Category Archives: Salem

The Most Poignant Epitaph Ever

The Old Burying Point is a sacred site best visited in the winter, or the summer, or the spring, or anytime other than October when costume-clad tourists are not draped over the graves taking pictures of each other. I prefer winter, because the very gnarly trees are bare, and nothing other than these same trees competes with the graves themselves. I was walking by the other day, thinking about the very recent death of a young scholar whom I knew, when I remembered a famous epitaph on a seventeenth-century grave of another young scholar: Nathanael Mather, son of Increase, and brother of Cotton. Nathanael died in Salem in 1688 at aged 19 and his grave is located on the western perimeter of the cemetery, just behind the Peabody/”Grimshawe” house. I went through the gate, turned right, and there he was, there it was, the most poignant epitaph ever.

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An Aged person/ that had seen but Nineteen Winters in the World.

An Aged person that had seen but Nineteen Winters in the World is a sentiment that is immediately and universally affective, and timeless: as moving now as it was when it was inscribed in 1688 (or later? see below). There are testimonies to these words that date back to the early nineteenth century; no doubt there are far more that I am aware of. Hawthorne incorporated a similar epitaph into his first novel Fanshawe for the title character (one imagines him sneaking out back before or after he visited his future wife Sophia at the Grimshawe house) and Lovecraft referenced it a century later. In between, my favorite photographer Frank Cousins gave it pride of place in a portfolio of Salem images which he marketed nationally.

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Epitaph Cousins 1890sp

The Grave in the 1890s

And what of Nathanael, the inspiration for this memorable epitaph? By all accounts he was a young man feverish with the desire to learn, both for his own sake and as way to know and glorify God, and this “fever” ultimately killed him. His “unusual industry” drove him to enter Harvard University at age 12, and during his time there he mastered Latin, Greek, and Hebrew and wrote several books. His “pious education” continued after his graduation, and he followed a disciplined regime of constant study and prayer which rendered him a virtual shut-in. Real fevers set in, and “distemper”, and ultimately he was sent to Salem as a patient of Dr. John Swinnerton, at whose home he eventually died. His elder brother Cotton Mather, who apparently “closed his dying eyes” wrote later that it may be truly written on his Grave, Study kill’d him. In his Diary, Samuel Sewall recounts visiting Nathaneal at Dr. Swinnerton’s and, quite perplexingly, an alternative epitaph: the Ashes of a hard Student, a good Scholar, and a great Christian, which is also asserted in Cotton Mather’s Magnalia Christi Americana. So now we have an epitaph mystery: are both Sewall and Mather mistaken, or do we have an instance of an “enlightened” epitaph substitution at some later date?

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Samantha Should Go

If I were Queen of Salem for a day the very first thing I would do is smite Samantha. I like Bewitched and Elizabeth Montgomery as much as the next person, but a television character has no business occupying such a prominent parcel in Salem in statue form–especially such a bad statue. I think public art should either be beautiful or significant and Samantha is neither: she should go. I never really understood exactly how she was deposited right there, in Lappin Park on Town House Square, in June of 2005. It was a deal struck between the TV Land television channel, who commissioned the statue from StudioEIS in Brooklyn, then-mayor Stanley Usovicz, and the Salem Redevelopment Authority. Is she supposed to be with us forever? I was in one of my periodic disengagement-from-Salem-because-it-is-driving-me-crazy moods at the time so I wasn’t among the protesters, but even one of the statue’s creators admitted it was crass at the time:

“If I were one of the people who had a house on the beautiful common there, would I hate it?” asked Ivan Schwartz, sitting at a conference table last week and discussing the Samantha statue. “Yes, probably. But it seems like [Salem] was going down that path long before this TV Land thing ever surfaced.” (Washington Post)

Well, Mr. Schwartz is correct: Salem has been “Witch City” for quite a while, which is why my feelings towards Samantha have evolved: I don’t really want to destroy her anymore, I’d just like to move her–to a less prominent and more appropriate place–where she can represent Witch City rather than Salem. Maybe in front of the Witch Museum? That’s a perfect pairing.

Samantha Destination Salem

The Samantha Statue in Lappin Park (somewhat dressed for winter, but before our recent snow), courtesy Destination Salem.

So who or what could replace Samantha?  That is a difficult question, despite, or perhaps because of, Salem’s rich history.

An “old planter”?  Well we already have the magisterial statue of Salem founder Roger Conant by the Common. Unfortunately he is often mistaken for a “witch” because of his proximity to the Witch Museum as well–maybe he and Samantha could trade places? No, I think not.

