Category Archives: History

A Salem Menu

Food history is not necessarily women’s history, but I’ve been reading and writing about Elizabethan recipes over the past month and I’m tired of men stealing the show. The most prominent authors in my sources, John Partridge, Thomas Dawson, Hugh Plat, Gervase Markham and more, all offered up popular recipe books in the later sixteenth and seventeenth centuries in which they vaguely refer to certain gentlewomen but steal all the credit for themselves: Partridge even inserted an illustration of himself writing out his recipes in his Treasury of Commodious Conceits. At the same time I was dealing with these gentlemen, I was trying to figure out who exactly was the authoress of a conspicuous cookbook entitled The American Matron, or Practical and Scientific Cookery (1851): the anonymous “housekeeper” signed her preface with a place, Salem, and a date, July 7, 1851, but no name. I’ve browsed through all the books about historic cookbooks, but no one seems to know who she was.

John Partridge (with his fancy florets) getting all the credit and a Salem housewife getting none!

While searching for the author of The American Matron, I put together a Salem menu of recipes which are generally attributed to our city in a variety of old cookbooks and books about cookbooks. The brand Salem gets used quite a bit at the turn of the last century, especially for anything that is particularly spicy or made with rum, so I’m not sure all of these are authentic “Old Salem” recipes, but I cross-referenced as many as possible. Some of these dishes were definitely more inspired by Salem than derived from Salem!

Preliminaries:

Old Salem Smash: Next to “Whistle Belly Vengeance“, this gets mentioned the most often as a traditional Salem beverage. Mix together 2 tablespoons sugar, 2 tablespoons water, and a handful of mint. Rub together to bring out the flavor of the mint, and then add rum–anywhere from 2 to 4 ounces!

Salem Soft Clam Soup: Remove the bellies from 2 dozen clams and put the remainder, with their juice, in a casserole. Add a quarter of water, herbs & salt and bring to a boil, then strain over the clam bellies. Bring to a boil again and add a pint of thick cream and butter. Season with salt and cayenne pepper and serve in a tureen with broken crackers. (From the Hotel St. Francis Cookbook by Victor Hirtzler, 1919).

Main Courses:

a fine Potatoe Pyewhich is really an Oyster Pie: Kathleen Ann Smallzried found several authentic old Salem recipes in the Essex Institute and published them in her wonderful 1956 book The Everlasting Pleasure (see title page above). I presume they are in the Phillips Library up in Rowley. This is the one that later food historians seem to get the most excited about!

To Alamode 20 pounds of Beef: for banquets! Another recipe found by Smallzried in the Essex Institute:

Salem Codfish Balls & Carbonnade of Mutton: both of these recipes are referred to as of Salem origin in several sources but I have my doubts. The codfish balls are pretty generic, and I found Carbonnade of Mutton in a 1594 English recipe book!

A side? The Famous Salem Suet Pudding! No question that this is a Salem Recipe—it is mentioned in 18th, 19th, and 20th-century sources. Not sure when you would eat it though: is it sweet or savory?

Sweets:

Timothy Pickering’s Pumpkin Custard: do we know if this is an old Pickering family recipe? Maybe the folks at the Pickering House do. This particular recipe (and assertion) comes from The early American cookbook : authentic favorites for the modern kitchen (1983) by Kristi Lynn and Robert Pelton: I can’t speak for its authenticity but as I was just at the Pickering House I felt that I had to include it (plus it’s pumpkin time, of course). There’s no question that Salem was a major cake city, if only because “fancy cake maker” Nancy Remond lived here for decades: while serving as Hamilton Hall’s resident caterer with her husband John, she also maintained her own cake business in the later 1840s and 1850s, offering a variety of cakes upon request. I was actually hoping that Nancy might be the mysterious author of The American Matron but I imagine that her approach to food was more creative than “scientific”.


Pickering House Perspectives

A well-interpreted house museum can offer up multiple perspectives, encouraging visitors to explore what interests them. I’ve been on some less-inspired tours of historic houses, believe me: too many family stories without any context whatsoever and too much plastic fruit are my own particular aversions. But a good house tour is a veritable–and personal–window into the past, and if it’s a particularly old house, many windows. One of Salem’s oldest houses, the Pickering House (c. 1664), been part of my life for a long time, but the other day I realized I had never taken a formal tour of it, or written a post! So I decided to rectify both slights this past weekend. I should lay all my cards on the table: the Pickering House was notable for having Pickering family inhabitants for decades but now is home to two good friends of mine, both energetic stewards who have hired in succession two stellar graduates of the History Department at Salem State as research docents: so I am a bit biased for sure. However, it seems objectively true that graduate #1, Jeff Swartz, really expanded the interpretation of the Pickering House during his tenure, and graduate #2, Amanda Eddy, is clearly following his example.

