtesy of the New-York Historical Society, New York.
Fig. 4 Advertisement in the Louisiana Advertiser, December 6, 1827 (negative No. 80658d). Courtesy of the New-York Historical Society, New York.

For example, Louis Aragon’s Surrealist play L’Armoire à glace un beau soir (“The mirrored armoire one fine evening,” 1923)takes an armoire as its focal point and begins with a husband Jules returning home to find his wife Lénore guarding a wardrobe. The play takes as its main action the escalating conflict between the couple over the hidden contents of the armoire, presented as a metaphor for female and domestic interiority. In his analysis of Aragon’s play, Gray Read calls the armoire “a ridiculous object, an errant house within the house that modern architects tried to eliminate by designing built-in closets integral to the wall.” While Aragon’s modern play points to his central prop’s anachronistic qualities, the cabinet remains a classic feature in a timeless drama of illicit love. More traditionally, armoires are associated with marriage and the establishment of household. In keeping with European custom, the friezes of Louisiana armoires are occasionally inlaid with ciphers that personalize them. Such monograms, as well as other pictorial patterns, sometimes derive directly from silver engraving books of the period.

 

Fig. 5 L'Armoire, Jean Honoré Fragonard, 398mm (trimmed) x 795 mm (1778). Courtesy of the Trustees of the British Museum, London. Click to enlarge in new window
Fig. 5 L’Armoire, Jean Honoré Fragonard, 398mm (trimmed) x 795 mm (1778). Courtesy of the Trustees of the British Museum, London. Click to enlarge in new window

In the 1930s and 1940s, before their historic value was generally recognized, antique Louisiana armoires could be purchased for as little as forty dollars. Sparked in part by the Colonial Revival that was so popular at the turn of the twentieth century, interest in such artifacts gained ascendance among collectors and scholars throughout the United States. Today the appearance on the market of an inlaid Louisiana armoire is quite rare. A catalogue of extant examples would include the finely preserved cabinets featured in various private and museum collections. Ideally, it would include others that are often overlooked by scholars, cabinets in poor condition or that have been the object of heavy restoration. Even if not worthy of exhibition, such careworn pieces have scholarly value. Under careful examination by experts, they reveal clues that support the research of our most well-preserved and sophisticated surviving period furniture. For example, while for many decades the Williamsburg armoire was unconnected with other examples, it may now be confirmed to have siblings from the same workshop. Since the related examples are not fully intact, they went unrecognized until the preparation of this article.

 

Fig. 6 Exterior of Louisiana Creole armoire (ca. 1810-1830), probably New Orleans, 79 x 48 1/2 x 2 1/2 in., mahogany, Spanish cedar, brass. Courtesy of the Destrehan Plantation Collection, Destrehan, Louisiana. Click image for detail.
Fig. 6 Exterior of Louisiana Creole armoire (ca. 1810-1830), probably New Orleans, 79 x 48 1/2 x 2 1/2 in., mahogany, Spanish cedar, brass. Courtesy of the Destrehan Plantation Collection, Destrehan, Louisiana. Click image for detail.

First, at Destrehan Plantation, originally established on the Mississippi’s winding River Road in the eighteenth century, there remains an armoire bearing a frieze that precisely matches that of the Williamsburg cabinet (fig. 6). The inlay treatment was clearly produced by the same hand, though perhaps the craftsman used a stock pattern. Seven swags (six three-lobed swags with half-patterns at either end) embellish the frieze. Though some of this armoire is replaced, including the doors and cornice, the back panel is original and its vertical members bear beaded edges.

A second related cherry armoire in a private collection bears a frieze of the same swag treatment and the back’s vertical members have beaded edges, too (fig. 7). The apron of this armoire bears an inlaid acanthus flanked by oval-shaped stringing patterns echoing the Williamsburg apron. Highly refined legs on all three bear the same profile. These details exemplify how specific modes of construction used by craftsmen in particular workshops help us to link their works together. By grouping the details of frieze inlays, legs, and beaded edges, we can safely attribute the three aforementioned armoires or “Williamsburg group” to the same shop.

 

Fig. 7 Front view of Louisiana Creole armoire (ca. 1800-1830), probably New Orleans, 76 1/2 x 49 1/2 x 18 1/2 in., cherry (primary wood), poplar and cypress (secondary woods) with light wood inlays; original brass fische hinges (doors and cornice dismantled). Private collection. Click image for slideshow of details.
Fig. 7 Front view of Louisiana Creole armoire (ca. 1800-1830), probably New Orleans, 76 1/2 x 49 1/2 x 18 1/2 in., cherry (primary wood), poplar and cypress (secondary woods) with light wood inlays; original brass fische hinges (doors and cornice dismantled). Private collection. Click image for slideshow of details.

To date, only one other piece is known to have a similar inlay pattern: a Creole headboard now in the New Orleans Museum of Art (fig. 8). Bearing a single swag at its center, its arched crest echoes Spanish baroque cathedral facades found in colonial Mexico. Together with its Anglo-American inlay, it speaks to the amalgamation of cultural influences in the Lower Mississippi River Valley.

Until the three objects surfaced, the Williamsburg armoire stood alone. It had been loosely associated with the so-called “Butterfly Man” group, consisting of about twenty-six known armoires, of which eleven are inlaid. (This anonymous craftsman’s cabinets are named for the consistent appearance of a butterfly or “flying Dutchman” interior patch, applied to reinforce the glue joints of the side panels.) The identity of the Butterfly Man is a mystery, yet at least one local inlay maker, George Dewhurst of 29 Bourbon Street, would have been well-versed in Anglo-American patterns from Boston to Lexington, Kentucky, to Baltimore, places he lived as he migrated south.