Accused “witches”?  Well, we already have the subtle but stately Witch Trials Memorial on Charter Street. This is a reflective place (when it is not full of tourists eating sausage rolls on its memorial benches) deserving of its official status, but is could be supplemented by a more humanistic installation at Town House Square, I suppose. Statues of Bridget Bishop and George Jacobs–the victims from Salem Town?  Philip English–who escaped, survived, and sought revenge? My very favorite memorial to a witch-trial victim is the relief sculpture of Katharina Henot, burned at the stake in Cologne in 1627, in which she is paired with Friedrich Spee, a Jesuit priest who served as a participant/confessor in several witch trials before he wrote an extremely influential indictment of such proceedings (the Cautio Criminalis (1631)), on a facade of the Cologne City Hall. They are actually quite modern creations, one of 124 relief figures carved for the exterior of the Rathaus. The Lappin Park site is a courtyard, rather than a building, so I think we need to go for something/someone more freestanding.

Rathausturm Koeln - Friedrich Spee von Langenfeld, Katharina Henot

Samuel McIntire? Revolutionary War soldiers and sailors from Salem? Timothy Pickering? One of the Derbys? We already have a great statue of Nathaniel Hawthorne on Hawthorne Boulevard. The great philanthropist Captain John Bertram and/or his granddaughter Caroline Emmerton, founder of the House of the Seven Gables Settlement Association? If I had my druthers (which I would, because I would be Queen), I’d probably go with Captain Luis Fenollosa Emilio of the Massachusetts 54th, a Salem native and author of The Brave Black Regiment (1891). He fought with the 54th for three years and was the sole surviving officer of the ferocious battle of Ft. Wagner in 1863: he deserves commemoration somewhere.

Statue Emilio

Captain Luis F. Emilio of the Mass 54th and 23rd, Library of Congress.

If I step down from my throne, however, I think it’s probably best to install something less literal and more abstract or conceptual in this particular location: something that could speak to as many people as possible and really make both passersby and crowds stop and think (or at least stop). I could even go in a more whimsical direction: the people who like the Samantha statue generally mention its “whimsy” but I think whimsy has to emanate from good art and Samantha looks like she is sitting on a turd rather than a cloud. We can do better.

Just to get the ideas flowing, I rounded up some of my favorite installations: most are public, some I have seen in person rather than just in pictures, some are memorials and some are just “statues”, all are (in my humble opinion) just great.

Reading Chaucer Jackson

Philip Jackson (b. 1944), Reading Chaucer, Portland Gallery, London.

Statue Les Voyageurs Marseilles

One of Bruno Catalano’s Voyageurs in Marseilles–travelers with missing parts!

Statue Shoes Budapest

The extremely poignant installation of “Shoes on the Danube” in Budapest by Gyuala Pauer and Can Togny, dedicated “to the memory of the victims shot by Arrow Cross militiamen in 1944-45”.

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A “house” with roots by Leandro Erlich at the Summer Festival in Karlsruhe, Germany via Designboom. (I would LOVE to see something like this in Salem–a 17th century house!)

Appendix: Just adding a few lines as this post was shared quite widely on Salem Facebook groups and there was a lot of commentary that readers of the blog won’t see. Lots of love for Samantha; she is widely credited (not the statue so much as the television character and show, which filmed in Salem in 1970-71) for saving Salem from the wasteland that it was becoming at that time. So the statue is seen as a symbol of revival through witchcraft tourism. Also: tourists love her so she should stay, she’s “whimsical” so she should stay. There were some people that supported a move: to the Willows & the Hawthorne Hotel in particular. No support for Captain Emilio!


