Category Archives: History

A Scalping in Salem

As today is “Salem Women’s History Day” as proclaimed by our mayor, I thought I should write about a “notable” Salem woman. I’ve certainly featured lots of Salem women here, including accomplished authors, artists, and activists, some prominent socialites, a few domestic heroines, and even an accused murderess, but there are lots more stories to tell. When considering my options, one particular woman kept popping up in my mind, or rather I couldn’t get her out of my mind: Hannah E. Leary of Cross Street, a carding machine operator at the Naumkeag Steam Cotton Company in the late nineteenth century. To my knowledge, Hannah did not write anything, or paint anything, or organize anything of note, but she did suffer a tragic, terrible accident in the summer of 1894 which is perhaps representative of the challenges of daily working life for many Salem women at this time. And that makes her notable. On a hot day in late July, Miss Leary’s hair was caught in a carding machine, effectively “scalping” her: the suffering that she experienced on that day and over the next week was chronicled daily in the pages of the Boston Post, giving her a notability that her fellow workers, both male and female but all un-maimed, lacked.

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Naumkeag Steam Cotton Co 1890s Cousins First reports on the scalping of Hannah Leary, Boston Post, July 27, 1894; the Naumkeag Steam Cotton Company, popularly known as Pequot Mills, in the 1890s, Frank Cousins.

The reporting is very detailed, and thus hard to forget. Hannah never lost consciousness although many around her fainted. Her bloodied scalp was retrieved from the machinery and she was conveyed to the Salem Hospital on Charter Street (after a considerable time, as the hospital’s one and only ambulance was in Swampscott). There the doctors began the delicate task of re-attaching her scalp to her head with the hopes that it would “knit”. We are informed that Hannah is one of the oldest women workers at the Mill, at age 43, and that her employment began when she was 15. We are also informed that she normally wore her long hair braided and pinned, but that on this particular day she did not. Reaching down to pick up something under the machine, she was caught in its mechanical death grip, an occurrence that has happened many times before, the paper tells us. Every day over the next week the Post checked in on her condition: things look bleak as we read one lurid headline after the next, and then we read that “she may live”, and no more—I guess she ceased being news.

Leary Collage 2 Daily Reports on Hannah’s condition in the Boston Post, August 1-5, 1894.

Some context: these industrial accidents happened all the time. I went through all the regional newspapers trying to determine Hannah’s fate and read about worker after worker falling, losing fingers, being scalded or burned or blown up. The “scalping” reports definitely receive the biggest headlines. Hannah’s doctors are almost blasé about her injury (it happened to a girl last year), and she had suffered another mangling earlier in her career. Everyone knows about the big industrial tragedies, like the Pemberton Mill collapse of 1860 or the Triangle Shirtwaist Factory Fire of 1911 or the Great Molasses Flood of 1919, but the daily toll on individual workers seems relentless. I am also struck by how neglected Salem’s industrial and labor history is: it’s as if we’re caught in a colonial Groundhog Day where we have to repeat the same stories again and again and again. My colleague at SSU, Avi Chomsky, has focused on industrial relations in this era for both a book chapter (in Salem: Myth, Place and Memory by my other colleagues, Dane Morrison and Nancy Lusignan Schultz) and an exhibition  on the Pequot Mills Strike of 1933, and more recently, Jacob Remes has examined workers’ organization in the aftermath of the Great Salem Fire of 1914 in Disaster Citizenship: Survivors, Solidarity, and Power in the Progressive Era. There is a lot more work to be done, however, to put Hannah’s story in a more comprehensive context: the “mill girls” of Salem stare out at us in the photographs of Lewis Wickes Hine but we don’t know much more about them than their names.

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Factory Women Lawrence More:  reports in the North Adams Transcript and  Fitchburg Sentinel, 1899, 1903 & 1913; Factory women photographed in the Workforce Washington Factory in Lawrence, MA, March 27, 1903, Lawrence History Center.

And what of Hannah? Because of her tragic accident she does emerge from the pack of “typical old-maid workers” in the words of pioneering photographer Frances Benjamin Johnson, but only in bare outline. The newspapers abandoned her as soon as it appeared that she would recover. She returned to her sister’s house on Cross Street, but not to work. She died four months later of a “tumor in the uterus”, still only forty-three years old.


