Category Archives: Current Events

Purple Reigns

I was looking at pictures of the recent commemoration of the 60th anniversary of Queen Elizabeth’s coronation, and even the Anglophile in me thought: aren’t they done? Haven’t the British been celebrating anything and everything for the past several years? Enough. But I did like this one photograph of royal purple banners, and it inspired me to find some purple in my own city. I’ve been working my way through the palette of paint colors here in Salem for several years, beginning with Old Orange Houses, so it’s all about purple today.

Purple Reigns in London

Purple banners in London last week and Salem (and one Marblehead) houses below:

purple reigns 058

purple reigns 057

One of my favorite houses in (south) Salem, a mid-nineteenth-century extended “cottage” that extends for quite a bit and is set on a very nice property. Love these long windows on the side and the purple-with-green paint scheme.

Purple Reigns 2

purple reigns 063

A purple Salem triple-decker, and a c. 1710 house in nearby Old Town Marblehead.

purple reigns 071

purple reigns 075

Side by side in North Salem, an 1830 house and one from the turn-of-the-century or after (not quite sure about this style; it almost looks storybook to me. This house is a very, very, very pale greyish purple with purple trim and it is for sale now–no, under agreement; I just checked).

purple reigns 086

purple reigns 091

Two High Victorian houses in purple on Federal Street.


A Hebrew Scholar at Harvard

Last night was the second annual Conservation Night at the Salem Athenaeum, at which the newly-conserved books which were “adopted” last year were showcased to their sponsors, as well as a whole new (actually very old) crop of books which need conservation through sponsorship. It was a really nice evening, because it was immediately apparent that everyone in attendance (quite a crowd) really loved books, and they were able to examine and touch and talk about such amazing texts as the 1730 edition of Newton’s Opticks, a 1774 edition of Franklin’s Experiments and Observations on Electricity, several Hawthorne first editions, as well as the first appearance of Poe’s The Raven and Collected Poems in book form. Two conservators who did much of the work on the first group of adoptees were also on hand to discuss their process and answer questions (quite a lot of questions):  Peter Geraty of Praxis Bindery and Stephanie Gibbs. I was on the committee which chose the books to be put forward for adoption, so I’ve been looking and thinking about these titles all year long. I knew that the Newton and the Franklin and the Poe and anything by Hawthorne (this is Salem after all) would find sponsors quickly (and so they did) but that less famous titles might be “orphaned”, so I went straight for a more mundane text (book), the first Hebrew textbook to be published in America by the first Jew to receive a college degree in the New World:  Judah Monis’s Grammar of the Hebrew Tongue [Dickdook leshon gnebreet]. Being an Essay to Bring the Hebrew Grammar into English, to Facilitate the Instruction of All Those Who Are Desirous of Acquiring a Clear Idea of this Primitive Tongue by their Own Studies.  Boston, N.E., Printed by Jonas Green, and are to be sold by the author at his house in Cambridge, 1735.

Monis 1

Monis 3

Monis 4

As an educator myself, I was drawn to this important educational text:  upperclassmen at Harvard College in the eighteenth century were required to read the Old Testament in its original language, and so training in Hebrew was essential. Monis transitioned from student to instructor at Harvard in the 1720s based on his knowledge of the ancient language, and students would make copies of his handwritten grammar before the college imported Hebrew type from England and commissioned the printed text, which remained required reading for undergraduates for much of the eighteenth century. I was also drawn to Monis’s personal story: born in the Old world, he flourished in the New, based on the expertise he acquired from his heritage. But in order to retain his position at Harvard  (which he held until his retirement in 1760) he was compelled to relinquish a good part of that heritage and convert to Christianity.

Monis 5

Monis 2

The complete list of adoptable Athenaeum books is available here: there are still a few “orphans”, and one share of Monis, I believe.


Summer Arrives

Summer arrived in Salem in a big way this past weekend with several days of 90+ degree heat; it felt more like early August than June. This is a bit of an aberration, and we should be back in the 70s this week (it’s raining this morning). I braved the heat and went out into the garden, armed with a quart of “half-and-half”, half lemonade, half unsweetened strong black iced tea–my second favorite summer drink (after gin & tonics). On Sunday I was able to have a few of my VERY favorite summer drinks out in the garden of the Salem Athenaeum, at the annual garden party. This event is timed to coincide with the blooming of the massive multicolored rhododendrons in the garden, and I think the timing was perfect this year.