Proctor’s Ledge and Pendle

If you’re even somewhat familiar with my blog you can probably tell that the Salem Witch Trials, both past and present, is a continuous preoccupation/irritant for me. This is as much due to my residence as my paradoxical perspective: as a historian trained in early modern European history (when as many as 60,000 people were executed for witchcraft and roughly half that number put on trial), I just can’t understand why this very late and relatively small trial has been blown up into this epic and enduring event, by both academic historians and witchcraft entrepreneurs alike (well maybe I can understand the latter’s motivations). Yet there is such still such profound ignorance and misunderstanding about this event, which I think fuels its constant exploitation. This past week was a big week in Salem Witch Trial history, with the verification of Proctor’s Ledge as the execution site for the victims of 1692 by a team of dedicated scholars, authors and advocates: a disclosure that went viral pretty quickly. I tried to follow the coverage, from the very good Salem News and Boston Globe stories to the pieces in national and digital venues like USA Today and the Huffington Postbut because the latter were clearly based on the former (and the very substantive press release put out the Gallows Hill Project) I pretty quickly turned my attention to reactions (comments) in general and local reactions in particular. It appears that it is just about impossible for most people to view history without a 21st-century lens, so most of the comments were predictable: the “witches” executed on that site were the victims of today’s “Puritans”(evangelical Christians, Republicans, leftist Liberals, Hillary Clinton supporters, ISIS/ISIL–depending on your perspective). As you can imagine, this got old pretty quickly so I turned to local reactions, expecting more specificity and engagement. I got that, along with the sense of “is this news?”, which I see as a real tribute to meticulous work of Sidney Perley, who identified Proctor’s Ledge as the execution site nearly a century ago. Perley’s contributions were emphasized in the Gallow Hill Project press release as well, and since he is sharing the spotlight, I thought we should see him:  pictured on Proctor’s Ledge in 1921 (from an article in The Collections of the Danvers Historical Society, Volume 9, 1921, edited by Harriet Silvester Tapley).

Perley Crevice

Beyond the we knew that sentiment, what else did I glean from local reactions to this news? Here follows a very random and impressionistic sampling of the good, the bad, and the ugly:

The Good:  lots of descendants clearly wanted to weigh in with their ancestor’s story. This discovery/confirmation was clearly very relevant to them. I was also happy to see a real debate emerge about memorialization and what should be done with the site–more on that below.

The Bad:  there’s still a lot of confusion out there, despite the prolific scholarship. People still refer to witch-burnings, ergotism will never die, and the Salem Village (present-day Danvers) origins of the accusations do not seem to be fully grasped, still.

The Ugly (or just silly): as Proctor’s Ledge is located right behind a Walgreens’ parking lot, there are lots of Walgreens jokes out there–you know, “the corner of happy and heresy”, etc.

Commemoration is tricky: the overwhelming local concern is just how Proctor’s Ledge will be marked–and what access will be granted. This concern is coming from various perspectives, principally that of the abutting neighbors, of course, and that of people who are opposed to the intensifying witchcraft “schlockiness” of Salem. This comment on the Globe article seems to unite these two perspectives: As a resident of the city who lives a stone’s throw from the site, I beg that this hallowed ground not be added to the array of grotesques that “commemorate” this act of insanity. Let the site be. It deserves to not be forgotten, but more so deserves not to be a stop on some disrespectful trolley tour of gawkers and Goths. Sadly (to me, at least) there were also comments that expressed resignation that Salem was always (or at least from 1692) going to be Witch City:  again, from the Globe: Plymouth has its Rock and Salem has its witches and warlocks. One of our leading Witch City purveyors (who happens to live in New Orleans), expressed a similar sentiment in the Salem News: Witches are to Salem what music is here in New Orleans. 

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Salem Tour Guide Kenneth Glover at Proctor’s Ledge/ John Blanding, Globe Staff: “When people come [to Salem] . . . they all want to know where it happened.”

So I’m not sure what’s going to happen, but I think debate–if it is substantive and respectful–is always healthy for a community. Given that witch trials were so intense in certain areas of Europe in the later sixteenth and seventeenth centuries I’m always looking to these sites for examples of comparative commemoration–and none of them have turned themselves into a Witch City!  I’ve always thought there were some important parallels between Salem 1692 and one of the more notorious English trials, the “Pendle” trials in Lancashire (1612), a comparison I made in a post from a few years ago. Salem was a larger and more isolated episode in terms of geography and time (185 accusations, 59 trials, 31 convictions, 19 executions, one death by torture/interrogation versus 16 trials, 10 executions and one death in prison in Pendle), but both were viewed as conspicuously collective and conspiratorial and well-publicized. There is some witchcraft tourism in Pendle, but as this community faced the 400th anniversary of the Trials in 2012, there was debate about how to acknowledge the dark event. And just at this time, engineers conducting reservoir repairs unearthed a seventeenth-century stone cottage with the remains of a mummified cat within its walls that was almost immediately heralded as a “witches’ cottage” and the site of a famous coven testified to by the Trial’s nine-year-old star “witness”, Jennett Device. After about a year of archaeological study (and vandalism) the site was revealed to be a weaver’s cottage and reburied “in order to preserve it”.

Pendle Guide Simon Entwistle

Simon Entwistle of Top Hat Tours on the site of the unearthed (and later reburied) 17th-century cottage in Lancashire.