As Amanda told me, the Pickering House was always owned by John Pickerings, from the 17th century to the 20th, but the most conspicuous Pickering was Colonel Timothy Pickering, Adjutant-General and Quartermaster General of the Continental Army, Washington-appointed Postmaster General, Secretary of War, and Secretary of State, U.S. Senator and Representative, negotiator of Indian treaties, including one (miraculously) still standing, farmer. He himself was a multi-dimensional man, so if you’re going to tell the story around him, you’re going to have many stories. But the other Pickerings are interesting too: I could tell that Amanda was particularly fascinated with the John Pickering VI, who oversaw the trim transformation of the house’s front façade in1841, in the midst of a Gothic Revival craze in Salem driven largely by Colonel Francis Peabody of Kernwood and Harmony Grove fame. Mary Harrod Northend believed that Mr. Pickering was inspired by famous Peacock Inn in Rowsley, Derbyshire, but I’m not so sure.

Colonel Tim presiding over the Dining Room, Amanda Eddy showing us the evolution of the house; the Peacock Inn, UK National Archives.

So if it’s architectural history you’re after you have a wealth of styles to explore in the Pickering House: First Period craftsmanship of the seventeenth century, Gothic Revival style of the nineteenth, Colonial Revival elements added in the twentieth. If you’re more focused on material or visual culture, there are wonderful examples of needlework, portraits of Pickerings by Joseph Badger, and lots of little things to see. I love curio cabinets, and Amanda opened up the Pickering cabinet for us and took out: a piece of Old Ironsides, a pair of old eyeglasses, and the skeleton key to the front door. If your interest is more textual, there is a fabulous family library in the east room, a fragment of Timothy Pickering’s and Rebecca White’s wedding banns in the west, and a manuscript cookbook in the dining room. As Amanda is working with the family archives in the attic, she brought down several of John VI’s handwritten topical pieces for us to see, touch, and read.

Western parlor with portrait of Mary Pickering Leavitt (1733-1805) and her daughter Sarah by Joseph Badger; Hessians!; wonderful portrait by Mary, restored by textile conservator Elizabeth Lahikainen in 2017; the Pickering family arms; from the curio cabinet; LOVE this china pattern but forgot to ask what it is—please inform, someone; family books and one of John VI’s essays.

These are the kind of fabled places which should thrive during this pandemic as we all strive for connections: personal, cultural, social, historical. No crowds: just careful and curious people. There were just five of us, inside yes, but keeping our social distance with masks in place. We signed the register: proper procedure but also contract tracing. And yes, there were even a few witches.

Photograph by Salem photographer and artist James Bostick.

 


Outmoded Midwives?

Gender wars of the medical kind for this week’s #SalemSuffrageSaturday post, although I am uncertain of how much of a battle was waged here in Salem. Commencing in the seventeenth century with the efforts of the emigre Chamberlen brothers, armed with their supposed expertise and trade/family secret forceps, male physicians began to move into the lucrative practice of midwifery and consequently push women practitioners out in England. London’s midwives, licensed (first by the Church and later by the Royal College of Physicians), well-established and -esteemed, fought back with petitions, asserting that Neither can Dr Chamberlane teach the art of midwifery in most births because he hath no experience in itt but by reading and it must bee continuall practise in this kind that will bringe experience, and those women that desire to learn must be present at the deliv’y of many women and see the worke and behavious of such as be skilfull midwifes who will shew and direct them and resolve their doubts. These sentiments were expressed more fully in the first book about midwifery written by an English woman, Jane Sharp’s Midwives Book: or The Whole Art of Midwifery Discovered, first published in 1671 and in print until 1725.

Gonville and Caius Library, Cambridge University.

The encroachment of male physicians on an endeavor that had always been confined to women continued and accelerated in England over the eighteenth century, as an “obstetrics revolution” unfolded, but midwives continued to defend their territory with both pen and practice, and satirical artists joined the fray, with images of fumbling and grabbing doctors in wide circulation. The most arresting one by far was Isaac Cruikshank’s Man-Midwife (1793), a strange beast indeed. By the end of the century, midwives had lost about half of their market, as the wealthy and fashionable demanded the services—not quite so suspect as a century before—of educated physicians.

British Museum

The same scenario seems to have played itself out on this side of the Atlantic, although over a more constricted time period and with less organized opposition by American midwives, who did not have the numbers and public presence of their English counterparts. Midwives were very clearly held in high esteem in the new world as well: the adjectives used in their newspaper obituaries (after the hundreds and in some cases thousands of births they facilitated were noted) were: “godly”, “skillful”, “excellent” and “expert”. It is clear that their communities revered them. According to my survey of Boston and Salem newspapers, however, their advertisements get fewer and fewer after the Revolution and then suddenly, around 1795, the man-midwives arrive. That very year, as Mrs. Mary Wardilloe died in the charity hospital, Alexander Hunt, physician, surgeon and man-midwife (always a triple threat) set up shop in Salem.

Wellcome Library +Salem Gazette

After the turn of the nineteenth century, there are few references to professional midwives in the Salem papers, with the exception of death notices. In an effort to revive and professionalize the practice, Dr. Samuel Gregory founded the Boston Female Medical School to train midwives in 1848. Gregory’s motivations seem more moral than feminist, echoing the opinions raised in London a century before in his 1848 tract Man-Midwifery: Exposed and Corrected: “the employment of men in midwifery practice is always grossly indelicate, often immoral, and always constitutes a serious temptation to immorality.” The school was later assimilated into the Boston University School of Medicine, as midwifery was sidelined by the development of obstetrics, the emergence of nursing as a medical career choice for women, and the removal of childbirth from the home to the hospital.

The medical establishment of Boston, represented by The Boston Medical Journal, responded to Dr. Gregory with an opinion that “the transfer of the responsibilities of the lying-in chamber from the midwife to the educated accoucheur, resulted in a diminution of the mortality incident to childbirth, in the course of half a century, to half the former—and that physicians are more moral than clergymen.” Boston Post, April 4, 1856.

Appendix: yes, I have written this post about London and Salem midwives without mentioning witchcraft, because that connection is largely mythical. There’s an excellent discussion of how the connection was created at Dig: A History Podcast: “Doctor, Healer, Midwife, Witch: How the Women’s Health Movement Created the Myth of the Midwife-Witch”.


If You Build it, They will Come

Two very different tourist towns during the Pandemic of 2020: at the beginning of the summer, I was up in my hometown of York, Maine, so I wrote about its opening in the midst of Covid with every intention of writing a comparative “bookend” post on Salem. I am only getting to this now, with summer over and Salem’s Halloween season, 2020 version, gearing up. Yes: Halloween has arrived in Salem: apparently nothing can stop it, even a pandemic! The traffic and the crowds have increased noticeably over the last few weeks, and on Saturday I went for a walk to see to see what was up: I turned around after 5 minutes, it was simply too crowded for me to feel safe, after so many months of relative isolation. Then I went back on Sunday, and it was much better: less crowded, masks much in evidence, enough space away from the restaurants. I am wondering if social distancing downtown will be possible on October weekends: shops, restaurants, and attractions have limited capacity under the Covid conditions, so lines will form—and grow longer with each weekend until Halloween I expect.

Sunday 9/27/20: Salem downtown: not too bad! Most people had on masks, as the whole downtown is a mandatory mask zone. Mask ambassadors out and about. Longer lines at restaurants than the museums, with the exception of the Witch “Museum”, of course—which is not really a museum. This year, it finally gets some stiff competition from the Peabody Essex Museum with TWO Salem exhibitions on view: “Salem Stories” and the “Salem Witch Trials, 1692” (with authentic artifacts, expert curatorship and current historiography, as opposed to mannequins, narrative, and interpretation from circa 1968).

So I was originally going to title this post “City of Mixed Messages”, but after walking around, reading, and thinking a bit, I decided that wasn’t fair: I don’t think the City is putting out mixed messages. All the official events are canceled: people are just coming. There are attractions of course, like the traditional schlocky ones and the new PEM exhibitions, as well as a new Destination Salem app and a Frankenstein-esque Hampton Inn, but apart from the specific draws, I just think people like to come to Salem for (a very extended) Halloween. Witch City has been built with a very solid foundation, and they will come. Away from Essex Street, all was pretty quiet even in the city center: the Charter Street Cemetery has been closed for repairs for quite some time, and I saw only respectful wanderers at the adjacent Salem Witch Trials Tercentenary Memorial: certainly a far cry from thisThe City’s message this year seems to be come with a mask and a plan (like voting!) and hopefully that’s what people will do.

Six feet apart was possible at the Salem Witch Trials Tercentenary Memorial this past weekend.

But it’s still September. I am wondering how state protocols can be observed with more crowds. I saw lots of out-of-state license plates downtown: have these people quarantined for 14 days before they descended upon Salem? Last week when I visited the Beverly Historic Society, there were contact-tracing questions before I could enter the exhibition: is this happening in Salem? What’s going to happen on Halloween night, which is (of course, 2020) on a Saturday this year? No candy from me, kids; I’m sorry, I’ll double up next year.

As you can see, all was pretty quiet in the McIntire Historic District this past weekend, even in the Ropes Mansion garden, which is just GORGEOUS now—it’s the ultimate late-summer garden. The owners of this beautiful Italianate never do anything in half measures, but I suspect they must be part of Historic Salem’s  Halloween event: Halloween in Salem, a “festive virtual house tour” which will go live on October 9. A great idea and a safe way to experience Halloween in Salem.


Whist Women

I’ve learned a lot about Salem women, both as individuals and collectively, during this year of #salemsuffragesaturday posts, but there remain some gaps I’m looking to fill in the next few months. Of course I don’t have to stop posting about women when this commemorative year comes to a close, and I won’t, but when you focus over a period of time things become apparent. I gave a Zoom talk about “400 Years of Notable Salem Women” (kind of a ridiculous old-fashioned title, but I couldn’t come up with anything better) last week, and and afterward I was asked a question about church affiliations/religious life, and I thought: wow I have really skipped over that this year! This is a bias of mine in my teaching too: most of my scholarly and teaching focus is on the medieval and early modern periods, when religious identity was everything, and so whenever I get up into the nineteenth and twentieth centuries I’m like “people are not religious now”. Of course nothing could be rather than the truth: religion just becomes more separate and less public, but by comparison with the earlier eras religious affiliations and institutions seem subsumed by the secular. It’s very apparent that Salem’s churches served at the center of many women’s lives in the nineteenth and twentieth century, however, so that is something I need to address. I’m also interested in the social life of Salem women: their leisure activities, amusements, and associations. So far my collective view has been focused on advocacy and reform—the political life of women—but when they just wanted to hang out, what did they do? There were so many clubs and societies: very public and reform-minded, very secret and social, everything from the little-known Female Religious and Biographical Reading Society to the well-known Thought and Work Society, but what did Salem women do for fun?

This guy’s recommendations seem more prescriptive than descriptive…….

One activity came up again and again and again, in memoirs, personal histories, and newspaper accounts, in the early nineteenth century, the later nineteenth century, and the early 20th century: whist, a card game that dates back to the seventeenth century. Because of the Puritan disdain for cards, you don’t see any references to whist in the earlier century, but by the early nineteenth century it is clear that this was a popular pastime for Salem women (and men) and it grows more popular: looking back at the “gay” 1890s, James Duncan Phillips recalled that:

It took something more permanent than dances and parties to organize the society of Salem of the Nineties, and there were social organizations of the most firmly established character. At their head stood “Our Whist,” as it was always proudly referred to by its members. You had to be at least a Silsbee, or a Phillips, a Rantoul or a Gardner, or related to one, to belong to it, and before you could possibly join you must have been asked to “fill in” at least a dozen times…..This was good old-fashioned Whist—-none of the new-fangled varieties of bridge or contract, but the ladies took it just as seriously, and they were all old, very, very old friends….Whist night was a sacred appointment, and the loyal members were not supposed to break it or go elsewhere, nor was the night changed without serious consideration, or for any frivolous reason.” James Duncan Phillips, Salem in the Nineties”, Essex Institute Historical Collections 89. (October 1953)

I am quite done with Phillips as a historian, having come across several letters of his in an archive which can only be described as racist, but sadly I can’t resist his remembrances, which are full of chatty details you don’t read elsewhere. He takes us right into the Chestnut Street parlor with this one, and goes on to report that the games were played in complete silence, but after the last hand the socialization began. I assume that sherry was in the hands of these genteel women (as in Boston) but he only refers to peppermints and “vulgar” chocolate bonbons as refreshments. Writing from the perspective of the mid-twentieth century, he does give us a valuable insight into the evolution—and end—of this venerable game: so many “new-fangled” variations emerged over the nineteenth century, and eventually several evolved into bridge.

So many different variations of whist—-trophy, progressive, duplicate, Boston, and more—and so much whist STUFF: markers, cards, chests, books. It’s a game that can be recounted through both literary and material culture.

If it was just a few Chestnut Street ladies I don’t think I would have bothered with whist, but I kept finding more references to it, indications that its popularity was more egalitarian and extensive. A case in point is this wonderful news item from the winter of 1900: Six Salem Willows Who Dug Out Snow-Blocked Street Railway After Employees Had Refused to Aid. Apparently the February 22 meeting of  Juniper Point Whist Club in Salem Willows was imperiled by the snow drifts which covered the tracks of the Lynn & Boston railroad, so a “shovelling brigade” of six of the Willows’ “leading ladies” (Mrs. Harry Esbach, Mrs. John Swasey, Mrs. Joseph Brown, Mrs. Charles S. Brown, Mrs. John Dunn and Miss Louisa Choate) was formed, enabling to meeting to go on! The Boston Daily Globe goes on to report that the ladies cleared 150 feet of track in two hours: they were determined. You start to see some subtle (and not-so-subtle) criticisms of whist-playing women in the next few decades, like this “vinegar valentine” portraying a masculine-dress Suffragette torn between her whist/bridge meeting and voting Election Day.

Determined Salem Willows whist women: Boston Daily Globe, February 22, 1900; “vinegar” valentine, Kenneth Florey Suffrage Collection.

Moving back a bit, I have to admit that my interest in whist was really sparked by another memory of James Duncan Phillips: of a “living whist” game/performance held in Salem in 1892.  This was a “famous” party, held at the Cadet Armory on Essex Street for the benefit of the Salem Hospital as he recalled, and “directed by a Madam Arcan.” Indeed, Madame Arcan directed living whist in over 25 American cities in 1892 and 1893, and the Salem event is prominently featured in several national newspaper stories. No pictures, unfortunately! Living whist seems to have been spin-off of the living chess “movement”, originating in Britain and spreading to the rest of the empire (and the US) over the 1890s, yet another expression of that very dynamic decade.

Living whist performances in Australia & San Francisco (right): the latter was directed by the famous Mme. Arcan, who also oversaw the Salem event in early 1892.