Summer 041

Summer 026

Summer 033

Summer 012

Summer 054

At home the lady’s slippers have arrived and the catmint is in full bloom, beckoning Moneypenny. On a less happy note, someone stole my three large planters–filled to the brim with hydrangeas and Memorial Day flags!!!!–as well as my neighbors’ in the middle of the night. Not a tragedy obviously, but sad that someone would do this.

Summer 103

Summer 062

Summer 101

Summer 114

Path leading into the garden of the Salem Athenaeum, lined by huge rhododendrons, which frame a beautiful 18th century house next door. Another beautiful house, on Chestnut Street, with the street’s only surviving Elm tree in front. I’m on a quest to find all the elms I can this summer, so if you know of a particularly majestic one in eastern New England, please let me know!


Flags Unfurled

It has been a wet, windy, cold Memorial Day weekend for the most part, though it is bright and sunny today. The weather, combined with recent events, made this particular holiday feel like less of a summer kick-off and more of a time of real remembrance, at least for me. There are 33,000 flags flying on Boston Common, creating a “flag garden” commemorating the sacrifices of every service member from Massachusetts who gave his or her life defending the country since the Civil War. It’s a spectacular effort organized by the Massachusetts Military Heroes Fund (I hate to nitpick, but I do with they had included soldiers from the Revolutionary War). Here in Salem, I took walks through the older downtown cemeteries (which include graves of several participants in the Revolution, on which someone always places flags) as well as the larger (and newer) “garden cemeteries” in North Salem:  Harmony Grove and Greenlawn. The pictures below are of the latter.

Flags David L. Ryan Globe Staff

The “Flag Garden” on Boston Common. Credit:  David L. Ryan/Boston Globe Staff.

Flags Unfurled 003

Flags Unfurled 021

Flags Unfurled 015

Flags Unfurled 034

Flags Unfurled 041

Flags Unfurled 042

Flags Unfurled 045

Flags and gravestones in Greenlawn Cemetery, Salem, Memorial Day weekend, 2013, including graves of veterans of the Spanish-American War, the Civil War, and World Wars I & II.

Flags Unfurled 031

Not veterans (I think), but mothers, sisters, wives: graves of women who lived and died at the Home for Aged Women.


Fashion and Art, centuries apart

One big fashion and art exhibition closes this month while another opens: at the Metropolitan Museum of Art in New York, Impressionism, Fashion and Modernity closes on May 27 while across the Atlantic, In Fine Style: the Art of Tudor and Stuart Fashion just opened at the Queen’s Gallery at Buckingham Palace in London. I had hoped to see both exhibitions, but will probably end up of seeing neither; for some reason I thought the Met show was up all summer. Oh well, I have been perusing the catalog of the former and I’m already familiar with most of the paintings in the latter, and I have some general comparative observations, which would almost certainly either be reinforced or refuted if I saw the actual shows.

First observation: the early modern era was a much better time for MEN’s fashion. Tudor and Stuart men got to dress up in fabulous, colorful clothing for all sorts of occasions, and they had ARMOUR.  There is no comparison for the Belle Epoque. One of the galleries in the Met show is entitled “Frock Coats and Fashion: the Urban Male”, but these stockbrokers are clearly no match for the enigmatic sixteenth-century man in red or King Charles I.

Art and Fashion Degas

Art and Fashion Red  Art and Fashion Charles I

Edgar Degas, Portraits at the Stock Exchange, 1879, Musée d’OrsayParis; Portrait of a Man in Red, German/Netherlandish School, c. 1530-50, Royal Collection © Her Majesty Queen Elizabeth II; Daniel Mytens, Portrait of H.M. King Charles I, 1628, Royal Collection© Her Majesty Queen Elizabeth II.

Second observation: black-and-white is classic. No matter what the occasion, black-and-white attire is timeless and striking. The Met exhibition has a gallery of black dresses and white dresses, also completely classic, but what I notice looking at both eras is the eternal elegance of the two non-colors together. Below we have two very different scenes:  seventeenth-century mourners and a lady of leisure on a sunny late nineteenth-century afternoon, united by their attire.

664px-Anthony_van_Dyck_-_Thomas_Killigrew_and_( )_William,_Lord_Croft_-_WGA07416

Art and Fashion Black and White

Sir Anthony van Dyck,Thomas Killigrew and (?) William, Lord Croft, 1638; Royal Collection © Her Majesty Queen Elizabeth II; Albert Bartholomé, In the Conservatory (Madame Bartholomé),1881; “Summer Day Dress Worn by Mademe Bartholomé in the PaintingIn the Conservatory”,1880, which is described as cotton printed with PURPLE dots and stripes but it reads black to me–a good illustration of why I should have seen this exhibition in person!

