Monthly Archives: May 2023

A Neighborhood Besieged

A dynamic, healthy city is composed of neighborhoods: this is a time-honored, universal observation, so much so that I believe it is a truism. It follows that municipal leaders should prioritize the protection of neighborhoods, but too many times, far too many times in my opinion, the City of Salem has pitted residents against developmental entities which seek to alter the composition and character of neighboods in overwhelming ways. I’m really worried about a neighborhood located just south of where I live, through which I walk and/or drive pretty much every day, which seems to be facing a development of gargantuan proportions: three multi-storey buildings for shelter and senior housing along with adminstrative and retail facilities, to be built in and on a small area of narrow streets and small houses, the remainder of a storied section of our city. The neighborhood now goes by the name of “Greater Endicott” for the major street that runs through it, but in the past it was: a ship-building district at the head of the South River proximate to Mill Pond, “Roast Meat Hill,” Salem’s first African-American neighborhood, and Little Italy, a tight-knit neighborhood clustered around a community-built church.

A Stereoview of the Boston & Maine Depot, with Mill Pond in back and the Endicott Street neighborhood top right, from the Dionne Collection at Salem State University Archives and Special Collections, 1870s. Jen Ratliff of the Archives has recently published a post on Salem’s “Little Italy,” which you can find here, along with links to more photos and ephemera.

The development at issue has not been proposed formally to a City board yet, but its developers, two regional non-profits, Lifebridge Northshore and Harborlight Community Partners, have met with city councillors and the neighborhood association. Lifebridge operates a homeless shelter on part of the site on which they want to expand, and Harborlight is a community development nonprofit which has built and redeveloped many affordable housing projects on the North Shore. There is no question that both organizations are engaging in laudable and necessary work, but in this particular case I believe that their missions are in conflict with the viability of an historic Salem neighborhood. Their proposal is to demolish the current Lifebridge Shelter, once the parish hall for St. Mary’s Italian Church, as well as the church itself and adjacent buildings, to build two five-storey buildings along Margin Street, and an additional four-storey building for senior housing behind these two structures, on the existing playground along Pratt Street. Very little parking is specified: 12-15 spaces for three huge buildings, several of which will have considerable visitation and staffing needs. And there’s one odd little detail: because one of the buildings which will be demolished is the Christopher Columbus Society, which features a bar, Lifebridge has proposed relocating said bar in its dry shelter building! I believe that none of the new housing facilities are limited to Salem residents; both Lifebridge and Harborlight operate as regional organizations. As there is a state law mandating the replacement of playground facilities, a new playground will be built along Endicott Street. I have seen a rendering of this proposal, but I don’t really know where it came from or if it is accurate so I’m not going to publish it here: suffice it to say that it’s rather horrifying!  The buildings don’t look like anything else in the neighborhood—this could be the beginning of the Hampton Inn-ization of Salem as the project looks like it will mirror the new Hampton Inn across the way (the less stripey part), and I’m no architect or surveyor, but I don’t really see how everything will fit.

As there has been no formal proposal yet, my sources for this proposal are notes from several meetings of the Greater Endicott Neighborhood Association: with the developers and with the two candidates for Mayor in Salem’s recent special election. Sadly, both of these men sound a bit resigned about the development: their answers to the residents’ questions give the impression that resistance is futile! The relationship between Lifebridge and Harborlight and Salem’s municipal government seems very close: both organizations were collaborating “partners” in the creation of the Salem Housing Road Map for FY 2023-2027, and last fall Harborlight hosted a ‘Housing Institute‘ at Old Town Hall for city councillors and staff. Photographs of smiling Salem politicians at Lifebridge and Harborlight fundraisers and legislative breakfasts appear regularly: there doesn’t seem to be the same separation as is the case with private developers, or maybe I’m just being naive about the latter. The proposal is in serious conflict with the zoning for the neighborhood, but there are tools to overide these restrictions in Massachusetts: 40B and 40R statutes, which grant developers free reign if sufficient affordable housing is part of the proposal. Salem has already met (and exceeded) the 40B requirement of 10% affordable housing, but 40R is more of a “carrot” than a stick approach to urban development, aimed at creating “smart growth districts” in proximity to mass transit by “streamlining” the permittal process and incentivizing the host city/town with cash payments. This could happen here, but it would take a majority vote of the City Council. There’s no question that more housing is a drumbeat echoing out from City Hall, but I believe that our councillors care about neighborboods too: I’m not as pessimistic (yet!) as one commentor in the meeting notes who observed that “a group of 100 individuals is being privileged over a neighborhood, and by extension, a city.”