All of the Butterfly Man armoires strongly resemble one made for Stephen Girard (1750-1831) of Philadelphia in 1796 by Saint-Domingue émigrés Jean-Baptiste Laurent and Charles Domballe, suggesting that the Butterfly Man hailed from Saint-Domingue, too (fig. 9). Girard, Philadelphia’s most prominent trader, was a merchant, banker, and philanthropist and one of the four wealthiest Americans at the time of his death. He bankrolled the War of 1812 and financed the first national bank in Philadelphia, then the capital. That the Laurent-Domballe armoire was made for him for a payment of eighty dollars provides only a slight hint of his involvement in the Saint-Domingue economy and extensive network of cargo ships moving goods among ports at Bordeaux, New York, New Orleans, Cap-Français, and Havana. Girard’s household collection, still largely intact, remains on display at Girard College, which he founded, and includes china from Canton and Nanking where he also traded.

 

Fig. 8 Creole bed (ca. 1810-1830), probably New Orleans; mahogany. Courtesy of the New Orleans Museum of Art (Rosemonde E. and Emile N. Kuntz Collection Bedchamber, New Orleans). Click image for detail.
Fig. 8 Creole bed (ca. 1810-1830), probably New Orleans; mahogany. Courtesy of the New Orleans Museum of Art (Rosemonde E. and Emile N. Kuntz Collection Bedchamber, New Orleans). Click image for detail.

The similarity of the Butterfly Man’s handiwork and the Williamsburg group to that of Laurent and Domballe’s work is unsurprising. Importantly, the Williamsburg armoire is distinguished from the Butterfly group by particular construction details: a different cornice profile, more attenuated legs (minus a notch at the knee), and the lack of the characteristic butterfly-shaped patches on the interior walls. Further, the Williamsburg group’s inlaid swags are three-tiered and the Butterfly Man group bears two-tiered examples. Finally, profuse and detailed inlay patterns, including the serpent-handled urn, differentiate the Williamsburg armoire from the Butterfly group, which is decorated with more restraint.

Regardless of who the inlay maker was, the cases of the Butterfly Man and Williamsburg group were probably crafted by one of the manygens de couleur libres (“free men of color,” the descendants of free Africans and mixed peoples) who practiced cabinetmaking in New Orleans. While no invoices survive, a rare Courrier de la Louisiane advertisement placed by cabinetmaker Philippe August in August 1808 offers for sale his entire inventory of mahogany and cherry wood furniture including 16 clothes presses (armoires) and a number of bedsteads and tables (fig. 10). In addition, August sold one lot of cherry wood and his chest of carpenter’s tools, including saws, benches, a holdfast, a turner’s wheel, and, importantly, inlay-related materials. Identified in the local notary Narcisse Broutin’s act of August 1808 as “un homme de couleur libre,” August may have been one of the considerable influx of Saint-Domingue émigrés of mixed racial parentage. While there is no firm link between August and the objects discussed here, his advertisement presents a tantalizing possibility.

 

Fig. 9 Front view of armoire, signed Jean Baptiste Laurent and Charles Domballe, Philadelphia. Mahogany and eastern white pine, 69 x 51 x 19 in. (1796). Courtesy of the Girard College History Collections, Philadelphia. Click image for detail.
Fig. 9 Front view of armoire, signed Jean Baptiste Laurent and Charles Domballe, Philadelphia. Mahogany and eastern white pine, 69 x 51 x 19 in. (1796). Courtesy of the Girard College History Collections, Philadelphia. Click image for detail.

It is worthwhile to consider the Williamsburg armoire as a foil to a more provincial cherry and cypress cabinet (ca. 1815) long part of a Louisiana collection. It is also exuberantly inlaid though less sophisticated in execution overall (fig. 11). A rustic version of Colonial Williamsburg’s “high-style” Creole armoire, it may represent the work of one of the many Anglo immigrants (les Americains) to Louisiana. For example, the War of 1812 brought a contingent of troops from Kentucky (“Kaintucks”), some of whom remained in New Orleans and entered various trades; cabinetmakers would have replicated what they discovered in local woodworking in their own style. If it was crafted elsewhere, Louisiana French influence seems apparent.

Recessed-panel doors are dramatically outlined in barber-pole inlay. Eight paterae punctuate the stiles, skirt, and false stile. Intriguingly, the frieze consisting of an elaborate strapwork pattern is interrupted by a later addition of a wooden roundel, which stands proud of the armoire’s surface. Inlaid into its surface is a leafy vine, as well as a calligraphic flourish in the center, perhaps meant to be a cipher. The leafy vine visible in the roundel at top is also inlaid into the apron. It is probable that both the roundel and its matching decoration on the skirt were later additions, perhaps meant to satisfy the purposes of a subsequent owner who wished to add ornament or to personalize the previously owned object. It is worthwhile to consider that patterns of ownership led to alterations in embellishment, adding to an object’s rich texture and historical resonance.

 

Fig. 10 Philippe August advertisement, "For Private Sale by the subscriber…" Courrier de la Louisiane, August 1808. Courtesy of the Mint, Louisiana State Museum, New Orleans.
Fig. 10 Philippe August advertisement, “For Private Sale by the subscriber…” Courrier de la Louisiane, August 1808. Courtesy of the Mint, Louisiana State Museum, New Orleans.

A bespoke piece, Colonial Williamsburg’s Louisiana Creole armoire represents the zenith of Louisiana antebellum craftsmanship, itself supported by a booming economy of sugar cane and cotton production. New Orleans’ tri-caste racial society of whites and Creoles, free people of color, and slaves, together with transplanted “Yankee” craftsmen, all contributed in various ways to its genesis. Careful detective work in surviving plantation homes and private collections has revealed two related cabinets, newly establishing the Williamsburg armoire as part of a yet unidentified workshop’s series. Divested of contents for permanent exhibition, this cabinet still opens to reveal salient details of construction that enlarge our understanding of its origin, production, and use.

 

Fig. 11 Creole armoire, Louisiana (probably 1815), cherry with cypress; original brass fische hinges, 84 1/2 x 51 x 19 in. Courtesy of the Collection of Mr. and Mrs. Chester Mehurin, New Orleans. Click image for slideshow of details.
Fig. 11 Creole armoire, Louisiana (probably 1815), cherry with cypress; original brass fische hinges, 84 1/2 x 51 x 19 in. Courtesy of the Collection of Mr. and Mrs. Chester Mehurin, New Orleans. Click image for slideshow of details.

Further reading

For detailed discussion about the polarities between Creoles and Americans see Arnold R. Hirsch and Joseph Lodgson. Creole New Orleans, Race and Americanization (Baton Rouge, 1992). Related terminology is defined in Jay Dearborn Edwards and Nicolas Kariouk Pecquet du Bellay de Verton, A Creole Lexicon: Architecture, Landscape, People (Baton Rouge, 2004). See also Rolph Trouillot and Thomas Fiehrer, eds. Who/What is Creole? especially “Culture on the Edges: Creolization in the Plantation Context” (New York, 1999): 8-28; See also Ritchie Devon Watson, Jr., Normans and Saxons: Southern Race Mythology and the Intellectual History of the American Civil War (Baton Rouge, 2008); Karen L. Cox, Dreaming of Dixie: How the South Was Created in American Popular Culture (Chapel Hill, N.C., 2011); William R. Taylor, “Cavalier and Yankee: Synthetic Stereotypes” in Myth and Southern History, Vol. 1: The Old South, Patrick Gerster and Nicholas Cords, eds. (Champaign, Ill., 1989): 133-144; Allison Burkette, “The Lion, the Witch, and the Armoire: Lexical Variation in Case Furniture Terms,” Interdisciplinary Science Reviews, Vol. 33 (2007): 315-339.

Recent works about Louisiana furniture include Jack D. Holden, H. Parrott Bacot & Cybèle T. Gontar with Brian J. Costello and Francis J. Puig, Furnishing Louisiana: Creole and Acadian Furniture, 1735-1835 (New Orleans, 2010); Cybèle T. Gontar, “The Butterfly Man of New Orleans: A Rare Group of Creole Style Armoires Identified.” The Magazine Antiques 173:5 (May 2008): 136-145; Cybèle T. Gontar “Furniture Collecting in Louisiana.” Antiques and Fine Art (Summer 2010): 206-213; Gontar, “The Campeche Chair in the Metropolitan Museum of Art,” Metropolitan Museum Journal, 38 (2003): 183-212; Gontar, “Spanish Chairs in the New Republic,” The Magazine Antiques 176:4 (Summer 2010): 78-82.

For an overview of local architecture see Malcolm Heard, French Quarter Manual: An Architectural Guide to New Orleans’ Vieux Carré (New Orleans, 2000); Jessie Poesch and Barbara Sorelle Bacot, Louisiana Buildings, 1720-1940 (Baton Rouge, 1997); and Creole Houses, Traditional Homes of Old Louisiana. (New York, 2007).

On Stephen Girard see: Wendy Caroline Wick, “Stephen Girard: A Patron of the Philadelphia Furniture Trade,” (M.A. Univ. Delaware, 1977); Albert J. Gares, “Stephen Girard’s West Indian Trade, 1789-1812,” The Pennsylvania Magazine of History and Biography 72:4 (October 1948): 311-342; and George Wilson, Stephen Girard: America’s First Millionaire (New York, 1996).

Other sources include: Gray Read, “Aragon’s Armoire,” in Surrealism and Architecture, Thomas Mical, ed. (London, 2005): 31-40; Joachim Poeschke, Italian Mosaics, 300-1300, trans. by Russell Stockman, (New York and London, 2010): 108-119, plates 31 and 34; Louis Aragon, L’armoire à glace un beau soir, in L. Aragon, ed., Le Libertinage (Paris, 1924), trans. Jo Levy (London, 1995); Pierre Verlet, French Furniture of the Eighteenth Century, trans. Penelope Hunter-Stiebel. (Charlottesville, Va., 1991); Estill Curtis Pennington, “Chaste Taste: Decorative Motifs in Early Kentucky Furniture,” Kentucky Historical Society Chronicle (Summer 2009): 15-34; Frances Hayden Rhodes, “Yes, Mr. Downs, There are decorative arts south of Baltimore:” A Story of a Statement and its Repercussions, 1949-1997. A research essay presented to the Members of the Museum of Early Southern Decorative Arts, March 14-15, 1997.

Another source is a Worth Point podcast with Martin Willis and Susan Doherty.

The author thanks David Jaffee, Steven Huber, Thomas Fiehrer, Tara Chicirda, Stephen Latta, Edward Polk Douglas, and Nancy J. Roberts for their kind assistance.

 

This article originally appeared in issue 11.4 (July, 2011).


Cybèle Gontar teaches art history at Fashion Institute of Technology in New York and is a principal author ofFurnishing Louisiana: Creole and Acadian Furniture, 1735-1835 (2010).