Third observation: texture = luxury+artistry. This is where the art and the fashion really meet. In both exhibitions, the fabrics are absolutely luxurious, and the artists’ ability to depict their textures is absolutely amazing. Obviously the Met exhibition, which places garments adjacent to paintings (as in the example above) illustrates this artistry in a really compelling way, but the artists of the Tudor-Stuart era, who are depicting royalty and nobility, are also compelled to inject that luxurious texture into their subjects’ portraits, as illustration of their exalted status.

Art and Fashion Tissot

Art and Fashion Leyly

Glistening fabrics from both eras: James Tissot,Evening (The Ball),detail, 1878; Sir Peter Lely, Frances Teresa Stuart, Duchess of Richmond, c.1662, Royal Collection© Her Majesty Queen Elizabeth II.

Fourth observation: it’s all in the details. Both exhibitions feature “little” things that are incredibly important: trims, jewelry, undergarments, patterns. Whether the sixteenth-century ruff or the nineteenth-century corset, details are important to these societies–and these artists. You would think that the details would be more important in the early modern portraits than the nineteenth-century en plein air paintings, but that is not the case. The details are always important.

404437 crop

Art and Fashion

Details of Marcus Gheeradts the Younger’s (attributed) Anne of Denmark, 1614, Royal Collection © Her Majesty Queen Elizabeth II, and Ckaude Monet’s Camille, 1866, as banners for their respective exhibitions.


Filming on Federal

Lots of movies have been filmed here in Salem; at some point, I’ve got to make a comprehensive list and write up a mega-post! In my own time here, I have been kept up two entire nights by film crews outside my bedroom window on two occasions, in two different houses: filming is not a quiet, or small, or particularly energetic operation. This week, a David O. Russell film entitled “American Hustle”, starring Bradley Cooper, Christian Bale, Jennifer Lawrence, Amy Adams and Jeremy Renner, is being filmed in and around the courthouses on Federal Street, and the whole city is abuzz. Yesterday, in particular, there were Cooper sightings being tweeted and whispered about, but I have seen no movie stars: only trucks, cameras, crowds, and cars. Here’s the description of the movie from IMDb: the 1970s-set true story of a con artist and his partner in crime, who were forced to work with a federal agent to turn the tables on other cons, mobsters, and politiciansnamely, the volatile mayor of impoverished Camden, New Jersey. So you can imagine what the cars looked like.

Yesterday, they were obviously filming inside the courthouses (abandoned by the state for our newly-built Stalinesque building that is adjacent to the classical revival, Romanesque, and Greek Revival buildings that you see here) but on Tuesday, it was all about the cars. While I saw some seventies-garbed extras milling about the cars, no Cooper or Bale sightings for me.

Filming on Federal 001

Filming on Federal 011

Huge cars lining the street on Tuesday:

May Day 009

Filming on Federal 4

Film on Federal

May Day 020

Filming on Federal 5

Just around the corner, all was calm on the other side of the courthouses. Quite the contrast.

Filming on Federal 014


Patriotic Patterns

Given my armchair observance of Patriots’ Day, and then everything that happened on that sad day (and is still happening), I thought I’d retreat into a safe material world and examine some of the patriotic products that were produced in the decades after the American Revolution, some in the new country and some for the new country. It seems appropriate to continue exploring expressions of patriotism; after all, the real anniversary of Lexington and Concord is today. Right after the Revolution (literally) home furnishings which reflected the revolutionary spirit were produced both in this country and oddly enough, in Britain. Maybe it’s not odd:  Britain was in the midst of the Industrial Revolution which was initiated by what I’ve always considered a uniquely pragmatic entrepreneurial attitude. I wish I could see the imagery more clearly in this first woodblock-printed wallpaper, but obviously it has deteriorated with time. Here is the catalog description from the Cooper Hewitt Museum: perhaps it will help you make out the Lexington Minuteman and his associates: Beside an Indian maiden, representing America, a patriot tramples British laws underfoot and extends the declarations of July 4, 1776, to Britannia, who weeps over a pedestal containing an urn, or a tomb. The whole is contained within a curtained arch. Printed in black, white and gray on a light colorless ground.

Patriotic pattern Minuteman

This paper was produced in America in the last quarter of the eighteenth century, the same time as the textiles below, which are obviously in much better condition: The Apotheosis of Benjamin Franklin and George Washington  is a copperplate-printed toile fabric produced in several colorways in Britain between 1785-1800, right after the first big defeat of the British Empire. I love George Washington’s leopard-driven carriage!