Death Cushions

In the early morning of this day in 1603, the great Queen Elizabeth I died at Richmond Palace, in a great royal bed befitting her station in life and history. But this was not her chosen place of earthly departure: she was forced into it after days of lying upon a pallet of cushions laid out in her privy chamber by her ladies-in-waiting. The Queen’s death watch was very focused on these cushions, as recorded by the oft-cited account of Sir Robert Carey, and imprinted in historical memory by Paul Delaroche’s famous 1828 painting, The Death of Elizabeth I. According to Carey, on the Sunday before her death the Queen did not go to chapel; instead  she had cushions laid for her in the privy chamber hard by the closet door, and there she heard service. From that day forwards, she grew worse and worse. She remained upon her cushions four days and nights at the least. All about her could not persuade her, either to take any sustenance, or go to bed. The Queen grew worse and worse, because she would be so, none about her being able to persuade her to go to bed. My Lord Admiral was sent for, (who, by reason of my sister’s death, that was his wife, had absented himself some fortnight from court) what by fair means, what by force, he got her to bed. There was no hope of her recovery, because she refused all remedies.

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elizadutch Paul Delaroche, The Death of Elizabeth I, Queen of England (1828), Musée du Louvre, Paris;Queen Elizabeth I of England receiving Dutch Ambassadors (1570-75), Artist Unknown. Neue Galerie, Kassel, Germany.

Both the story and the image make me sad, not just because it’s a death scene, but also because they remind me of my favorite image of the Queen in her prime, the charming painting Elizabeth receiving the Dutch Ambassadors (above), painted in the 1570s by an anonymous artist. I just love everything about this painting: its accessibility and informality, the interior details (floorcovering, wallpaper, windows!), Thomas Walsingham’s skinny legs, the ladies-in-waiting lounging on the cushions–perhaps in the very place that Elizabeth herself reclined for the penultimate time. It’s very intimate, and so is the image of a very vulnerable Elizabeth at the end of her life. She is so tired, she’s done: why can’t she choose her own place of death? But no, her final dutiful act was to consent (???) to be carried into that big bed to die.

Eliz Final Hours Elizabeth in her Last Hours. Illustration for the History of Queen Elizabeth by Jacob Abbott (Harper, 1854).

The public reactions to Elizabeth’s death (as far as we can tell from printed sources) seem to fall into two camps: relief that a secure succession was enacted (the Queen is dead; long live the King) and devout mourning. I think there must have been some relief in the latter camp too, because there was considerable anxiety about Elizabeth’s inevitable death and succession over the previous decade, if not longer. But this was the end 0f a long reign, likely the longest in historical memory for Englishmen and women, and when her long, choreographed funeral procession made its way through the streets of London a little over a month later (drawings of which you can see here) I have little doubt that those on the sidelines knew they were witnessing  the ritualistic end of an era.

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Is Purity Possible?

Architectural purity, I mean: there’s no philosophical, spiritual or political rumination going on here. My house is such an assemblage of Federal, Greek Revival and eclectic Victorian styles that I often find myself craving architectural purity: it was “transitional” when it was built in 1827 and it became even more so as it was expanded and remodeled over the next century. A whole rear elbow ell of outbuildings was attached and then shorn off. Inside straightforward Federal mouldings were replaced with rounded Italianate ones; a simple staircase was replaced with one much more detailed and made of mahogany, and 1920s etched glass was inserted into the original doors. Even its “classic” exterior with flushboard facade was altered: with the customary bay window that pops out nearly everywhere in the later nineteenth century and an elaborate doorway below, and some curvy trim attached to the first-floor windows, now long disappeared. I like my house, but occasionally I think I might want to live in the perfect First Period house, the perfect Georgian house, or the perfect Greek Revival house. However, I’m just not sure any of these houses exist, and if they do, whether they are the products of recreation or preservation. More likely than either is the organic and utilitarian evolution that most houses experience which robs them of their untouched purity but enhances both their livability and their accessibility (and occasionally their charm).Arch Purity 1

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My house features a “progression” of nineteenth-century interior mouldings, but even the all-First Period William Murray House on Essex Street in Salem experienced some evolution. 

Two cases in point are some houses I am currently “realestalking”: another 1827 house which just came on the market in Salem, and a First Period house in Ipswich which I’ve had my eye on for a while. I’ve always admired the Samuel Roberts House on Winter Street, but it’s hardly “pure” with its modified entry, addition (s), and twentieth-century garage. Yet somehow it all works (I would probably sacrifice the garage for more garden, but I think those mid-century garages are protected). The Ipswich house was built in 1696 and expanded considerably in 1803; I imagine the window came a bit later.

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I am always thinking about the evolution of houses, but this particular thread started when I was researching yet another lost seventeenth-century Salem structure: the Benjamin Marston House, which was built in the later seventeenth century and demolished around 1870. Unfortunately it was not photographed before its demolition (to my knowledge, and I looked everywhere) but the ever-dependable Sidney Perley made a drawing for one of his Essex Antiquarian articles. Through his deed research, he was also able to trace the ownership of the house as well as its increasing size, and what emerges is an image of a true hybrid house, with a First-period back and a Federal front! I wish I could see this house, even in photographic form, and I imagine the streets of Salem were full of these composite structures in the nineteenth century. The Marston house was replaced with a more imposing structure that remains pretty “pure” today: the imposing Second Empire Balch-Putnam House, sometimes known as “Greymoor”.

Benjamin Marston House, Salem, Massachusetts

Salem Map 1851

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Sidney Perley’s c. 1900 illustration of the Benjamin Marston House; the location of the house (*) on Henry McIntire’s 1851 map of Salem, and the house on that site today.


Howard Pyle and Salem

Spring break week and I’m going nowhere, unfortunately. Yet I am actually content to have the extra time to catch up on a backlog of administrative and academic work, with the freedom to follow a few wandering trails as they come my way. Last night I was working out some of the details of the forthcoming symposium on the 325th anniversary of the Salem Witch Trials that my department is co-sponsoring (Salem’s Trials: Lessons and Legacy of 1692–June 10, said details to follow) when I came across one of my favorite illustrations by the golden-age illustrator Howard Pyle: A Wolf had not been Seen at Salem for Thirty Years.  The “making of Witch City” is one of the topics that we will be examining at the symposium, so I wondered what role Pyle might have played in this evolution. And so symposium planning went by the wayside as I pulled up as many of his illustrators as possible: wolfs and witches, along with Puritans and Pirates, were some of Pyle’s favorite subjects. This was a pleasant diversion as I’ve always enjoyed Pyle’s work, and not altogether indulgent: he was of an era (coinciding with the decades on either side of the 2ooth anniversary of the Witch Trials) when the image of the Salem witch was imprinted in the public mind in both pictures and words, and that’s why many of the images below look so very familiar.

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Pyle Flock of Yellow Birds

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Pyle Broomstick Train

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Salem images by Howard Pyle: title page of “The Salem Wolf”, Harpers Monthly Magazine, December 1909; “Arresting a Witch” and “Grany Greene falleth into ill repute”, Harpers New Monthly Magazine, December 1883;  “A Flock of Yellow Birds abover her Head”, from Giles Corey, Yeoman, by Mary E. Wilkins, 1892; two illustrations from Dulcibel: a Tale of Old Salem by Henry Peterson, 1907; illustrations from Oliver Wendell Holmes’ The Broomstick Train, or the Return of the Witches, 1905 color edition.


Wired for “Effortless Living”

There is a well-maintained Colonial Revival house on Loring Avenue in South Salem for sale right now: it looks unassuming, but when it was built in 1924 it was famous, surpassing, very briefly, Salem’s other notable structures. This house was one of hundreds, maybe even thousands, of model “electrical homes” built across the country in the 1920s and 1930s, and people lined up outside to see just how bright their domestic futures were going to be.

Wired House

The Salem Electrical Home was actually one of the first “Modern Homes” in the Boston region, joined in the next decade by equally popular electrical homes in Needham, Reading, Jamaica Plain, Lynnfield and Marblehead. Lines were long everywhere, with the Boston Globe reporting that 150,000 people visited the Marblehead home in 1935: Women are largely attracted to the displays of electrical homes, although there is a good proportion of men among them. Kitchen appliances and the kitchen arrangement is as attractive to women as a mile of shop windows. The electrical kitchen preserves the food, cooks the meals, disp0ses of the garbage and attends to numerous of the household tasks. It really does seem to be all about the kitchen, which assumes the character of an autonomous entity, “saving” time, energy, and ultimately money (spent on all those servants no longer needed): there’s no mention of the increase in disposable income necessary to purchase all these miraculous gadgets, of course.

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Newspaper headlines about electrical homes around the country, 1920s; photographs of the Electrical Kitchen at the New York World’s Fair in 1939; Philip Atkinson’s Electricity for Everybody, 1911, New York Public Library Digital Collections.


Time Travellers

Generally there are several films on my Salem Film Fest “itinerary”, but this year (the Festival’s 10th) I seem to be focused exclusively on one documentary: Jay Cheel’s How to Build a Time Machine. I don’t think I’m quite as fixated on time travel as the two subjects of the film, animator Rob Niosi and theoretical physicist Ron Mallet, but I’m a Time Machine aficionado too: of the book and both (major) movies. I think there are personal motivations behind their mutual quest, but I haven’t seen the film yet. Beyond Wells’ storytelling abilities, the attraction for me is the steampunky notion of playing with time: I certainly don’t want to conquer or even control it! Like most historians, I don’t have a romantic attachment to the past either: I know it was dirtier, smellier and dark, but not, perhaps, as dark as the future, so I would still prefer to go back, if only for a spell, in my dependable machine.

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time-machine-collage A century of time machines, from Enrique Gaspar’s “time ship” (1887) to the 1960 Wells machine, to TARDIS.

I’m just a casual delver into science fiction, but it seems me that The Time Machine is seldom discussed in the context of its lighter predecessor, Mark Twain’s A Connecticut Yankee in King Arthur’s Court (1889), probably because the latter is so light and not as concerned with the logistics of time travel. It is interesting to me that at this time, the tail end of the nineteenth century, so many people were interested in going back or forward or to anywhere but where they actually were! These two works initiated a time travel genre that will no doubt be with us forever, encompassing everything from Time Bandits, to Back to the Future to Midnight in Paris and everything in between, including my personal favorite, The Navigator: A Medieval Odyssey.

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chestnut-street-pc-with-knight Knights descend on Salem!


The Surgeon who communed with Spirits

One of the academic projects that I’m working on concerns English physicians who rendered judgements on witchcraft cases in the seventeenth century: some were skeptical but others were not, and the latter group often had to engage in intellectual contortions in order to justify their beliefs. One physician who didn’t have a problem with proclaiming that he believed in spirits and witchcraft was John Beaumont, a Somerset surgeon (and geologist) who wrote an amazing treatise entitled An Historical, Physiological, and Theological Treatise of Spirits, Apparitions, Witchcrafts, and other Magical Practices, which was first published in 1705. Beaumont is among the last of these men of “science” who gave credence to supernatural agency: this is the Age of Newton after all! But he is steadfast in his beliefs, and determined to contradict those who deny the presence and power of spirits, whether good or evil. An edition of the Beaumont’s book came up for auction the other day and I thought I might bid on it, but then quickly dismissed the notion (it fetched a bit over $1000, and is also available for three times that here). Nevertheless, Beaumont was on my mind, so I thought I would delve into his, again.

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Beaumont’s methodology is interesting. In typical early modern fashion, he quotes a lot of classical “authorities”, as well as testimony from key seventeenth-century trials. All of this he presents as sensory evidence: “proving” the existence of spirits through their perception by four of the five senses (apparently it is impossible to taste one). His personal experience with spirits–which he calls genii–really singles him out among other authors in this genre, however: he seems to delight in giving us every little detail of these “extraordinary visitations”. We get a physical description of the genii, what they were wearing, what they conveyed, what their names were. Beaumont is also an exhaustive reader, consulting every possible source to examine how spirits might be accessed through dreams and ritual magic as well as the senses.

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Beaumont is also interesting because he considers the Salem trials at length, consulting all the authorities who are not as authoritative in 1705 as they were in 1692. Ultimately it’s all about his own authority, however, his own “empirical” evidence:  I am convinced by my own Experience (which to me is as a Thousand Witnesses) that there is such a thing, as Spectre-Sight, so that one Person may see Spectres, when others present at the same time see nothing; wherefore I think it is not Impossible that the afflicted Persons in New England should see; nay, I believe they saw the Spectres of Persons, who as they conceived, Tormented them……Well there you are, even though spectral evidence had been condemned widely in both England and New England over the past decade, Beaumont remained a true believer in 1705.

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Frontispiece by Michael Van Der Gucht.


March of…….

I’m interested in the concepts and visualizations of march or marching on this first day of March, 2017 and trying to divorce the term from its predominantly military and political references. I’m tired of the march on and more interested in the march ofwho or what else is marching besides soldiers and activists? As I browsed through my favorite databases of museum and library collections and auction archives a few trends emerged, though it took some time to cull out all the military marches and marches on Washington, past and present. The third most popular use of the concept of marching has to do with time and/or progress: up until the middle of the twentieth century the “march of time” inevitably means progress–after that it’s not all that certain. Beyond time, the word is used to highlight certain social campaigns (the March of Dimes) or trends, often on sheet music or editorial cartoons. Then there are various whimsical marches that are more representative of artistic expression than any larger commentary. Animals are often marching, and after 2005, of course, it’s all about the March of the Penguins.

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One of several satirical prints showcasing future long-distance travel entitled The March of Intellect (“Lord how this world improves as we grow older”) published by T. McLean, London, 1828-30, and Dawn of the Century March & Two-Step, 1900, also featuring the “march” of technology, Smithsonian Institution Collections. By the middle of the twentieth century, the newsreel series The March of Time was much more realistic than idealistic. Also from the Smithsonian: I LOVE the 1928 print by artist and illustrator Robert Lawson (1892-1957) entitled The March of Progress below:  the gleaming modern buildings of the rising New York City skyline loom above sad fairy-tale characters exiting the scene (Central Park), led by a lone wolf: there’s no room for whimsy in 1920s New York!

marchofprogress-lawsonRobert Lawson, The March of Progress, 1928.

Forcing someone to march in line is an easy and effective way to constrain/tame/demean and mimic them–a visual device that is very apparent in Henri Gustave Jossot’s famous anti-clerical caricature from 1902:  the “Geese”. This image pairs very nicely with that of another French artist, René Magritte’s Le Marché des Snobs sheet-music cover from 1924, coming up in an auction of vintage posters at Swann Auction Gallery later this month. Another Swann lot, Rodolph Bresdin’s  Le Marché aux Parasols, illustrates that “marching” doesn’t necessarily have to be strident, purposeful, good or bad, just (somewhat) active.

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Henri Gustave Jossot, The Geese, from L’Assiette au Beurre, 17 May 1902; René Magritte, Marche des Snobs. Sheet music, 1924; Rodolphe Bresdin Le Marché  aux Parasols, 1866, Swann Auction Galleries.


Leslie Retreats Again

The 242nd anniversary of Leslie’s Retreat was marked by a spirited reenactment in Salem yesterday, with the central “characters” reprising their roles earnestly and enthusiastically amidst an equally enthusiastic crowd. I stopped over at Hamilton Hall first, where I heard the British were gathering, and was not surprised to encounter Colonel Leslie himself there, with his adjutant and a few supporters in scarlet. I was surprised to run into Major Pedrick from Marblehead on my way out (well, I knew they knew each other…..), but he (in the form of my old friend David Williams, whom I understand is a Pedrick descendant) walked on ahead to the First Church to give the alarm. There we waited a while for events to unfold, but once they did some serious parleying ensued between Colonel Leslie, Colonels Pickering and Mason from the local militia, and the Reverend Thomas Barnard, who had burst out of his church and rallied his congregation to the bridge (or rather a convenient parking lot adjacent to the present-day overpass) so that he could mediate. The discussion was heated, but eventually Colonel Leslie was allowed to cross over the bridge/overpass– a much dicier endeavor in 2017 than 1775 owing to traffic. When no cannon was found on the other side, the ever-gracious Reverend Barnard invited the Colonel–and all of us– to retreat to the First Church parish hall for refreshments, which made for an appropriate end to an event of compromise and commemoration.

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Colonel Leslie (Charlie Newhall) and The Reverend Thomas Barnard (The Reverend Jeffrey Barz-Snell) face-off in 2017; a great day for community and picture-taking.