The Harborlight Homes Housing Institute at Old Town Hall, Salem, Sept. 22, 2022.

What came before, and what next? That’s about as much housing policy discussion as I can engage in. It’s more simple for me, really. When I think about this neighborbood faced with this looming development, my mind conjures up one question: hasn’t it suffered enough? Of all Salem’s historic neighborhoods, this one is the least protected and has withstood the most challenges: from economic dislocation in the 18th and 19th centuries, from the Great Salem Fire which singed its borders in the early 20th, to development in the 20th centuries. And now this. People in the nineteenth century were very conscious of its venerability and vulnerability in a way that people in the 21st century are not, because it had already lost so much. Salem’s first two custom houses were located in this neighborhood, the so-called “Port House” and “French House”: the latter survived into the nineteenth century and was verified as Salem’s old house by none other than the Reverend William Bentley, who found “1645” carved into a mantle. In the vicinity of High Street were myriad seventeenth-century houses, including the famous Palmer House drawn by Edwin Whitefield in the 1870s and the Pease and Price Bakery, captured by Frank Cousins in the 1890s. And then of course there is the 1665 Gedney House, certainly not as noted as these structures a century ago but now an illustrative study house owned by Historic New England, which has recently confirmed that it operated as a tavern operated by widow Mary Gedney during the Witch Trials. I think the development of a preservation mentality in Salem in the later nineteenth century was very much focused on this neighborhood, rather than more illustrious ones, because the progressive filling-in of the South River and Mill Pond and the coming of the railroad yards had transformed it into a marginal location over the century: “Knocker’s Hole,” named for the loud knocking of shipwrights’ mallets in the shipyards along the shore, was no more. In an “epitaph” for the recently-demolished Palmer House in the 1880s, a Salem antiquarian noted that the “old homestead” had been named for “the old pioneer ship-builder of Knocker’s Hole, Richard Palmer, who had grants among the first of those who wrought so lustily in the noisy shipyards about Creek Street.”

As the neighborhood became less central, it became more affordable of course, and so a succession of African-Americans who worked in the city’s many service industries took up residence there, from the 1820s into the 1870s: mariners gave way to cooks and hairdressers, chimney sweeps and cartmen. Clarissa Lawrence opened Salem’s first school for African-American children in the neighborhood as early as 1807, and letter settled at 8 High Street, which she passed down to her children. She founded the Colored Female Religious and Moral Society of Salem, which soon merged with the integrated Salem Female Anti-Slavery Society, for which she traveled to the third national convention of the Women’s Anti-Slavery Society in Philadelphia in 1839 (on a segregated train) to give her rousing speech about meeting the “monster prejudice everywhere.” In the 1840s, there were seventeen African-American households on High Street, and more on adjoining streets, including that of Mercy Morris, the sister of the pioneering Boston lawyer Robert Morris, on Creek Street. A decade later, the Fletcher family was living on nearby Pratt Street (likely the street to be most impacted negatively by this development), including Francis Fletcher, who advocated for the formation of an African-American Regiment during the opening years of the Civil War in correspondence to Massachusetts Governor John A. Andrew, and then joined the Massachusetts 54th himself.

Clarissa Lawrence’s (of High Street) big speech, and Francis Fletcher of Pratt Street. Pratt Street runs right by the High Street playground, which is a designated site for one of the multi-storey buildings, so everything you see on the left above will be a big building. No more tree-filtered sun for this neighborhood.