Patriotic pattern Apotheosis Winterthur 2

Patriotic Pattern Apotheosis

Patriotic Pattern Apotheosis Bed Valence Dumbarton

Apotheosis of  Benjamin Franklin and George Washington fabrics in black and red colorways, collections of the Winterthur Museum and the Society of the Cincinnati; bed valence at Dumbarton House/National Society of the Colonial Dames of America.

British pottery manufacturers were also quick to take advantage of the newly-independent emerging American market. Even if you’re just a casual picker, I’m sure that you have run into some of the blue-and-white transferware of the Clews Brothers, James and Ralph, decorated with American scenes and symbols at their factory in Cobridge, England in the 1820s and 1830s. You see it everywhere, in all sorts of forms.

Patriotic Patterns  Clews at Skinner Auctions

Patriotic Patterns Clews Platter Skinner

“American” transferware, including a “States Design” platter below,  made by James and Ralph Clews in England,c. 1819-36, Skinner Auctioneers Archives.

And how many gilt mirrors emblazoned with eagles were produced in the Federal era (or reproduced afterwards)? So many, and again, produced in all shapes and sizes in both America and England. Below is a particularly nice eglomise (reverse-painted) example featuring the USS Constitution made in Providence by Peter Grinnell & Son right after the War of 1812. And from the next decade, a beautiful “patriotic overmantle painting” from a Rockport, Massachusetts home. It is tempera on plaster (I’m wondering how they took it off the wall???), and sold for $61,ooo at a Christie’s auction in 2008.

Federal Mirror Eglomise Providence

Patriotic Overmantle painting Rockport MA

This last painting does not really qualify as a commercially-produced product or a pattern, but it is so beautiful I wanted to include it. My last item–a handmade woven wool and linen coverlet with patriotic themes and symbols–dates from the mid-nineteenth century (1851 to be precise), just before patriotism becomes divided and divisive with the coming of the Civil War. Actually, even before 1850 the Abolitionist and Temperance movements produced their own patriotic/promotional objects. This lovely coverlet expresses a more personal patriotism, but also one in keeping with the functions of these other objects:  Americans wanted the symbols and imagery of their new nation on their walls, on their tables, and on their beds.

Patriotic Woven Wool and Linen Coverlet 1851 Skinnersp

Addendum:  Last night on Salem Common: thousands walking, running, praying in support of Boston.

Salem News David Le Staff Photo

Salem News:  David Le/Staff Photo.


Patriots’ Day 2013

As I grew up in Maine and have lived the past few decades in Massachusetts, Patriots’ Day is a holiday that I have celebrated my entire life, traditionally with a walk along the Battle Road in Lexington, Lincoln and Concord. The holiday commemorates the battles of Lexington and Concord in 1775, and as Maine was part of Massachusetts until 1820 it is recognized in my home state as well as my adopted one, a rare moment of concurrence for these two very different states. It is a day that has always had a spirit of collective festivity for me, as it coincides with both the coming of spring and the Boston Marathon, though this particular year that was obviously not the case as explosions at the finish line killed at least 3 people (including an 8-year-old boy) and wounded over 130 more. Someone took advantage of that collective festivity. An irritating cold kept me at home for the first time in many years, watching everything unfold throughout the day, bright morning to dark afternoon, from the vantage point of my bedroom television. Over the day, the contrast of reenactment and reality was striking, among other contrasting scenes. So much color and so much smoke: the images of the blasts on Boylston Street rising above the waving flags representing the nationalities of the 23,000+ participants in the Marathon–the last mile of which was dedicated to the victims of Newtown– struck me as particularly horrific in their juxtaposition of pride and terror.

rathe_lexington3_met

Patriots Day Ap photo Michael Dwyer diverted runners

Patriots’ Day morning and afternoon:  the King’s Regular reenactors confront their militia counterparts on Lexington Green (Joanne Rathe/Boston Globe Staff); diverted runners walk down Commonwealth Avenue in Boston after the blasts (Michael Dwyer/AP photo).


Pikemen on Salem Common

The annual muster on Salem Common was amplified this year because of Salem’s recent designation as the Birthplace of the National Guard  based on the First Muster of 1637, when all able-bodied men between the ages of 16 and 60 were called to arms on the Common to begin their regular training as a citizens’ militia.  So on Saturday there were not only current members of the Massachusetts Guard marching about, but also representative re-enactors of past regiments, including those from the Revolutionary War and the “East Regiment” from 1637. There was a lot of waiting around for everything to begin (and it was freezing, literally) so I passed my time talking to the seventeenth-century guys. After all, you seldom see pikemen on Salem Common. They were enthusiastic and knowledgeable members of the Salem Trayned Band, whose motto is it’s all about the hats.