The Story of the Revolution

I envy the residents of the towns and cities neighboring Salem for their active historical societies, most prominently Historic Beverly, otherwise and previously known as the Beverly Historical Society, which offers up an impressive calendar of exhibits and events regularly, even in this pandemic year. In particular, check out the impressive online exhibit Set at Liberty, which explores the experience of the enslaved in Beverly through materials in Historic Beverly’s archives. There is a very clear commitment to interpretation and accessibility, and given the richness of its collections, much to look forward to for both initiatives. I had been to Historic Beverly’s Balch House and Hale Farm before, but never to its headquarters, the 1781 John Cabot House, so I took advantage of the occasion of a real exhibit to visit yesterday. Henry Cabot Lodge, a Beverly native and prominent U.S. Senator, published his two-volume Story of the Revolution in 1898, illustrated with (uncredited) images commissioned from some of America’s most accomplished artists. Several years later, the 45 paintings which were the foundation of the Revolution plates were donated to the Beverly Historical Society by Susan Day Parker, and 20 of these paintings are on view this week. They did not disappoint, and neither did the John Cabot House!

Before I went to the exhibit, I thought I should take a look at the book, but it was a bit disappointing, although true to its title! It’s a story, a narrative, with little analysis or context: the sort of straightforward and patriotic history that I imagine our President admires. But this was 1898 and par for the course. Senator Lodge did have a Ph.D. from Harvard, with a dissertation on the Germanic origins of Anglo-Saxon law. That caught my attention, as I have a new course on the constitutional history of England coming up next semester, so perhaps I will check out his contribution to the Essays in Anglo-Saxon Law (1876). But as I said before, the paintings did not disappoint: many were colorless, but the intensity of oil was still there, and the battle scenes were also intense and very detailed, more so than the blook plates. I’m not sure you can see the difference with the collage below, but in person, these tonal paintings were striking.

Tearing Down the Leaden Statue of George III on Bowling Green, NY to Celebrate the Signing of the Declaration of Independence, July 9, 1776 (Book plate + painting), Frederick Coffay Yohn.

 

A bit of red in Yohn’s Concord Bridge painting, and four more Story paintings by Yohn: The Defense of Fort Sullivan, The Repulse of the Hessians Under Count Donop at Fort Mercer, Winter at Valley Forge, and The Battle of Bennington.

 

Hugh W. Ditzler, Washington Taking Command of the Army at Cambridge, Edward H. Potthast, Bayonette Charge at the Battle of Camden; and F. C. Yohn (again; I guess I’m a fan and clearly Cabot was too), The Siege of Yorktown.

My favorite painting in the exhibition did not make it into the book: Carlton T. Chapman’s The Running Fight (below). I’m not sure why it didn’t make the cut, other than perhaps Cabot’s preference for the war on land, but I love it. These paintings are on view for only this week, so if you want to see them for yourself, sign up for some (free) timed tickets and/or tune in to curator Abby Battis’s Facebook live event on Thursday afternoon.

The Story of the Revolution at Historic Beverly’s John Cabot House (117 Cabot Street) through September 26: more information here.


Lady Arbella

Certainly one of the most romanticized women in Salem’s history is Lady Arbella Johnson, who died here in the late summer of 1630, not long after she arrived on these shores in the flagstaff ship of the Winthrop fleet named after her, thus remaining ever young and beautiful. She was a Puritan martyr to Cotton Mather, “Coming from a paradise of plenty and pleasure in the family of a noble Earl into a wilderness of want, and unable to stem the tide of these many adversities of her outward condition, she died at Salem……and took New England on her way to heaven.” Her nobility is always noted: she was the daughter Thomas Fiennes-Clinton, the third Earl of Lincoln, and sister of Theophilus, the fourth earl. So there is a strong sense of sacrifice attached to her, as Mather’s assessment illustrates. Then there is her husband, Isaac Johnson, young, articulate, wealthy, committed to the cause, and apparently very much in love with the fair Arbella: he followed her to the grave a month later. They were both snuffed out before they could make their mark, leaving the field to their shipmates and fellow Lincolnshire Puritans: John Winthrop, Samuel Skelton, Anne Bradstreet, Simon Bradstreet.

Two prints by Moseley Isaac Danforth based on a painting by Charles Robert Leslie, 1837, British Museum and Pennsylvania Academy of the Arts. 

After Mather, I don’t think anyone really cared about Lady Arbella, until she was resurrected in the nineteenth century: of course Hawthorne had to write about her, as he was always mining Salem’s colonial past and her story was right up his alley. She is the tragic first owner of Grandfather’s Chair, which bore the Lincoln arms and in which she sat in the summer of 1630, “fading away, like a pale English flower, in the shadow of the forest” which her husband away in Boston and her growing realization that “none should be here but those who can struggle with the wild beasts and wild men, and can toil in the heat or cold, and can keep their hearts firm against all difficulties and dangers.” This new world was not for her. The less-deft Romantic author Lydia Sigourney went even further in the tragic direction with Arbella, who is plucked right out of the Lincoln castle, Tattershall (where she never lived) and set upon a difficult voyage towards an inevitable death.

Nathaniel Hawthorne, Grandfather’s Chair. A History for Youth, first published in Boston in 1840; Lydia Huntley Sigourney, Myrtis: With other etchings and sketchings. New York, 1846.

Lady Arbella remained a subject of interest after the Centennial: the Johnson’s short landing in Salem provided a tragic counterpart to the happier story of John and Priscilla Alden’s foothold on the South Shore. There is a particular emphasis in the later nineteenth-century stories on the graveless Arbella, a wandering ghost as she was buried in some unmarked “Potter’s Field” off present-day Bridge Street (near the present-day Arbella Street) in Salem: this angle makes her even more tragic, of course, and even more interesting. With the “recreation” of Pioneer Village and the Arbella for the Massachusetts Tercentenary of 1930, Lady Arbella gained a twentieth-century notoriety which is still (somewhat) alive today: the ship is no longer with us, but the Village is, though there are plans to move it to Salem Willows, perhaps in time for Salem’s 400th anniversary.

Postcards from the 1930s-1950s of the Arbella and what was originally called The Pioneer’s Village at the time, including a very healthy-looking Lady Arbella in front of “her” house.

Appendix:

Lady Arbella was one of eighteen children, and consequently her mother was considered an expert on childbirth: she was actually the first English woman author of an instructive book for women, The Countess of Lincoln’s Nursery, published in 1622. (I was just writing about this book for my book when I began this post!) A brother and two sisters also made it to the New World, and former Lincoln steward (and father of Anne Bradstreet) Thomas Dudley’s letter to Bridget, the Fourth Countess of Lincoln, remains an absolutely essential source for the early settlement of Massachusetts. The Sempringham-Salem connection consisted of multiple strands, and is best viewed in an Atlantic perspective, as this was the lived experience of both those who made the crossing, and those who stayed behind.

Appendix #2: I’m giving a lecture on ALL (or most) of my #SalemSuffrageSaturday ladies for the Pickering House tomorrow (September 20) at 5pm on Zoom: more details here.

 

 

 


Tragedy amidst the Everyday

I LOVE Diaries: they offer such personal perspectives into the past, encompassing both “big” events and everyday occurrences. I read diaries, teach with diaries, and think about diaries often. I even like books about diaries, such as Kate O’Brien’s volume in my favorite Britain in Pictures series. So it is rather odd that I have omitted one of the most important diaries of a Salem woman in this year of #SalemSuffrageSaturdays until now: that of Mary Vial Holyoke (1737-1802), the second wife of Salem’s most eminent physician, Edward Augustus Holyoke (1728-1829). Mary’s diary was published in a compiled volume of Holyoke diaries published by the Essex Institute in 1911, after having been in the possession of several collectors, including the famed Salem numismatist Matthew Stickney.

Photograph of a Greenwood Portrait of Mary Simpson Vial before her Marriage.

1771 Portraits of Dr. Edward Augustus Holyoke and Mary Vial Holyoke by Salem artist Benjamin Blyth, referred to in Mary’s diary: Dr. Holyoke’s portrait, which descended in the Osgood family, is from the Northeast Auctions archive; Mary’s portrait, which descended in the Nichols family, appears to be lost at present.

 

Last week’s list of “notable Salem women” from the perspective of 1939 included Mary and drew me back to her diary, a record of 40 years of her rather enclosed life in Salem from 1760 to 1799. I had read it several times before but found it………….. unpleasant is the word I think I want to use. At first reading, the impression that I formed was of a superficial woman who gave birth to babies annually—most of which died within days—and resumed her social activities and household duties without missing a beat. None of this was unfamiliar to me as an early modernist: infant mortality hovered between 15 and 20% while 60% of all children born died before the age of 16 in the sixteenth and seventeenth centuries and childbirth was the leading cause of death for women, who were not especially introspective when they took pen to paper. But both Mary’s losses (8 of her 12 children) and her diary’s quickfire mix of the mundane and the sorrowful are comparatively extreme. Just one page of entries from the summer of 1767 contains entries about gardening, polishing or “scouring” furniture brasses, hanging bed curtains, attending “turtle” feasts and hosting the regular Monday assembly. Then on September 5 she was “brought to bed” at 2:00 in the morning, and gave birth to a daughter baptized Mary on the next day. On September 7 she reports that “The Baby very well till ten o’clock in the evening & then taken with fits.” Two days later, “It Died about 8:00 in the morning.” On the next day, we read simply “was buried” without even a pronoun.

A child’s shoe last from the first half of the nineteenth century, Historic New England

As I read the diary again over this past week more carefully, Mary emerged as a more thoughtful, caring, and substantive person. She was among a circle of women in Salem who were not just drinking tea and attending “turtles” (I love this name for social gatherings and think we should resume it) with great regularity, but also attending all those were brought to bed: for birth, for illness, for death: they were always “watching”. Mary was watched, her dying children were watched, and she herself watched. The entry above seems cold to be sure, but Mary generally referred to “my dear child” while noting the burials of her infants. And then there was the particularly poignant entry after the death of yet another of her newborns in 1770: the same as all the others. You almost can’t blame her for getting right back to the business of household work, which she does with great relish after she and the Dr. (this is how she refers to her husband) move into their permanent house on Essex Steet: this becomes “our house” and there’s a lot of work to do to maintain it: scouring, provisioning, ironing, soap-making, bottling, sewing, cooking, gardening, preserving (preserved damsons, a week too late! exclamation mine) and other tasks are all noted in detail. I think I dismissed the diary previously because Mary had little to say about the Revolution, but she does take note of the repeal of the Stamp Act and the “setting off” of a “feathered man” before the Revolution, and as it proceeds she gradually refers to the Americans as “our people”, perhaps reflecting her husband’s transition from Tory to Patriot. Dr. Holyoke was an early adopter of smallpox inoculation, and she records the constant outbreaks as well as the incremental inoculations. Earthquakes also appear with surprising regularity in the diary: I had no idea Salem was subject to so many tremors in the later eighteenth century. Extreme weather was also notable: Salem experienced some very hot summers and several “great” snows during Mary’s lifetime she elaborates on the former and is quite succinct about the latter. There’s more to learn about and from Mary Vial Holyoke, to be sure: you’ve just got to read carefully, between the lines and with careful attention to the personal pronouns, as she brings us into her world.

The Bowditch-Holyoke House at the corner of Essex & Central Streets in Salem, presently the site of the Naumkeag Block     


Salem Women of Note, 1939

The very last time I was up at the Peabody Essex Museum’s Phillips Library in Rowley, last February I believe, I requested a folder within which was the transcript of a short paper given at a meeting of the Zonta Club of Salem in 1939 by Annie Balcomb Wheeler entitled “Salem Women of Note”. I thought this would be the beginning of regular trips to the Phillips, but then came the pandemic closures. It is open now, but I just don’t have time to go up there with my book contract and four courses this semester: I won’t for some time, maybe never, unless I decide to take take up another book project, tentatively titled “Dead History: How America’s Most Historic City lost its Past” in my mind (the phrase Dead History is taken from a 1915 newspaper article about Salem’s deteriorating historic sites, but obviously it is a double entendre now). There’s some interest in this, but I’ve got to get through The Practical Renaissance first, and after that it might be better to leave Salem history in my rear-view mirror except for fluffy forays here. I remain rather forlorn about the state of Salem’s historic archives and interpretation, but am happy to see that the Peabody Essex Museum is diving into Salem history headfirst this fall, with two collections-based exhibitions on the Witch Trials and “Salem Stories“. This is quite a change, and I hope not just a reaction to the pandemic, which has reoriented many museums towards local and regional visitors. A renewed and sustained interest in historical interpretation and programming by the PEM could be a game-changer for Salem.

Ropes by Purely SalemA wonderful view of the PEM’s Ropes Mansion on Essex Street by my friend Matt of PurelySalem on Instagram! (He takes the most beautiful photographs). I‘m hoping that PEM’s foray in history involves looking at old things in new light: the Ropes is a great example because there are many stories that remain untold about it. It’s not a GOOD story, but we need to know more about slavery in Salem, and the Ropes Mansion was built by one of Salem’s more prominent slaveowners, Samuel Gardner. 

Well, high hopes for “Salem Stories” but back to Annie Balcomb Wheeler and her notable Salem women of 1939. I certainly didn’t expect this little paper to be my last dive into the Phillips collection for months and I didn’t spend much time with it: I just noted the women whom Annie Balcomb Wheeler found notable, because I wanted to compare her 1939 list with my evolving list of women spotlighted in my #SalemSuffrageSaturday posts. It’s so interesting to me to chart the highs and lows of written history: who or what we deem important now as opposed to who or what was important in 1939 or 1839 or 1739. Right now in Salem I think people are primarily interested in women of color, Charlotte Forten and Sarah Parker Remond in particular, as well as the traditional philanthropists, like Caroline Emmerton, the founder of the House of the Seven Gables. None of these women made it onto Wheeler’s list, which includes the Quaker Cassandra Southwick, poet Anne Bradstreet, accused “witches” Mary English and Elizabeth Proctor, educators Abigail Fowler, Lydia Very, and Ellen Dodge, physicians Sarah Sherman and Kate Mudge, diarist Mary Vial Holyoke and author Maria Susannah Cummins. I’ve posted on all of these women, with the exception of Fowler, Dodge and Holyoke: the educators are new to me but the latter is a definite oversight! It’s very notable to me that there are no artists on Wheeler’s list–nor entrepreneurs—as Salem women’s history is so rich in these categories, but I’m happy to see the emphasis on education and medicine. I wonder why she chose Mary English and Elizabeth Proctor, and not other victims or accusers of 1692? As it happens, I had just been looking at a document of testimony against the former at Yale’s Beinecke Library as I was trying to find some seventeenth-century writing that my students could actually read: here it is, along with the deposition of Mary Walcott against Proctor from the University of Virginia’s Documentary Archive and Transcription Archive, which has been the essential repository of Salem Witch Trials records and resources for more than a decade.

Salem Women Indictment Mary English Yale

Salem Women of Note Elizabeth Proctor1692 Depositions against Mary Hollingsworth English and Elizabeth Proctor, Beinecke Library at Yale and University of Virginia’s Salem Witch Trial Documentary Archive and Transcription Project.

I cannot account for all of Salem’s female schoolteachers: there are so many! Abigail Fowler seems to have had a career which spanned 50 years: upon her death in 1771, her obituary noted that this “noted school dame” had “finished her earthly labors. She was in her 68th year, and began to teach children before she was 18, and continued so to do till her decease”. I wrote about Lydia Very here: she was both an author (or poetry and children’s books) and public schoolteacher for many years, but her legacy has always been overshadowed by that of her brother, Jones Very. Ellen Maria Dodge was a longtime instructor at the Salem Normal School, and she also wrote the School’s history upon the occasion of its move from downtown Salem to its new campus on Lafayette and Loring Streets.

Lydia Very (2)

Salem Women of Note Ellen DodgeA privately printed book of poems by Lydia Very, 1882, Boston Book Company; Ellen Maria Dodge, Salem State University Archives and Special Collections.

I’ve written about Salem women physicians and Maria Susannah Cummins, the author of the incredibly popular Lamplighter, but recently I discovered a connection between Dr. Kate Mudge, who lived in the Bowditch House (currently the offices of Historic Salem, Inc.,) where Cummins was born. Like Bradstreet, I don’t really consider Cummins a Salem girl: her parents moved to Dorchester shortly thereafter. But still, cool connection: Dr. Mudge was certainly aware that she lived in the storied house of Nathaniel Bowditch and Maria Cummins, because her contemporary, photographer Frank Cousins labeled his photograph of the house (then around the corner on Essex Street) as such.

Salem Women Bowditch House (3)The Curwen/Bowditch House, Salem, 1890s. Frank Cousins/Urban Landscape Collection at Duke University Library.

So that brings me to Mary Vial Holyoke (1737-1802), the second wife of Dr. Edward Augustus Holyoke, and her diary. I have never appreciated this text properly, I think: Annie Balcomb Wheeler has convinced me to look at it again. It’s just that Mrs. Holyoke is so matter-of-fact about everything, especially death, including the deaths of her infant children and people all around her. This is certainly not a reflective diary, or a modern diary, but I should try harder to read between its lines, because I think Mary Vial Holyoke deserves her own post.

Salem Women of Note Mary Vial by GreenwoodPhotograph of a Greenwood portrait of Mary Vial Holyoke.


Lafayette Fangirls

I just love the idea and the historic reality of the “Farewell Tour” taken by the Marquis de Lafayette in 1824: the exuberant reception, and the deep appreciation expressed by both Americans and Lafayette again and again and again, everywhere he went. I also like all the things that were produced for this occasion: prints, plates, paintings, ribbons, all manner of print and material commemorative culture. In honor of its namesake, Lafayette College has amassed a large collection of Lafayette memorabilia but it is by no means the only repository of such items. Like every American town and city where Lafayette alighted, Salem greeted him with great enthusiasm, on this very day nearly 200 years ago, and Lafayette left his mark: the main southern thoroughfare to Marblehead was named after him, as well as one of my favorite rooms (the room with the bar!) in Hamilton Hall. The Hall was the site of the elaborate dinner (including 65 separate dishes) for the General/Marquis prepared by its increasingly-renown African-American caterer John Remond and his wife Nancy, with the ladies of Salem providing the decorations: the Salem Gazette reported that the “whole effect was beyond our powers of description” on the next day.

Lafayette in Salem Collage

Even more so than the Hall, it’s these ladies that I am interested in, as I bet they were all decked out. I love the Lafayette ladies’ accessories from this era: the ribbons, hats, gloves, and fans which were worn at the parades in his honor and then tucked away in some keepsake box, perhaps brought out at the time of his death in 1834, and then packed away again. They’re not difficult to find, as Lafayette’s tour was so extensive, and women who could afford to displayed their patriotism in a very exuberant and festive fashion: we have to remember that Lafayette was not only a valiant foreigner who answered America’s call at a crucial time, he was also the last living Revolutionary General in 1824. He was more than “the Nation’s Guest”, but he was also French, so deserving of a display.

Lafayette Gloves

Lafayette Bag Cooper Hewitt

Lafayette-Ribbon-Lafayette-CollegeGloves with Lafayette’s image from the collections of the Metropolitan Museum of Art and the Museum of Fine Arts, Boston; a silk bag from the Smithsonian’s Cooper Hewitt Museum, and a ribbon from the collection at Lafayette College.

Fans are the most elaborate of Lafayette mementos, in my humble opinion, and several Salem ladies had fans for the farewell tour–whether they were domestically produced or French imports I do not know. There’s a lovely Lafayette fan featured in the Museum Collections of the Essex Institute which I assume is still in the collection of the Peabody Essex Museum, but I can’t find it, of course, because PEM. The Museum of Fine Arts has two fans which likely belonged to Elizabeth and Sarah Derby, if the initials are any indication. If they did in fact belong to the Derby girls, I don’t know if they had them in hand on that day, this day, in 1824: all of the newspaper accounts reported heavy rain in Salem. And after that he was gone, but the adoration continued: in a piece that was reprinted up and down the east coast the Salem Gazette observed that “Everything is Lafayette, whether it be on our heads or under our feet…..” in October.

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Lafayette Fan Elizabeth Derby MFA

Lafayette Fan Sarah Derby MFA

Lafayette-Salem-Oct-12-Gazette

Fans in the collections of the Essex Institute (Peabody Essex Museum?) and Museum of Fine Arts, Boston; Salem Gazette, October 12, 1824.