Salem’s City Directories reflect a change after the Civil War: not so many of the familar names of African American families in the nighborhood, replaced by a succession of Irish and then Italian names. Between 1880 and the restrictive immigration act of 1824, 4 million Italians came to the US, part of a larger “Great Migration” during which 17 million Italians left their country after unification, most from the still-agriarian South rather than the more urban, and industrializing North. Massachusetts was a major destination, and Salem then offered employment in thriving textile and shoe factories, but all the sources I consulted indicated that Italian-Americans in Salem didn’t break into that more lucrative work in great numbers until World War I and after: there was a lot of ditch-digging for instrastructure projects and employment in various service industries before. It’s hard not to come to the conclusion that a community of Italian-Americans in Salem formed around the foundation of a church: St. Mary’s Italian Church, built on Margin Street by this community in the 1920s and the center of this neighborhood until closed by the Archdiocese of Boston in 2003. Stripped and subjected to iconoclastic destruction between intervening periods of Lifebridge ownership thereafter, it’s almost painful to read about the great reverence that this community held for this Church before, expressed in material ways by everything from an embroidered altar cloth to the tower bell, cast on-site in the Italian tradition. You can see the bell today right next to the Christopher Columbus Society, and I wonder where it will end up if this proposal goes forward.

Salem’s Italian-American Community in the 1920s and the building and embellishment of St. Mary’s Italian Church & the former church today: the Lifebridge/Harborlight plan seems to call for either outright demolition or facadism. One immediate consequence of the foundation of this Italian-American parish/neighborhood was the recognition of Salem’s Italian-Americans as such: before they were Italians, then they were Americans, celebrating July 4th with one of their traditional arts! Postcard of St. Mary’s from the SSU Dionne Collection.

The Great Salem Fire of 1914 was capricious in this area, taking out some streets and leaving (High!) others alone: when you walk around you will see a lot of buildings dating from 1915-1916 as rebuilding and building went together in the neighborhood. More damaging were two major “developments” of the 1930s along its northern boundary: the building of the Salem Post Office on Margin Street and the Holyoke Building resulted in the razing of at least 50 buildings for the Post Office alone. Samuel McIntire’s house on Summer Street was demolished to make way for the Holyoke in 1935, and this decade of depression and rampant destruction was also when venerable Creek Street was eradicated altogether.

X marks the spot of the future Post Office and Holyoke Building, along with curving Creek Street: many of the structures in this photograph would be demolished in the 1930s, including Samuel McIntire’s house on Summer Street (yellow arrow). Another arrow marks St. Mary’s Italian Church, SSU Archives and Special Collections. The Post Office rising, also SSU and charming Creek Street by Frank Cousins, Phillips Library Digital Collections via Digital Commonwealth.

When I look at the aerial photograph above I see the housing density that the leaders of the City of Salem crave now; it was destroyed by those 1930s developments in the name of progress. And while the Lifebridge/Harborlight proposal is driven by a more humane mission, it will inevitably impact the remainder of this still densely-settled and heritage-rich neighborhood in a negative manner just because of its size and scale. And it doesn’t have to be that way: there are other sites in Salem, far more appropriate sites which could accomodate the proposal’s various programming needs much more effectively.  The City should work with the developers to find a suitable site rather than to impose this project on a neighborhood which has stood the test of time.

 

A sunny Memorial Day in the Greater Endicott Street Neighborhood.


Some Salem News and Views

A whirlwind of a week! Or should I say a rollercoaster, from my personal perspective. Against the backdrop of finishing the semester, grading and graduation was Salem’s special mayoral election, as our previous Mayor ascended (?) to the office of Lieutenant Governor in last fall’s election. The first new Mayor in 17 years: an exciting and momentous occasion, especially given all that’s happened over those years, particularly the intensification of both development and Haunted Happenings. I was with the candidate who expressed some concerns about both trends, and he lost to the candidate who served as our former mayor’s right-hand man, so I assume that both trends will continue unabated. A disappointing outcome for me, but not nearly as disappointing as the turnout: a miserable 28% of the electorate. Both candidates were out there, there was was spirited debate, and signs everywhere, but as they say, signs don’t vote, and neither did the vast majority of Salem people. So I had a day to process that disheartening development, and then the clouds cleared when my co-editor and I received word that Temple University Press was extending a contract to us for our proposed book on Salem history tentatively titled Salem’s Centuries: New Perspectives on the History of an Old American City, 1626-2026! This is a project we put together for Salem’s coming 400th anniversary in 2026, and I couldn’t be more pleased and excited that it will materialize.

As soon as you know you’re going to get a book published, you think about the cover! Or at least I do. One of the major reasons I started blogging is my interest in historical imagery: I’m always matching words and pictures in my head. I’ve always liked past and present blended photographs, so I made one for our big announcement, but my co-editor and colleague Brad Austin chose a crop of Salem artist George Ropes’ Salem Common on Training Day (Peabody Essex Museum) for our proposal image. I love this painting too, but I think it’s been used too much over the last decade so I’d like to find something else for our cover: I have a digital file of all my favorite Salem images and I’m sure I’ll be creating various compilations, collages and compositions over the next year or so, particularly when I’m struggling to write! I also welcome all suggestions. Whatever we choose will need to feature Salem people, as our book is first and foremost a social history of Salem: early Salem settlers and those who lived on the land before it became Salem, traders, farmers, and the accused and the enslaved, soldiers from Salem who served in the Revolutionary, Civil, and World Wars, entrepreneurs and privateers, Salem expats in the East, Salem families, Salem African-Americans, Irish-Americans, Polish-Americans, Italian-Americans, French Canadian-Americans and Hispanic-Americans, Salem antiquarians and reformers, Salem students, Salem men and Salem women, as individuals and as members of the community, the parish, and the neighborhood. Another photograph which we featured in our proposal was of the dedication ceremony for the “Mourning Victory” statue erected in Lafayette Square in 1947 to honor the men and women of St. Joseph’s Parish who served in both World War I and World War II. Contrast this with a more recent photograph of the crowd at the dedication (I think that’s the wrong word)/ revealing of the Bewitched statue in June of 2005: what a difference! Unity and division, service and entertainment, but both Salem.

The dedication of “Mourning Victory” in September 1947; the unveiling of the Bewitched statue in Town House Square, photograph from the June 16, 2005 edition of the Lynn Daily Item.

I plan to write the concluding chapter of Salem’s Centuries on the evolution of the square in which Samantha stands, formally known as Town House Square as this is where Salem’s first meeting house was built as well as the site of other notable buildings, from the seventeenth century to the present. I’m also writing several other chapters, as well as the introduction with my colleague and co-editor Brad Austin, but the remaining chapters will be written by our colleagues at Salem State (and also several of our grad students who have gone on to Ph.D. programs) according to their fields and expertise. We have an amazing department: we’ve been together for a while and we have a very united front when it comes to teaching and our role in the university, but we also have very different research fields so this project represents a unique opportunity to work together. This makes me very happy, and you should be happy too, dear readers, especially those of you who have been following along for a while, because the strident, snippy and snarky writer of recent years, clearly and consistently frustrated by the state of historical affairs in Salem, will retreat! The reason that I have been so frustrated with Salem’s arbitrary heritage initiatives is their inability to engage: both the past in meaningful ways, and the public in representative ways. Select committees of “stakeholders” (one of our former Mayor’s favorite words, along with “hip”) responded to the Peabody Essex Museum’s removal of Salem primary historical resource and repository, the Phillips Library, oversaw a plan (with some very expensive consultants) to move Salem’s Colonial Revival Pioneer Village, beloved by many people in our city) to Salem Willows, plotted out Salem’s “new” Heritage Trail, and are currently planning Salem’s 400th anniversary celebrations. I have learned that there’s no way to penetrate the structure of these select stakeholder committees, so I’m delighted that I will be engaged in a more constructive activity from now on. I do wonder if this restricted access to civic heritage, along with its commodification, has had some impact on declining civic engagement in Salem? I think that question is beyond the bounds of our book, but it’s something to consider.

I tried! It’s great that we have Remond Park, but there’s no association of place and the sign is incorrect: a “large population of African Americans” did not live in the vicinity; I can’t find one African-American resident of this neighborhood. I presented my evidence to the powers that be years ago: no response– the inclusive moment had passed. There ARE two Salem neighborhoods which were quite cohesive in terms of African-American communities at different times in the nineteenth century: neither are recognized by the City, and one is in imminent danger of being overshadowed and overwhelmed by a proposed over-sized development. We will have several chapters on Salem’s African-American history in the Salem’s Centuries and some smaller pieces too: we’ve got an interesting format which will feature longer academic chapters and shorter topical “interludes” which we hope will attract a range of readers.