Pikemen 003

Pikemen 013

Pikemen 023

Pikemen 040

Pikemen 036

Pikemen 050

Pikemen 054

Commemoration of the First Muster this past weekend in Salem: Members of  the Danvers Alarm List and Massachusetts National Guard Regiments enter St. Peter’s Church for a memorial service; The Salem Trayned Band on the Common, the National Lancers on horseback; all in formation, though I wish they were aligned in chronological order!

The pikeman’s role in the so-called “early modern military revolution” is a central but transitional one. Medieval mounted knights and archers were replaced by musketeers and pikemen in the sixteenth century; the slow rate of fire of muskets necessitated that the musketeers be defended from sudden cavalry attack by pikemen, generally the strongest men in the regiment  given that their weapons were a sturdy 18 feet long. The invention of the bayonet in the later seventeenth century effectively made each musketeer his own pikeman, and the latter history. I don’t generally pay much attention to military matters in my courses (consigning weapons and tactics to the realm of “boys’ history” and concentrating more on the impact of war), but I do put up a few images from some contemporary military manuals, including Jacob de Gheyn’s Wapenhandelinghe (1607), the “Exercise of Arms”. I’ve also included images of a band of Dutch pikemen from about a century before below, wearing very fancy (but  considerably less protective) hats, and pikes and pikemen in their heyday, the English Civil War.

Pikeman Gheyn

Pikemen 1520s

Pikemen Nealle BM 1657-8

Jacob de Gheyn, Wapenhandelinghe van Roers, Musquetten ende Spiessen (The Exercise of Armes for Calivres, Muskettes, and Pikes), The Hague, 1607; Pikemen in the 1520s in a print by Jan Wellens de Cock (attributed)and in a 1657-8 print by Thomas Nealle, all British Museum, London.

Such a nice day, mixing past and present in the guise of commemorations and military uniforms. The planned flyover by the Massachusetts Air National Guard was canceled due to the budget sequestration, but I think there was enough going on, on the ground.

Pikemen Fogg

Pikemen 029

Groups of Pikemen, past and present:  Stefana Della Bella etching, mid- seventeenth century, Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund, and this past Saturday.


Easter Ambiance

I was writing a post about the computation of the date for Easter in the medieval period and after when it became clear that my technical text was taking the joy out of one of our most joyous holidays. Math:  what was I thinking? So I deleted all that dry stuff, and assembled some of my favorite Easter images, which hopefully are easy on both the eyes and the brain. This is a very random assortment: artistic and historical images, Easter advertising, items and scenes that caught my eye. To me, they just conjure up an Easter ambiance, with a bit of religiosity, a bit of whimsy, and a bit of spring.

Easter Nerius MS early 14th Met

Easter Decoration Krebs Lithograph Co 1883

Easter Sunday in Harlem Cartier-Bresson

The Letter A with images of Easter, northern Italian MS. by Nerius, early 14th century, Metropolitan Museum of Art, New York; “Easter Decorations” by the Krebs Lithography Co., 1883, Library of Congress; “Easter Sunday in Harlem”, 1950s, Henri Cartier-Bresson, Metropolitan Museum of Art.

Easter Hot Cross Buns Walter Crane 1890s

Eastertide Dora Batty

Easter 1936 ad Smithsonian

Delivering Hot Cross Buns on Easter Day, Walter Crane illustration, 1890s, New York Public Library Digital Gallery; Dora Batty advertisement for the London underground, 1934, Victoria & Albert Museum, London; Western Union advertisement, 1936, Smithsonian Institution.

Easter Ensemble Eggs

Easter Crosses At West End

Easter-esque accessories from At West End.

Easter 001

Easter 007

Easter 005

Easter Bunny at Hawthorne Hotel

Easter 015

Easter in Salem: Bunnies (and heads) in the PEM gift shop and the window of Beautiful Things on Essex Street; the Easter Bunny at the podium at the Hawthorne Hotel a couple of years ago (I loved this picture when I saw it in Northshore Magazine and found it online; could not find a photographer credit, sorry); first flowering, finally!


Follow

Get every new post delivered to your Inbox.

Join 1,512 other followers

%d bloggers like this: