Monthly Archives: April 2023

April 25, 2023

The Aesthetics of Ancestry

By daseger

I’m still simmering with anger and frustration over Salem’s “new” “Heritage” trail, confined to the downtown, anchored by commercial establishments presenting the sad tale of 1692 with pathetic mannequins which inspire laughter rather than learning, marked by a line of yellow paint applied in an egalitarian manner to both new concrete and old brick. All of my original objections are still standing, but they’ve had almost a year to fester. I’ve lost faith in so many people and institutions: city councillors, various public officials, even fellow historians and organizations which I thought were committed to the preservation and presentation of Salem’s rich heritage. I don’t see any understanding of what heritage tourism is in the realm of official or quasi-official Salem, much less any desire to follow its path. Indeed I wonder what heritage means to the people who have put together this heritage trail.

The words in the graphics above illustrate my concerns: a recent review of one of the two commercial institutions featured on the trail, the Salem Witch Museum, and some definitions of heritage by the Center for Heritage & Society at the University of Massachusetts, Amherst. I find the review to be very representative of those that the Salem Witch Museum has received, but of course, I am biased. There are certainly much better reviews, and there are also those which are substantive indictments: you can read them for yourself at the Tripadvisor site. But even many of the good reviews point out the dated nature of the presentation, the fact that the attraction is not a “Museum,” and its blatant commercialism. What is fascinating to me is that these reviews go back years (the Salem Witch Museum recently celebrated its 40th anniversary) and they are very repetitive, yet still the people keep coming and the dated dioramas endure: this is the most successful business in Salem, I believe, certainly the most successful attraction. There’s no attempt to update or improve the presentation, and why should there be? The people keep coming. But what does this institution have to do with Salem heritage and why does it have to be on the Salem Heritage Trail? The Witch Trials are certainly part of Salem’s heritage, though not, I would argue, as large a part as the City of Salem presents them to be—but that argument is certainly a lost cause! But is a dated diorama how we want to acknowlege this tragedy? Is there anything public or in any way reflective of the inclusion of the Salem Witch Museum on on the Salem Heritage Trail? The Salem Witch Museum will continue to be successful, no doubt, regardless of its inclusion on the Heritage Trail, so why can’t this one trail represent a more public and thoughtful presentation of Salem’s heritage in the fullest sense of the word? (I will never get an answer to this question)

I am not a tourism naysayer; I simply respect the past and want both Salem’s visitors and residents to experience its heritage in a layered and an engaging way. As I am writing this, I am looking up Chestnut Street as the Salem Trolley is making its way down, and I’m glad to see it. At least the tourists on board are exposed to more of Salem’s material heritage. It remains absolutely mystifying to me why the Salem Heritage Trail would not include the city’s oldest and largest Historic District, home to the Pickering House, the Phillips House, Hamilton Hall, the Salem Athenaeum, the Ropes Mansion, the Quaker Burying Ground, and streets of beautifully-preserved houses. There are no shops or restaurants or witch “attractions” over here: could that be the answer? Unfortunately the selection of paint in general, and that striking shade of yellow paint in particular, made the exclusion of residential historic districts a foregone conclusion: I know that most of my neighbors would welcome more walking tourists, but I doubt that many of them would like to see that yellow line run in front of their houses. The trolley is running past houses associated with a trio of brothers from a famous Salem family, the Bensons, and I’m wondering if the tourists on board are hearing anything about them, because I think their lives and works are representative of several important strands of Salem’s heritage. I’m sure Frank Weston Benson (residing at 14 Chestnut, 1862-1951) is getting a mention, as he was a pretty famous artist in his day, producing accessible paintings in a light-filled American Impressionist style as well as a succession of distinctive etchings primarily focused on wildfowl. His younger brother Henry (1866-1942) lived around the corner on Hamilton Street and served two terms as Salem’s mayor as well as the president of Salem’s largest business, the Naumkeag Steam Cotton Company. But I think it’s the brother between them, John Prentiss Benson (1865-1947), who is more evocative of an enduring Salem heritage, even though he seldom lived here in his adulthood (though he did design the massive and fantastic Colonial Revival mansion at 30 Chestnut Street).

A 1943 self-portrait by John Prentiss Benson and photograph of his younger self in Salem; Captain Samuel Benson of Salem as depicted by his grandson, John Prentiss Benson and Benson’s copy of “Reaper of Salem, S. Benson, Master, painted originally by Antoine Roux. All of the images and much of the text from this point on is taken from a lovely book entitled The Artistic Legacy of John Prentiss Benson, which was edited and published by the husband of Benson’s granddaughter in 2003. It’s really fabulous–with lots of family pictures and anecdotes.

I’ve never really appreciated maritime art, but I saw a painting that I really liked last week and looked at the signature: John P. Benson! I thought he was an architect by profession and an artist by hobby, but I was wrong: he had two careers, first architecture, then painting. This one painting took me down a rabbit hole of John P. Benson paintings, and I found some really lovely Salem ones, inspired by his birthplace and his heritage, primarily his descent from Captain Samuel Benson, of Reaper fame. All three Benson brothers plus their siblings grew up in an Italianate house which once faced the Common, on a site which is now the parking lot of the Hawthorne Hotel. Frank’s predisposition towards an artistic career was evident pretty early, as was John’s, but apparently there could only be one artist in the family so their father steered the latter towards the more practical architecture. He went to Paris for training, and returned to a job at the prestigious New York architectural firm McKim, Mead & White before setting up his own partnership. By all accounts, Benson had a successful architectural practice focused on the greater New York area, while living in Plainfield, New Jersey and later Flushing, New York with his wife Bessie and their four children. He retired from architecture in his later 50s and began painting full-time, primarily in his studio at a house called Willowbank in Kittery, Maine. He was prolific, and even though he had not lived in his native city since his departure for Paris, a notable number of his paintings are of Salem ships and harbor scenes.

Ship Eliza of Salem, Salem Coal Wharf, and Derby Wharf, John Prentiss Benson.

I particularly like a series of paintings which Benson produced as murals for his son Philip’s Cohasset home, entitled Salem Harbor memories. I trust that they still survive and I wish they could be on public view, because they are a perfect illustration of a family’s heritage and the endurance of a city’s heritage: it’s so interesting that these images were in the home of a man (Philip) who was not born in Salem, who never lived in Salem, but still saw Salem as part of his heritage. I’m not a fan of the witch trials vs. maritime history either/or debate as I believe that Salem’s heritage is both plus MUCH more but these maritime views are so poignant, especially in their invocation of memories which we can “enjoy, regret, and learn from” at the same time. Believe me, I know that the Benson brothers cannot compete with the suffering mannequins of the Salem Witch and Witch Dungeon Museums of the Heritage Trail. I think there are some other Chestnut Street stories that might be able to do so, but that’s not my point or my concern. If this trail was called the “Tourism Trail” or the “Witch City Trail,” I would have no concerns. But it isn’t: it’s called the Heritage Trail. So I ask my fellow Salem residents: does it represent your heritage?

A Memory of Salem Harbor, in Cohasset.

14 Comments | tags: Art, Chestnut Street, Heritage, Heritage Tourism, Heritage Trail, John Prentiss Benson, maritime history, public history, Salem Witch Museum, Witch City | posted in Culture, Salem

April 18, 2023

Connecticut Calm (Waters)

By daseger

I’m generally anxious around this time of year, approaching the end of the semester, but this year I am particularly so: I seem to be uneasy in general and in Salem in particular. The nice weather has kicked off the tourist season earlier than ever, or maybe it never ended? This means large tour groups just outside my house as late as 10:00 at night, with guides speaking about the ancient “ankle breaker” stones along the sidewalk that my neighbors and I installed in the last decade or so. Run, run, to the back of the house, I tell myself, so I don’t have to hear any more, but sometimes I just don’t want to get off the couch—and one guy is so loud I can even hear him way out back. A change of scenery (and perspective) was definitely needed, so for the long Patriots Day weekend my husband and I took off for one of the prettiest towns in Connecticut (a state with many pretty towns): Essex, near the mouth of the Connecticut River. We stayed at the old Griswold Inn, in one of its newer suites, and ate and drank and looked at old houses and the river. It was very foggy, but there were daffodils everywhere, and I do feel a bit cheerier now that I’m back home (or in Salem).

Welcome to Essex, Connecticut!

I started decompressing as soon as we got on one of my favorite Connecticut small roads: Route 169. Well, before, really: right over the state line in Thompson, which has a great common surrounded by wonderful houses (including the resurrected Gothic Revival long neglected by the famous interior designer Mario Buatta). Route 169 leads you through Woodstock, and by Roseland Cottage, to Canterbury, where the amazing Prudence Crandall opened her school for African-American girls (what an amazing woman! I need to know much more about her), to Norwich, where we turned south and drove by the decaying buildings of the long-abandoned Norwich State Hospital which are such a sharp contrast to the shiny Mohegan Sun casino across the river.

The road to Essex: Thompson houses, Roseland Cottage (which I visited just last summer), Prudence Crandall’s school in Canterbury, and one of the derelict buildings of the former Norwich State Hospital (with a glimpse of Mohegan Sun across the river).

I think my husband thinks that Essex is a bit “Truman Show-esque” but it was just what I needed: a lovely town with clean sidewalks that is proud of its history rather than seeking to sell it 24/7. The houses are pretty perfect, but they are not mansions. It’s really all about watercraft in Essex: this was a rather quiet time but its harbor will be full to brimming in a month or so. Essex built a famous warship for the Revolution named the Oliver Cromwell (which was renamed the Restoration when it was captured by the British in 1779!), it endured the burning of 27 of its privateering ships when the British raided the harbor in April of 1814, the storied schooner yacht Dauntless ended her career on the Essex waterfront at the turn of the last century, and famous steamships line the walls of the Griswold Inn. The wonderful Connecticut River Museum, housed in an old steamship warehouse, explores the layers of local maritime history through art, artifacts and narratives in such an engaging way that I really felt the connection of water to land over history and now I’m absolutely inspired to take another New England road trip: a longer one, up the entire length of the River from Saybrook to Canada.

An array of Essex houses (birdhouses are big in this town too); the Onrust, a replica of a Dutch colonial ship, is moored in front of the Connecticut River Museum (my husband John is looking for me, I think); the Turtle, a Revolutionary-era submarine, which was built just up the River. I love the caption of this c. 1860 painting of Captain and Mrs. Samuel L. Spencer: “Captain Spencer of Old Saybrook, shown with the most important females in his life: his wife and his ship. He was captain of Daniel Webster of the London Line of packets for more than twenty years.” The Connecticut River Museum’s exhibition of Watercraft at Work made even BARGES interesting, and among the items I found my very favorite ship name of all time: of the schooner “Tansy Bitters”.

9 Comments | tags: Architecture, Art, Connecticut, Connecticut River, Connecticut River Museum, Day Trips, Escape from Salem, Griswold Inn, Historic Hotels, museums, road trips, Spring, Weekend Trips | posted in History, Travel

April 11, 2023

What the Judge Ate

By daseger

And drank. Today I have a new source (to me anyway) for food history: the diary of a Colonial judge who rode the circuit, keeping accounts of his tavern food and drink along the way. I’ve been immersed in Salem diaries for the past few weeks, preparing a talk I’ve giving for Salem Ancestry Days and the Pickering House on April 23. I’ve got diaries from the seventeenth century to the twentieth, and Judge Benjamin Lynde Sr.’s is one of the earliest. He’s an early transatlantic man: born in Salem in 1666, he was sent to England by his parents in his teens for an education. I don’t know if the law was the plan, but he ended up reading it at the Middle Temple in London, and when he returned to Masssachusetts he became the first judge in the Massachusetts Superior Court of Judicature with formal legal training. He became chief justice in 1729 and his son and namesake succeeded him later in the century, serving as one of the justices in the Boston Massacre trial. I think Benjamin Lynde Jr. lived in more interesting times but I find Benjamin Lynde Sr. more interesting!

Two very different views of Judge Lynde: by the Pollard Limner, c. 1730 (Peabody Essex Museum) and John Smibert, c. 1731 (Huntingdon Library).

Given his legal training and experience, you would think that Judge Lynde would analyze some of his trials in his diary but that is not the case: very few legal concepts are discussed, although the occasional execution is referencd. He is more forthcoming about his travels and his tavern accounts, and he is tireless, riding the circuit from York, Maine (my hometown—then part of Massachusetts province), to Plymouth and Springfield. He rides out to the Cape, and sails out to Nantucket for a session. When he returns home to Salem for a spell he immediately goes out to his farm at Castle Hill and works the fields. He is hale and hearty and on the job into his seventies. Can we attribute this to his diet? Well, I don’t think so, but here it is.

Breakfast: frequent “chocolate breakfasts” but sometimes the Judge liked heartier fare: cheese and bread, fowl, lobster in the summer! But you can’t underestimate the colonial consumption of chocolate, it was food, drink, stimulant, even medicine all in one. The most popular transatlantic recipe called for the chocolate (sold in brick form and ground or shaved) to be mixed with sugar, long pepper, cloves, aniseed, almonds and other nuts, and some sort of flower water, “the hotter it is drunke, the better it is.” On those days which were not commenced with a Chocolate Breakfast, he went for ale, particularly sage ale, and a few times he referenced “superior wine” in the morning. No mention of coffee; tea pops up once or twice.

Lunch: is never referenced by the Judge. It’s more of a nineteenth and twentieth century concept, although I have found references to it in the 18th: one English author admits that he “clapp’d a good Lunch of Bread into my Pocket” in 1707. But Judge Lynde was busy, or on the road. Maybe he did have something in his pocket, but he doesn’t tell us—or his diary. When he stops in the middle of the day, he would have more ale, cider, the occasional “lime punch” and some plum cake, sometimes with cheese, sometimes without.

Dinner: a regular range from simple to substantive. There are quite a few “milk suppers” and also those of “three eggs” but he also orders up large dinners: lamb, mutton, turkey, fowls, bread with cheese and “isle butter,” lobster. Sometimes he is very detailed: he enjoyed a dinner of “fine chowdered cod” on one occasion, on another he dined on “puff apple pie and cheese with a bottle of ale, an ear of corn, and sugar brandy dram.” He ate “minced veal” and “neats tongues,” beef tongues which were seasoned and dried to preserve them and used in a variety of recipes (I included one below). He really liked sauces for his fish, and his lobster, and plum cake, any time and anywhere. Gingerbread and apple tarts are also referenced, and all sorts of beverages: madeira, madeira, and more madeira, “green Fyal wine,” cherry and brandy drams, strong beer, cider, different ales, flips, “Florence” flasks (I’m not sure of what this is: general “Florence” was a reference to olive oil at this time, but this seems to be something he is drinking), various punches, and “sangaree,” a form of sangria. And rum of course. Judge Lynde’s detailed tavern accounts are clearly intended for his compensation by the provincial authorities, but when he is at home the only commodities he records purchasing are gallons of rum and madeira, plum cakes, and “bread with cider for the poor.” Presumably someone else was keeping his household accounts.

Francis Symonds advertised the “first” chocolate mill in Salem in 1771 (Essex Gazette, 17 December 1771) so I’m not sure where the Judge got his supply when he was at home earlier in the century; a recipe for Neats Tongue and Udders Alamode for a late 17th century cookbook at the Folger Library; the Lynde family tankard, Sothebys.

Thanks to my friend Alicia Diozzi for the title! She envisioned the Judge’s meals as an Instagram account.

5 Comments | tags: Colonial Salem, Food and drink, Food history, Local Events, Portraits, Recipes, Salem Diaries | posted in Culture, Salem

April 4, 2023

Public Works: Salem 1957-1958

By daseger

“Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody.” Jane Jacobs, The Death and Life of Great American Cities

Do cities ever stop building? Are they ever finished? I don’t think so, and for a relatively small city, Salem seems to me to have been especially busy building over these past few decades with more to come. Its 21st-century building boom began with courthouses: the Ruane Judicial Center which set the standard for the expanded scale of new construction and a gorgeous renovation and addition at the Probate Court next door, leading to a new parking garage across the way and ultimately to an adjacent residential building which will block the view of the Probate Court as one drives into town but also provide the funding for the restoration and redevelopment of the obsolete and proximate Victorian and Greek Revival courthouses. The Ruane courthouse also rendered the 1970s District Court across Washington Street obsolete and so it was demolished and replaced by a large residential builing called the Brix, and at the southern end of this same street an even larger Lego-like Hampton Inn now rises above the fray. This has all been a bit overwhelming, and more big projects are on the way! When I feel pressed by the present I always escape to the past for some perspective and a newly-digitized collection from the PEM’s Phillips Library gave me just that: photographs taken by Salem contractor William Franklin Abbott, chiefly of Salem’s big tunnel project of the 1950s as well as the construction of Lee Fort Terrace, a public housing community for the elderly of which he was Clerk of the Works. There are other collections of photographs of the the tunnel construction (I’ll put some links at the end) but I find Abbot’s color images especially captivating: how did the residents of Salem live through this all-consuming Big Dig???

October 1957

Well, they persevered, I guess, as Salem residents always do. The newspapers report that between 25 and 40 downtown merchants shut their doors during the delayed construction, some for good, apparently. The timing of the project was not good: construction of the Northshore Shopping Center, just a few miles away in Peabody, was concurrent, and as been noted millions of times, the latter had a great deal to do with the end of Salem’s reign as shopping center of Essex County. There were rats, there was noise, there was a rank odor present downtown due to the diversion of sewage pipes into the North River. Yet the City had been gearing up for this project since the beginning of the twentieth century, particularly as the grade crossings at Bridge and Norman/Mill Streets were seen as a “constant menace” and the source of increasing congestion. WPA funds were designated for a comprehensive plan including the construction of a new tunnel and station to replace the pioneering 1839 tunnel and 1847 Gothic Revival depot, fondly referred to as the “Old Castle” but not as beloved in its declining years as it became after it was gone. Nevertheless, work did not begin for a decade later, with the commencement of construction on the Bridge Street overpass. After its completion in 1952, there seems to have been a pause until 1954, when the Depot was demolished and work commenced on the southward extension of the tunnel. The target completion date was 1956, but its completion was delayed until 1959 due to (take your pick): 1) the over-his-head contractor; 2) poor management at the state level; 3) a national cement drivers’ strike; 4) change orders—especially a switch to steel pilings. The summer of 1957 was hot with hearings! Abbott’s photographs illustrate the most intense phase of construction, from a professional perspective.

Above: Boston Globe: Salem’s “ancient” station featured in a December 1938 article; headlines from the summer of 1957; Below, Abbott’s photographs of the construction, 1957-58, first looking south, then north.

November 1957-February 1958, looking southward.

April 1957-January 1958, looking north.

There are more photos, especially of the southern extension of the tunnel, but I was focused on downtown: I can’t even begin to imagine the daily disruption! We hear about the suffering merchants, but I can’t find a source that testifies to the experience of mere Salem residents, trying to go about the business of daily life. I can imagine Abbott walking over from his office on Norman Street during his lunch, observing and documenting the ongoing construction with great interest. You can discern a much more personal perspective in his photographs of the construction of Leefort Terrace as he is as focused on the workers as the work-in-progress. Pride comes through, and there are photographs of the dedication ceremony, including a nice shot of Governor Foster Furcolo and Mayor Francix X. Collins looking like the pols they were (actually I don’t know much about either of them, but those hats make them look like pols). These little brick buildings are not long for this world, as a the City has established a partnership with a Boston development firm, Beacon Communities, to replace them with a multi-story building. Public-private partnerships seem to be the trend going forward with Salem construction projects, including the Offshore Wind Terminal which will be built on that part of the site of our former coal plant which was previously designated for public use. While this project has the potential to reap huge benefits for the economy and the environment, its scale is huge, and its construction and operation will affect the residents of the greater Derby Street neighborhood in myriad ways. They will have to persevere, as will my neighbors in the greater Endicott Street neighborhood, who are faced with a dramatic expansion of the presence of a Marblehead-funded philanthropic organization in the form of three five-storey buildings which will cast their much-smaller dwellings into perpetual shade.