 

 




A Raft of Hopes: Sometimes, half a lesson is better than none

It is, for the two main characters, one of the more tedious moments in The Adventures of Huckleberry Finn. Huck and Jim are saddled with the self-styled “Duke” and “Dauphin,” a pair of rogues who fleece the denizens of Mississippi River towns any way they can, among them selling tickets for bogus Shakespeare performances and then skipping town before those denizens can execute their plans to exact revenge. One night after a particularly good haul, Huck and Jim enjoy a rare moment of respite from the increasingly imperious demands of the sleeping hucksters, and converse quietly on their raft.

“Don’t it ‘sprise you, de way dem kings carries on, Huck?”

“No,” I says, “it don’t.”

“Why don’t it, Huck?”

“Well, it don’t, because it’s in the breed. I reckon they’re all alike.”

“But, Huck, dese kings o’ ourn is reglar rapscallions; dat’s jist what dey is; dey’s reglar rapscallions.”

“Well, that’s what I’m a-saying; all kings is mostly rapscallions, as fur as I can make out.”

“Is dat so?”

“You read about them once—you’ll see.”

Huck is speaking rhetorically here. Even if there was an obvious way to do so, Jim wouldn’t read about them, because he can’t: He’s illiterate and he’s a slave. Depending on his location, learning to read would be discouraged if not illegal (not that it would likely stop Huck from teaching Jim, even if, as his current state of mind in harboring a fugitive suggests, he’d be afflicted with guilt about it).

But Huck is literate. We’re told early in the book that he attended school regularly over a period of months, to the point where the tough-loving Widow Douglas, who’s raising him with her sister Miss Watson, says he was “coming along slow but sure, and doing very satisfactory.” She’s not even embarrassed by him anymore, he reports. Indeed, Huck’s education might well have continued a good deal longer had not his n’er-do-well pap returned. Irritated to learn that his son has been in school, pap demands that he read a book. Huck obliges with “something about George Washington and the wars.” Appalled, his father knocks the volume away. “If I catch you about that school I’ll tan you good,” he says. “First you know you’ll get religion, too. I never see such a son.”

To some extent, however, the damage has already been done. Huck summarizes the state of his education this way: he “could spell, and read, and write just a little, and could say the multiplication table up to six times seven is thirty-five, and I don’t reckon I could ever get any further than if I was to live forever. I don’t take no stock in mathematics, anyway.”

But he does take stock in history. There’s an unmistakable overtone of pride as he proceeds to explain to Jim why kings of all kinds are mostly rapscallions: “My, you ought to seen old Henry the Eight when he was in bloom. Hewas a blossom. He used to marry a new wife every day, and chop off her head next morning.” Huck not only conflates the factual story of Henry VIII with a fictional one from The Arabian Nights; he then goes on to attribute William the Conqueror’s Domesday Book to his Tudor successor a half-millennia later. He also confuses him with George III in the following capsule summary of the American Revolution:

Well, Henry he takes a notion he wants to get up some trouble with this country. How does he go at it—give notice—give the country a show? No. All of a sudden he heaves all the tea in Boston Harbor overboard, and whacks out a declaration of independence, and dares them to come on. That washis style—he never give anybody a chance.

Jim listens attentively to this lecture. But the pupil doesn’t understand why the particular king he’s currently stuck with smells so much. (“We can’t help the way a king smells; history don’t tell no way,” Huck replies.) Jim notes that the Duke is less troublesome than the Dauphin pretender to the throne of France. But, he concludes, “I doan’ hanker for no mo’ un um, Huck. Dese is all I kin scan’.” Huck agrees. “But we’ve got them on our hands, and we got to remember what they are, and make allowances. Sometimes I wish we could hear of a country that’s out of kings.” Huck then goes to sleep, leaving Jim on watch as the raft courses the river. He later observes that Jim did not wake him when it was Huck’s turn to cover.

 

"On the Raft," E. W. Kemble, eng., 1844. Page 95 from The Adventures of Huckleberry Finn by Mark Twain (Samuel Clemens), New York, 1885. Courtesy of the American Antiquarian Society, Worcester, Massachusetts.
“On the Raft,” E. W. Kemble, eng., 1844. Page 95 from The Adventures of Huckleberry Finn by Mark Twain (Samuel Clemens), New York, 1885. Courtesy of the American Antiquarian Society, Worcester, Massachusetts.

This anecdote is funny on so many levels—and so moving in its conclusion—that it would be ham-fisted to try and unpack the reasons why. For our purposes, what matters is the way a sense of history informs the way these two people decide how to handle the situation in which they find themselves. They’re going to make “allowances,” even if neither believes that the Duke or the Dauphin are using the authority they’ve arrogated to themselves legitimately. For Jim, such a conclusion is largely the result of moral criteria and situational pragmatism. These considerations are at work for Huck as well, but he also self-consciously applies the lessons of history, for his sake as well as Jim’s, and both make an active decision to abide by that lesson, at least for the time being.

Rarely, however, has a history lesson been so evidently garbled. Of course the key word in the previous sentence is “evidently”: in fact, such garbling takes place many multiple times every single day. That’s because most people aren’t Ph.Ds in history, or history majors. Most have not even taken a history course since finishing high school (if indeed they took one there). It’s also because those who have enjoyed such privileges have nevertheless been subjected to bad teachers, inaccurate information, or changing generational sensibilities (if not all three). A sophisticated grasp of history is the exception, not the rule, and one thing that defines a sophisticated grasp of history is a consciousness of the way that the past keeps changing, both in terms of how it’s interpreted and the information available. Yesterday’s common sense is tomorrow’s myth, and history is perpetually in between.

Not that this stops any of us from using history. We couldn’t stop even if we tried, even if we’re told, and accept, that the very concept of a “lesson” is epistemologically suspect. A sense of time is as deeply human as a sense of place—or, for that matter, a sense of smell. It orients us. A person who believes, out of some inevitable combination of lived experience and received wisdom, that you can’t fight City Hall is likely to act differently than someone who thinks that history (U.S. history, anyway) is a story of progress, even if the actions of either person in light of such beliefs will not be entirely predictable.

This is not an argument for historical primitivism. As with many things, informed instincts, conscious thoughts, yield results that we experience as better, just as such disciplined attention can help one blow a horn or swing a bat with greater grace and efficiency. I realize this is not a self-evident truth, and that indeed across time and space many people have argued that intellectualizing experience can actually get in the way and impair our experience of the world. Indeed, one of the painful joys of The Adventures of Huckleberry Finn is watching a child unlearn a 200-year-old lesson that it’s wrong to steal someone else’s (human) property.

Though it may appear so, I don’t believe the satiric exchange I’ve cited here finally condemns the value of a formal education, historical or otherwise. However appallingly inept, Huckleberry Finn learned, with the help of books about “George Washington and the wars,” that kings are rapscallions. Thomas Jefferson, who cared deeply that the next generation of Americans be educated in the ways of republican virtue, would surely be satisfied with—in fact he explicitly argued in favor of propounding—this historical judgment, notwithstanding Huck’s attribution of his Declaration of Independence to Henry VIII. But hey, nobody’s perfect, least of all Jefferson.

 

"Samuel Clemens, 'Mark Twain,'" photographic reproduction. Courtesy of the American Portrait Print Collection at the American Antiquarian Society, Worcester, Massachusetts.
“Samuel Clemens, ‘Mark Twain,'” photographic reproduction. Courtesy of the American Portrait Print Collection at the American Antiquarian Society, Worcester, Massachusetts.

To be sure, Huck’s reading of history confirms both his beliefs and his experience. History almost always does. That isn’t necessarily a bad thing; sometimes, as in this case, it’s helpful to get reassurance. I’m willing to believe that you pay close attention to versions of history with which you strongly disagree. I’m also willing to bet that it doesn’t happen all that often. But even when we place ourselves outside the cozy confines of our predispositions, the limits of the human ability to apprehend reality means that there will always be loose ends, unanswered questions, and subversive propositions in the stories of the past that we tell and hear. It’s these things that give history its vitality, its kick. And there’s always the possibility that the holes in our stories can keep us honest.

Of course, staying honest may seem like the least of our worries. To teach history is to live with two other discomforting realities. The first is that one must almost always ply one’s trade aware of one’s minority status—that with the possible exception of your colleagues, you spend most of your time among people who know, and likely care, less than you do about the past. You never know for sure if your students are actually performing the tasks you’ve decided are in their best interests, and, notwithstanding the chimeras of assessment that beguile those enchanted by a dream of empirical accountability, you never know for sure if they’ve actually mastered what you hope they have for any longer than the time it takes to complete an exam (if that long).

The other reality is that while you like to think of yourself as part of a community of scholars, more often than not that community is virtual, only fleetingly glimpsed at conferences, or on the pages of publications like this one, whose importance may well be as much psychological as they are intellectual. To a perhaps surprising degree, our labors are reminiscent of a group of people whose work historians have been tireless in deconstructing in recent decades: missionaries. The gospel we spread is finally a matter of faith, if not in terms of content we know to be true, then certainly in terms of our confidence that our efforts to spread it will bear fruit.

And so we soldier on. But if our goals can only be partially realized at best, they may yet be all the more sweet for precisely that reason. In a time when many of us feel the walls of empire inexorably closing in, we may find satisfaction in the knowledge that for a society born of revolution, there are consequences in condoning and even encouraging children in the belief that kings are rapscallions. There’s always the hope those lessons will persist whatever regime may be in power, and be furthered by those, like Jim, who hear them expressed implicitly and explicitly, often when it’s assumed no one is listening. Huck is wrong on the facts and right on the truth when he expresses the wish for “a country that’s out of kings.” There were still kings in Mark Twain’s time; there are still kings in ours. But where there’s history, there’s hope. It’s just a question of where you look for it.With this essay, I complete my labors as columnist and editor for The Common School feature of Common-Place. I do so in effect coming full circle; three years after publishing my first piece for the magazine, “National Character,” on Daniel Day-Lewis as historian, I have decided to embark on a book-length exploration of the issues I raised in that piece (and this one). I am grateful to Ed Gray and Cathy Kelly, editors of Common-Place, and especially to administrative editor Trudy Powers. It has been one of the great privileges of my career to be a part of this community of readers and writers. —JC

 

This article originally appeared in issue 11.2 (January, 2011).


Jim Cullen teaches history at the Ethical Culture Fieldston School in New York. He is the author of The American Dream: A Short History of an Idea that Shaped a Nation (2003) and other books. The following piece is from a work-in-progress, currently titled “Sensing History: Hollywood Actors as Historians.”




Race in the Park

Between January 2002 and April 2003, the interpretation and future of the Liberty Bell and of the Philadelphia property occupied in turn by presidents George Washington and John Adams changed fundamentally and permanently. The official story of the Liberty Bell was newly imbued with social and political context. As a result, the site of Philadelphia’s presidential mansion, which was rented for the purpose from financier Robert Morris, may become a fully interpreted landmark for the first time in its history. Visitors on their way to the new Liberty Bell Center would move across the footprint of the Presidents House, buried since the 1950s under the mall’s public ladies room. What is more, the story told within the house would include not only Washington, Adams, and the development of the presidency, but also and especially the stories of eight enslaved Africans who lived there in bondage to Washington, including two who escaped, one with the help of Philadelphia’s free black community. The real breakthrough is that these would not be told as separate stories but as one. On the very doorstep of the Liberty Bell, and within the Liberty Bell Center itself, visitors would see and experience the troubling interdependence of slavery and freedom in the lives of the founding generation, black and white, and in the nation that emerged from their work. This is all possible, but there is no guarantee at this moment that it will happen. People who have been deeply involved differ profoundly on how the changes came about, on whether the new plan can be considered a success, and on what the whole struggle will mean for this site and others in the future.

How did Independence National Historical Park become the location for what may become the most powerful commemoration of the impact, achievements, and aspirations of people held in slavery ever built in the United States? And what remains to be done to ensure that the commemoration happens, that the content is accurate, and that this site does not become a solitary aberration on the margin of the “traditional” American story? These questions confront everyone involved in the process, and the answers depend upon what view one takes of what has happened so far.

From one perspective, an extraordinary David and Goliath drama unfolded in 2002, as a spontaneously organized group of historians and citizens, self-appointed to safeguard the integrity of this major historic site, took on the Park Service and changed its course. From another standpoint, the story concerns a team of hard-working, well-meaning public servants making practical decisions that made sense, only to be sideswiped by an eruption of public passion. From a third point of view, what happened is that African Americans suffered yet another enormous official betrayal, and can prevent a worse one only by organizing themselves and mobilizing both media and congressional attention. The affair makes fascinating public history because all these versions are true already, and the process is still unfolding. More important, had any element of the story been missing, the affair would have ended quickly in frustration and disappointment instead of enduring to produce a promising draft design and the possibility of a new relationship between the park and the city, as well as between the nation and its history.

The story began in 1790, when President Washington, preparing to move to Philadelphia from New York, corresponded extensively with his secretary, Tobias Lear, about modifications he wanted made to Robert Morris’s house to accommodate his needs. Those letters, tucked away in the archives for two centuries, contain details of what the house looked like before and during the Washingtons’ stay there and outline specific architectural changes made for the first president. They also refer to Washington’s plans for housing the members of his “family,” a term that in the eighteenth century meant his kin and dependents, including enslaved people whom he, following another eighteenth-century convention, routinely referred to as “servants.” Washington and Lear discussed building a new servants’ hall in the rear of the main house for four stable hands, three enslaved black men, and one free white man, and housing others, including Martha’s enslaved maid, Oney Judge, within the main building.

 

Fig. 1. Conjectural elevation of Presidents House and photograph of present-day Market Street, © 2003 Edward Lawler Jr. Courtesy of ushistory.org.
Fig. 1. Conjectural elevation of Presidents House and photograph of present-day Market Street, © 2003 Edward Lawler Jr. Courtesy of ushistory.org.

In 1974, historians at Independence National Historical Park confirmed in an internal report that President Washington had held slaves while in Philadelphia, both at the presidential mansion on Market Street and at the Deshler-Morris House in Germantown. But the story did not reach the public. When the park began its efforts to redesign the mall in the early 1990s, park officials decided to move the Liberty Bell to a new location close to the site of the presidential mansion, but to do only minor interpretation of the mansion and none at all of its enslaved occupants. Park staff felt that visitors responded to the story of the Liberty Bell on its own, and that adding the presidential story or the history of slavery would just muddy the message.

At about the same time, however, a history buff named Edward Lawler, taking some relatives on a tour of Independence Park, informed his guests that Philadelphia had been the nation’s capital during the 1790s. Pointing out the locations where Congress and the Supreme Court had done their work, Lawler was frustrated and embarrassed not to be able to locate the “White House.” That frustration started Lawler on a painstaking search that eventually led to the rediscovery of Tobias Lear’s letters, the reconstruction of the probable footprint of the Presidents House, and the realization that the front door of the planned new Liberty Bell Center would stand upon the site of the Washington slave quarters. Lawler’s work on the Philadelphia mansion has since won the endorsement of scholars at Mount Vernon, the White House Historical Association, and elsewhere. He shared his research on the house and the presence of enslaved people within it with Independence Park historians, and then in January 2002 published key portions of his analysis in The Pennsylvania Magazine of History and Biography, the flagship journal of The Historical Society of Pennsylvania.

There things might have stayed, except for a rapid and fortuitous concatenation of circumstance and opportunity. Dr. Gary B. Nash of UCLA, who had read Lawler’s article and then come through Philadelphia on a book tour, spurred interested local scholars and institutional leaders to join an ad hoc advisory group that he and Professor Randall Miller of St. Joseph’s University formed. While a citizen’s advisory group, the Independence Hall Association, developed a Website to spread the word about Lawler’s research and sponsored an Internet petition asking the park to rethink its approach to the site, the ad hoc group of scholars offered to assist the park in developing the content for a new interpretation. Nash mentioned Lawler’s research and criticized the park in public appearances and on the radio, creating at once a widening circle of public awareness and considerable resentment among park staff. Stephan Salisbury, a reporter on the city desk at the Philadelphia Inquirer, heard about the issue, decided to read Lawler’s article, and with Inga Saffron, Inquirer architecture writer, wrote a story for the front page of the Sunday paper about Washington’s slaves, the Liberty Bell Center, and the opportunity that was at hand to blend the stories of slavery and freedom right on Independence Mall.

That article, two successive pieces on the Sunday front page, and two op-ed pieces by Dr. Charlene Mires, historian at Villanova University, and Nash and Miller, definitively made the story a public matter. African Americans in Philadelphia and around the country responded with frank outrage. Active work by community leaders, including lawyer Michael Coard, historians Dr. Charles Blockson and Dr. Shirley Parham, activist Sukarnee Rhodes, and others led in the spring of 2002 to the creation of the Avenging the Ancestors Coalition (ATAC). ATAC sponsored an extensive letter-writing campaign, prepared for a demonstration at the Market Street site, and contacted Philadelphia’s congressional delegation, demanding that the story of enslaved people in the Presidents House get the attention it deserved.

In response to the public and scholarly outcry, National Park Service officials asked Independence Park to address the weaknesses of its approach to both the bell and the Presidents House. Beginning in the early 1990s, Park Service policy had explicitly embraced the interpretation of controversial historical subjects, including Native American history and the history of slavery. Under the leadership of Dwight Pitcaithley, chief historian for the Park Service, and supported by a collaborative agreement with the Organization of American Historians, individual sites were encouraged to reach out to scholars and communities in order to enrich or correct their interpretations. These resources were now put at the disposal of Independence Park.

 

Fig. 2. Detail from the John Hills Map of Philadelphia, 1796. Highlighted in red are the Presidents House (on Market St.) and the Independence Hall group of historic buildings. Courtesy of ushistory.org.
Fig. 2. Detail from the John Hills Map of Philadelphia, 1796. Highlighted in red are the Presidents House (on Market St.) and the Independence Hall group of historic buildings. Courtesy of ushistory.org.

Meetings of park staff with the ad hoc historians and other scholars invited in through the OAH connection secured a revision of interpretation for the Liberty Bell site, moving away from an exhibit that featured the bell as a self-evidently significant artifact and implied that liberty in the United States was an accomplished fact. The revised approach came to include the social and cultural meanings given to the bell by abolitionists, suffragists, and others–then and now–as they struggled, in the words of the Preamble of the Constitution, to “secure the blessings of liberty to [them]selves and [their] posterity.” But interpretation at the Presidents House site remained in limbo through the early summer of 2002, even as construction on and near the site went forward.

In July, riding the strength of its successful letter-writing campaign, ATAC staged a public demonstration at the Presidents House site. Congressman Chaka Fattah from Philadelphia responded by introducing an amendment to the Department of the Interior’s budget resolution calling for the Park Service to address the Presidents House, and requiring that Independence Park submit a design for interpretation of the site by March 2003. INHP commissioned designers Laurie Olin and Vince Ciulla, then invited several of the outside groups to send one representative each to advise the designers on the history of the Presidents House site. That group worked diligently over several months discussing the site and rethinking designs and, in January 2003, unveiled a draft design to the public at the African American Museum of Philadelphia.

The draft design, which can be viewed online at the Website of the Independence Hall Association, has a number of path-breaking features, including monumental statuary evoking enslavement and emancipation, stories of the eight people enslaved there by the Washingtons, structural and textual evocations of the role and importance of Philadelphia’s free black community, and clever spatial and narrative integration of those stories with the diplomatic and political histories of the two presidencies. The centerpiece of the design is a long wall snaking through the site, representing the uncertain boundary between enslavement and freedom and telling the stories of both on panels along its length.

But the design quickly became embroiled in a conflict that has powerful implications for the practice of inclusive public history. Any official version of the history of an injustice becomes a ready target for accumulated anger and grief, while the process of developing historical interpretation offers few openings for usefully addressing those powerful emotions. At the January presentation, the Park Service team blundered into this maelstrom. Their clumsy attempts to control the tenor of the debate were met with direct, even loud, personal abuse. In heated language, people assailed the process by which the draft design had come into being. Despite the considerable involvement of African American historian Dr. Clement Price and Michael Coard of ATAC, other African Americans in the audience had felt excluded and argued for restarting the whole design process. Impassioned voices demanded assurance that African Americans would not have to fight so hard for their history the next time, and that the African American community would not be required to fund the installation. A final group of speakers demanded that a far larger share of the park’s building contracts be awarded to African American contractors.

While these demands sounded like distractions to many members of the audience, to those who espoused them they represented essential signs of good faith, without which it would be irrelevant to examine details of the draft design. People expressed profound unease over all that the imperfect process confirmed about the past and portended for the future. To those with such concerns, the specific merits of the draft design and the park’s timetable for getting the work done were the distractions.

At the time of this writing, the future of the draft design and indeed of interpretation of the Presidents House remains in limbo, suspended by internal divisions in both the activist and scholarly communities. Those who generally support the design are divided over specific content, aspects of fencing and traffic through the site, and how best to mark the location of the slave quarters. And the crucial division remains, growing wider and more personal, between those willing to respect the park’s timetable and make sure that a groundbreaking installation gets built, even if it is imperfect, and those who feel that the betrayals built into the design process are too deep to ignore, even at the risk of indefinitely delaying, or losing the installation itself. Meanwhile, Congress has begun its annual appropriations discussions and the Park continues to build, planning to open the new Liberty Bell Center as close to schedule as possible. For Philadelphia, for the participants, for history, and for justice, much hangs upon the outcome–not least the question of whether failure to find an answer will plant deeper seeds of bitterness between blacks and whites, between scholars and public historians, and between those who have given so much time and energy to the process and the constituencies they tried to represent.

But even without knowing the outcome, there are lessons here of the first importance for the practice of public history. One is Marshall McLuhan’s long-ago assertion that the medium is the message, or the much older wisdom that the ends cannot justify the means. With stories as charged as American slavery, where emotion is as real as reason, there are no shortcuts to good public history. Those involved in revising interpretation at the park tried hard to work within a very tight timetable because the construction was so far along before the controversies emerged into the public eye. As a result, the process became crucially constructed by and for people empowered to speak for others by racial, class, or educational privilege. Independence Park itself bears significant responsibility for the initial delays and subsequent urgency. But it hardly matters for public historians where the responsibility lies in this specific case. Every museum, every historic site, every interpretive process has faced or will face its own version of the same situation. When something of desperate importance erupts upon a process already well underway and accountable to a deadline, what is a public historian to do?

The story of Independence Park suggests two answers, one reactive and one preventative. We can learn from Independence Park’s struggle that, once caught between the irresistible force and the immovable object, public historians should take no half measures. With an issue of such importance, the smartest response is to swallow hard, give in, stop the presses, and roll up our sleeves. In part this is simply tactical wisdom. But a willingness to stop has a deeper philosophical legitimacy as well. History is a living process because human knowledge of the past is always contingent and the timetables of its recovery remain random. If contingency is built into the nature of the material we interpret, then we need to be willing to let the past surprise, unsettle, and delay us. When some neglected piece of the story turns up bleeding upon our doorstep, we do not have the right to tell it to come back during business hours. The people we serve–past, present, and future–deserve our commitment to offer up our timetables to the changing story of the past.

The second lesson from the Philadelphia story, however, suggests that we could prevent this dilemma from arising in the first place by shouldering an even bigger task on our own initiative. Public historians should assume without being told that any history over which we have stewardship anywhere in this country will carry within it charged stories of human experience shaped by race, class, sex, creed, age, or all of the above and more. Prejudice and discrimination in the United States have not been occasional accidents of personal temperament or regional predilection or bad timing. Scholars have shown us again and again that prejudice in all its forms was built into the bone, blood, and sinew of our colonial and national life, of our political and religious beliefs, and of our social and economic systems. Therefore, nothing depends upon the presence of so-called minorities at a site. Whiteness is as much a racial experience as blackness; masculinity just as much a gender identity as femininity, and so forth. We could be interpreting the force and implications of those identities everywhere.

Other passions, notably a thirst for justice, equality, and freedom, coexist with prejudice in our national anatomy, and for that we may be thankful. But being thankful should not make us blind or afraid. It should make us eager: eager to find the stories of injustice that lie all around us and to tell them, share them, unpack them, understand them so that our sites become part of the work of overcoming them. Public history, thus engaged, would be doing work that will help us bequeath to our successors a nation with less pain, less rage, less betrayal, less dishonesty than the one we inherited.

The struggles at Independence Park also suggest something of how historical interpretation might look if public historians acted eagerly to interpret the history of injustice. If, as I very much hope, interpretation at the Presidents House moves to a successful conclusion, then the site will present the stories of enslaved blacks, free blacks, free whites, and less free whites as distinct threads of a single tapestry. The stories of George and Martha Washington conspiring to circumvent Pennsylvania’s gradual emancipation law will be echoed and amplified by the stories of Hercules and Oney Judge conspiring to circumvent Virginia’s laws on slavery. Washington’s careful efforts to create a public presence appropriate to the head of a republic will include his early decision not to display the African Americans he held in slavery at state dinners and other occasions. Regional cultural distinctions and debates over slavery in the early republic can be illuminated by the differences between the Philadelphia households of Adams and Washington.

In other words, if we as public historians choose to look for trouble actively and eagerly, and set aside the time needed to plumb the charged and ubiquitous stories of injustice and braid them into our interpretations, our reward will be to find vivid and entrancing stuff capable of electrifying many audiences. We would become custodians not of the private passions of particular collectors, nor of sanitized hagiography, nor of dully “objective” facts, nor of accumulating masses of stories of “special” groups. We would have pulsing in our hands the ongoing history of one of the grandest of human experiments, the living, breathing, active, fascinating, painful, powerful plenty that is the story of the United States.

Further Reading:

For further information on Philadelphia history, Independence National Park, and the Presidents House controversy, see Charlene Mires, Independence Hall in American Memory (Philadelphia, 2002); Gary B. Nash, Forging Freedom: The Formation of Philadelphia’s Black Community, 1720-1840 (Cambridge, Mass., 1988), and Red, White, and Black: The Peoples of Early North America (Englewood Cliffs, N.J., 1974); Gary B. Nash and Jean Soderlund, Freedom by Degrees: Emancipation in Pennsylvania and its Aftermath (New York, 1991). To order a printed copy of the original study by Edward Lawler, click here. See www.ushistory.org for a summary of the Lawler article, information about the eight enslaved people, a copy of the Olin and Ciulla designs, and up-to-date links to ongoing Philadelphia Inquirer coverage of the controversy.

Michael Coard, David Hollenberg, Edward Lawler, and Stephanie G. Wolf kindly consented to be interviewed for this article, and Gary Nash generously shared his written reflections. Additional insights were developed at the 2002 Cliveden Institute in Philadelphia, for which the author thanks Dwight Pitcaithley and Dr. Shirley Parham.

 

This article originally appeared in issue 3.4 (July, 2003).


Sharon Ann Holt is senior historian at the South Street Seaport Museum in New York City and a former editor of The Pennsylvania Magazine of History and Biography.