A Visual History of Home

My mind is whirling these days: we’re at the end of the semester, and a teaching-free summer lies ahead of me, but so do three writing projects, maybe more. I’m always thinking, but I’m also really tired, so it’s not all constructive. Thankfully gardening season has begun, but I did not feel particularly re-energized after my first foray out back last weekend—just sore! Then I remembered this book that I picked up down in Connecticut during our stay at the Griswold Inn a few weeks ago. The Griswold has no televisions in their rooms, which pleased me, but not my husband, so I suggested we go to a rather elegant used bookstore next door. We browsed, he more intently than I, but I came across a beautiful book that I thought I could add to my bedside stack of books I never read because I seem to only read for information, and all my informational books are in my study. I bought it, threw it in my suitcase, brought it home and forgot all about it until this past Sunday, when I poured myself a glass of wine and opened it up………….and immediately began to relax, in the best possible, almost entranced way. This book is entitled At Home. The American Family 1750-1870, and it was written by Elisabeth Donaghy Garrett (now Widmer), then (1990) a vice-president at Sotheby’s, and author of several books on historic interiors. Apparently Ms. Garrett had published a series of articles on “the American Home” in The Magazine Antiques in 1983 that was so well-received that it prompted the publication of this book and boy, I can understand why. Peter Thornton, whose book Authentic Decor: the Domestic Interior 1620-1920 I am familiar with, notes in his Forward that the “outstanding quality” of At Home is “the sheer weight of evidence that has been marshaled and the manner in which it has all been presented.” I agree, but I think the manner is more important, at least for my personal purposes: I seldom read for pleasure, and this book offered both pure pleasure and tons of information, in well-crafted text and well-curated pictures. It really took me away, and that never happens.

I really wanted this book to be a picture book, a coffee table book, which I could just breeze through from time to time. And I suppose it is that, if you want it to be. The illustrations are amazing, representing a full-spectrum of deep-hued oils from well-known American artists of the eighteenth and nineteenth centuries, to seldom-seen (at least by me) watercolors of domestic scenes sourced from local historical societies. But once I started reading, I couldn’t stop: Garrett is a wonderful writer who favors narrative and literary sources, so her text is quite lively, and as Thornton observed, she manages to integrate a lot of information in a very accessible manner. I could take a lesson from her, but I’d rather just enjoy her book. The chapters begin with individual rooms in the house (their uses and all about their furnishings, in great detail) and then proceed to the myriad elements and tasks that go into making a home, all year round, and in the city and the country. So we have: parlors, the dining room, the kitchen, the bedchambers, lighting, “the daily dog-trot routine of domestic duties,” “the quest for comfort,” (probably my favorite chapter–a lot of heating and cooling advice, and bugs!), the tribulations of the early American housewife, and husband and wife as consumers. Here are some of my favorite images, and a few notes about how Garrett used them: I tend toward the vernacular, because so many of the paintings and prints in this book were new to me, but there are plenty of formal interior scenes as well. Since we’re in the beautiful month of May, I’m also going to focus primarily on summer homes: cozy parlors can come later.

The Children of Nathan Comfort Starr, Middletown, CT by Ambrose Andrews, 1855, Metropolitan Museum of Art. Garrett notes the elevation of the house, designed to promote healthy air inside. This looks like a happy scene of children playing shuttlecock, but Garrett believes that it is a memorial painting of the youngest son (in the dress, of course) who died when he was just over a year old.

York, Pennsylvania Family, 1828, anonymous artist, St. Louis Museum of Art. At Home is just as much about households as houses, including servants. Garrett discusses servants but she does not discuss race. This is a book of its time (1990), which is before the renewed historiographical focus on the roles of African-Americans in the northern US. She includes three images of African-Americans in the corners or the margins, but she does not digress on their identity or position beyond that of “trusted servants.” At Home is a study in material culture, not a social history, and so this painting is used to describe the vivid wallpaper and carpet (boy does this book have a lot to say about carpets!) contrasted with the simple painted furniture.

Rhode Island Interior by an anonymous artist, 1800-1810, collection of Fenton Brown. It’s really all about the carpets! They demanded so much time, and money. Women (or their servants) pulled them up in the spring, nailed them down in the fall, and spent a lot time worrying about moths. Garrett uses this particular image to present a European gaze on American interiors, which she does often throughout her book. An Italian observer noted that Americans “displayed few pictures, statues, or ornamented furniture, preferring instead mahogany furniture and fine carpets.”

Two paintings by Massachusetts artist Ellla Emory of Peter Cushing House in Hingham, MA: East Chamber and Old Laundry, c. 1878, both Private Collection. I love this artist! Back to the floors: this sisal-like straw matting was very popular in the summer for centuries—one of my favorite paintings of the Elizabethan court shows the same covering! Floors could be bare in the back of the house, and in hallways as well, and beach sand was spread around.

Garrett includes quite a few watercolors by new-to-me New Bedford artist Joseph Shoemaker Russell (1795–1860), all of which I found absolutely charming. Russell painted New England interiors, but spent some time in Philadelphia too, where he captured all the rooms of his boarding house: above are Mrs. A.W. Smith’s Parlor and Mrs. J.S. Russell’s Room at Mrs. A.W. Smith’s, both 1853 and in private collections. These are summer views, and present opportunities for Garrett to discuss shutters in detail, as well as the necessity of closing up the fireplace with fireboards or flowers during the warm months. The parlor view shows a gas-fed lamp of the 1850s, and also the American custom (noted by all of Garrett’s European sources) of placing all the furniture along the walls of the room. Silhouettes are everywhere in this book!

More summer images (and challenges): View from the House of Henry Briscoe Thomas, Baltimore, by an anomynous artist, c. 1841, Metropolitan Museum of Art; Tea, Alexandria by William Marshall Merrick, 1860, New York Public Library. Come Spring, the lady of the house (or her servants) had to change not only the carpet, but also the draperies. If she didn’t have shutters, she had to pull down the heavy drapes and replace with sheers. She (or her servants) also had to drag all the furniture outside for an airing: Spring cleaning was a really big deal. The battle against bugs intensified with the warm weather, but it was really fought all year long, the principal enemies being flies, mosquitoes, moths and bedbugs.

Ice Cart by Nicolino Calyo, c. 1840-44, New-York Historical Society. The provisioning of the household also varies with the seasons, and “the ice-cart was an integral part of the iconography of summer in the city” from May until October. The New England re-export ice trade was an Atlantic affair, and Garrett’s European observers frequently commented on the abundance of ice in American households.

Now refreshed: I can attack the (digital) pile of final papers and examinations before me!


A Coronation Primer

Time to put some of my day job perspectives out there: it’s not every day/year/decade/half-century that we get to see a British coronation! I’m kind of excited; I even dusted off some of my old grad school books about medieval monarchy and royal iconography last weekend. Over my career, I’ve taught about the interrelationships between spiritual and secular authorities pretty constantly in medieval and early modern courses, but I seldom have time to delve into all the expressions of these alliances and conflicts, and coronations are case studies in both symbolism and projection: in the distant past, the more recent past, and judging from all of the official imagery leading us to the coronation of King Charles III, even today.

Official Coronation “paper”: invitation by heraldic artist Andrew Jamieson, emblem by Sir Jony Ive KBE and his creative coalition LoveFrom, one of four thematic stamps produced from wood engravings produced by Andrew Davidson for Atelier Works.

I’ve always thought of King Charles III as a traditional man, primarily because of his preference for classical architecture, I think. The images above definitely reinforce this characterization for me, but they also reveal his interests in the natural world and diverse, hopefully harmonious communities. I love the tradition-embracing change aesthetic of these images, and I think the Coronation will have a similar tone. Coronations are absolutely traditional, but they are also flexible ceremonies which can embrace variant themes according to individual preferences: they evolved over time and reflect their historical contexts. Early medieval coronations seem to represent order, legitimacy, and the evolving sacred nature of kingship; later medieval coronations still embrace those themes but also a more independent divine authority of kings who were claiming unmediated mandates from God rather than through the Pope. This continues into the seventeenth century, but there were also increasing references to “the people” in both feudal fashion and a (slightly) more egalitarian manner. There were lots of changes in the 18th and 19th centuries: to accomodate and highlight the constitutional role of the monarchy and British and Imperial sovereignty. After the long reign of Queen Victoria, it was time for a “refresh,” but tradition sill reigned: this seems very similar to what we are experiencing now. Of course we enter the era of the intensifying power of both public opinion and public relations in the twentieth century, and the coronations of both Kings Edward VII in 1902 and George V in 1911 really reflect these developments. We get these great souvenir books (as well as a flood of material souvenirs) in the twentieth century too: one of my favorites, published by the Illustrated London News for the coronation of Edward III, features wonderful (though quite imaginary) images of previous coronations with Edwards past presented in color and gilt.

Images from The Coronation of King Edward VII, 1902, published by the Illustrated London News (cover against some great Queen Victoria wallpaper from the Victoria & Albert Museum.)

King Edward I, the Confessor’s role in coronation history derives principally from his commissioning of the Coronation Chair on which King Charles will be crowned, as well as the Crown itself, but I’m not sure that all of the other Edwardian coronations are singular, with the exception of that of King Edward II, in which he swore “to observe the future laws made by the community of the realm.” Those last three words constitute a very powerful phrase, and precedent. Most British historians assert that the first ceremonial coronation, or perhaps that which was recorded in detail, was that of Edgar “the Peaceful” at Bath Abbey in 973. This was orchestrated by the great Saint Dunstan and featured both an early version of the contractual oath and a coronation banquet (feasting is always associated with coronations). William the Conqueror was the first monarch to be crowned at Westminster Abbey, Tudor coronations featured a notable expansion of pomp and symbolism (particularly Arthurian symbolism) reflecting concerns of legitimacy after the Wars of the Roses and the new sovereignty over the English Church established by King Henry VIII, and Stuart coronations were more elaborate (and longer) still, particularly those after the Civil War. King Charles II’s coronation featured a mile-and-a-half-long procession and reconstituted regalia, as Oliver Cromwell had destroyed what he saw as profane objects. In the 18th century, King George I’s coronation oath replaced “Kingdom of England” with “Kingdom of Great Britain” after the Union with Scotland, and King George IV’s oath replaced “Great Britain” with “United Kingdom” in 1821. At the end of that decade King William IV seems to have desired to dispense with all the pomp and circumstance, bud did ride to Westminster Abbey in the 1762 Gold State Coach, establishing a “tradition” which continued thereafter. Queen Victoria “restored” everything in her coronation in 1838, which lasted for five hours and featured lots of mistakes, mandating rehearsals for the future.

Edgar the Peaceful among the Saints, c. 1050; Thomas More’s poem upon the occasion of the Coronation of Henry VIII and Katherine of Aragon, 1509; Depictions of Queen Victoria’s Coronation looking back, 1897, Illustrated London News, all British Library.

There is room for variation and innovation in the order and elements of the Coronation ceremony as well as its overall presentation: to me, it seems to have evolved from a Christian and feudal ceremony to a secular and constitutional one, but there’s still quite a bit of religious overtone to it obviously, and more majesty than anything else. King Charles will maintain the four essential elements of every twentieth-century coronation: 1) the Recognition, derived from the recognition of the monarch observed by the Witenagemot, the Anglo-Saxon predecessor of Parliament; 2) the Oath, representing the contract between the monarch and the people; 3) the Annoiting (or Unction), representing the monarch’s consecration by the Church of England; and 4) the Homage: a feudal survival in which the “Lords Spiritual and Temporal” pledge fealty to the monarch. The King is crowned between the Annoiting (with the Restoration-reconstituted St. Edward’s Crown) and the Homage, and this is supposed to happen around noon, British time of course. But in addition to all this “tradition,” there will be some key changes, some very detailed, others rather momentous. King Charles and Queen Camilla will ride to the Abbey in Queen Elizabeth’s Diamond Jubilee Coach, rather than the golden Georgian coach. A new “Greeting of the King,” which will precede the Recognition, in which two chorus boys will welcome the King (and the Queen) to the Abbey. The Annoiting of a monarch is a sacred ritual, not be broadcast in any way, so iconographer Aidan Hart and the Royal School of Needlework have produced a privacy screen featuring a tree design representing the 56 Commonwealth countries, but there is a new annointing oil recipe! The Homage will be much shorter than in coronations past, as the 1999 House of Lords Act curtailed the peerage (but not short enough for most Britons, I think). But most important of all, the Coronation service will feature prominent roles for Muslim, Hindu, Sikh, Buddhist and Jewish leaders, as well as prayers and readings in other British languages (Welsh and Scottish and Irish Gaelic), and a woman will present the Swords of State and Offering for the very first time.

From Old England:  A Pictorial Museum of Regal, Ecclesiastical, Municipal, Baronial, and Popular Antiquities, ed. by C. Knight (1860).


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