Re-engaging with Leslie’s Retreat

Salem is gearing up for a multi-event, multi-venue commemoration of a key event in its history and American history: Leslie’s Retreat, whereby a crowd of civilians compelled the 250-strong 64th Regiment of the Foot under the command of Colonel Alexander Leslie to retreat to Boston on February 26, 1775. The Redcoats came in search of rumored cannon and military stores and left with nothing: a week later the Essex Gazette brazenly reported that twenty-seven pieces of cannon were removed out of this town [neighboring Danvers], to be out of the way of the robbers. No shots were fired and no one was (really) hurt, but a stand was taken that would lead to more standing, most dramatically at Lexington and Concord, several weeks later. The significance of this stand-off was recognized in both the colonial and British papers at the time, and for several months thereafter: passages from the London Public Advertiser (May 2, 1775) and the Gazette (March 7, 1775) are representative of the not-too divergent perspectives.

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The British view: REBELS enough to have eaten them up.      

And the American: not less than 12 or 15,000 men would have been assembled in this town within twenty-four hours after the alarm, had not the precipitate retreat of the troops from the Draw-Bridge prevented it.

Press accounts on both sides of the Atlantic generally portrayed the Salem event (along with the colonial capture of Fort William and Mary in Portsmouth Harbor in December 1774) as a prelude to the larger opening acts of the Revolution: Lexington and Concord. And that’s pretty much the standard view for the next 200+ years, with occasional moments (like this one!) in which the event’s significance is recognized for its own merits. I’ve written a more detailed post on the actual event before; now I’m more interested in the history of its commemoration, which was shaped by two key factors: its name and its anniversaries. Events generally become “historic” when they are named, and remembered in some form or fashion on anniversaries, and Leslie’s Retreat was no exception. The first reference that I can find to the name dates from 1840, but after the publication of Charles Moses Endicott’s Account of Leslie’s retreat at the North bridge in Salem in 1856 it really stuck, leading to a commemorative “oration”in 1862, a major Centennial commemoration in 1875, the dedication of a memorial stone in 1886, and anniversary services in 1896, 1902, 1925, and finally (long gap here), 1975. Leslie’s Retreat was also an “act” in the elaborate Salem Pageant of 1913, during which several scenarios of Salem history were reenacted by local notables to reinforce proper American values and benefit the House of the Seven Gables. The Centennial was marked with bell-ringing throughout the city at morning, noon and night, a 100-gun salute, flags unfurled everywhere, and a ceremony filled with addresses and hymns, while the Bicentennial featured a reenactment and a ball–just like this year–and inspired national headlines (The Shot Not Heard around the World).

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The 1875 Memorial Arch and Program; Colonial dress-up for act #4 of the Salem Pageant, 1913; 1975 reenactment.

I can’t find any big splashy commemorations between 1925 and 1975, with the exception of the Salem and Marblehead tercentenaries in 1926 and 1929, but that doesn’t mean Leslie’s Retreat was forgotten: it became part of the civic curriculum, so much so that I found repeated references in the local papers along the lines of the story of Leslie’s Retreat is too well-know to be recounted here. A commenter on my earlier post noted that in the 1950s “Leslie’s Retreat was something every 8th grader had to do a project on” in Salem. The event received national attention again in 1960-61, when an American Heritage article by Eric W. Barnes (All the King’s Horses…and All the King’s Men, with charming illustrations by Edward –see below ) was reprinted in all of the major dailies. Still, I can’t help but think that the rise of Witch City overwhelmed Salem’s revolutionary reputation.

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Edward Sorel’s illustrations for American Heritage, October 1960.

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(Re-) engaging with Leslie’s Retreat in 2017:  A community reenactment this coming Sunday, on its 242nd anniversary, at the First Church on Essex Street from 11:00 to 1:00; a talk by Dr. Peter Charles Hoffer, author of Prelude to Revolution. The Salem Gunpowder Raid of 1775 on March 26 at the Pickering House; a talk by J.L. Bell, author and super-blogger at Boston 1775 on “The Salem Connection” on April 7 at the Salem Athenaeum; a March to Revolution walking tour through Marblehead on April 8; and a “Salem Resistance Ball” at Hamilton Hall, also on April 8.