There is definitely some schlock in Pendle, but their Witches Walk is a public initiative rather than a private “attraction”, profiting no one and serving as the main legacy of the 400th anniversary commemoration. This 51-mile route (indicating just how regional the Lancashire Trials were, just like Salem, and broken up into seven separate walks), connecting all the sites referenced in the Trial testimonies and culminating at Lancaster Castle, where the ten victims were condemned to die, is marked by 10 waymarkers, each inscribed with a tercet or verse of a poem by British Poet Laureate Dame Carol Ann Duffy. It is inspirational.

Tercet Waymaker“Tercet” waymaker # 9 on the Lancashire Witch Walk, dedicated to the memory of Anne Whittle.


A Shilling for Samuel

Today is the birthday of the man who literally made Golden Age Salem, expanding his woodcarving skills into architecture and interior decoration exemplifying the Federal style: Samuel McIntire (1757-1811). Frankly, I’m not sure Salem is McIntire-esque anymore but my corner of it is still McIntire world, and for that I am very, very grateful. My house is in the McIntire Historic District and every morning I look out my bedroom window at two McIntire structures: Hamilton Hall and the (recently sold) Captain Jonathan Hodges House at 12 Chestnut Street. Just around the corner on Cambridge Street is one of my favorite McIntire houses, the Thomas Butman House at #14. The microsite for the Samuel McIntire: Carving an American Style (2007-2008) exhibition at the Peabody Essex Museum is still up, so you can check out “his” Salem for yourself, but I am featuring another introduction on this day: a children’s book titled A Shilling for Samuel (1957) written and illustrated by Virginia Grilley.

McIntire Covers

Grilley seems to have been a well-known children’s book author in the 1950s and 1960s, and she also wrote and illustrated several books about the Salem of Nathaniel Hawthorne, the great “scribe” and “romancer”. She liked to conjure up historical places, in both words and pictures. A Shilling for Samuel is very much in the tradition of another example of mid-century Salem juvenile fiction, Carry on, Mr. Bowditch by Jean Lee Latham, which was published just the year before. In both books, Salem boys are inspired by the bustling, cosmopolitan environment all around them as well as their innate interests and talents to develop their specialized skills and make their way in the American way. In Grilley’s story, Samuel grows up along the water (in a house on Mill Street–could it be this one? I’m just not sure) and learns about carpentry and carving from his father, but his family wants a different life for him:  go to sea, young man, that’s where fortunes are made. Nevertheless he loves to carve and look at the  “strangely-shaped roofs” of his native town and seeks to replicate everything he sees around him in wood. The first shilling he receives for a carving, combined with the pattern books he spots in Mr. Shillaber’s bookshop, propel him on his life’s path. The rest is history–outside my window.

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McIntire Bench Christies

Pages from Virginia Grilley’s A Shilling for Samuel; a mahogany McIntire window bench coming up in a Christie’s auction next week–certain to fetch many, many shillings!


Scraps of Salem History

Moving on from rocks to paper today, as it is time for a more ephemeral and less serious topic. I am by no means a serious collector, but I seek out and purchase ephemera pretty consistently, generally but not exclusively Salem items. Things have to appeal to me both aesthetically and historically, and I love unusual fonts and illustrations as well as things that are architectural or zoological. I have several folders of stuff, but certainly not boxes. Trade cards continue to be an ephemeral favorite, but I seem to be buying a lot of programs lately, as well as various “visitors’ guides” to Salem: these serve as my guide to the city’s changing identity over time. Is the emphasis on Witch City or “Old Salem” or the China Trade or the city of Hawthorne? Somehow it doesn’t seem possible for Salem to be all of these things simultaneously for the authors and editors of the guides in my collection, but the programs of the various historical “pageants” that occurred over the period from 1890 to 1930 reflect a more comprehensive (though wildly historically incorrect) approach. One of my favorite recent purchases is the program for a concert/pageant sponsored by Salem’s G.A.R. Post in 1895 entitled Historic Salem Illustrated. Representing Epochs in the History of Salem from the Time of its Settlement up to the Present Year with really cool illustrations of each “epoch” (“Indian”, Colonial, Revolutionary, Commercial, “Patriotic” (basically the Civil War), and “the Present or Electric Period”) by George Elmer Browne (1871-1946) who later emerged as an important Cape Ann/Provincetown artist. The historical vignettes, set to music, include “Chief Naumkeag welcoming the Puritans”, a tableau of Colonial punishments, and “The Blue and Gray of 1895”. What better way to tap into this particular historical perspective?

Salem Scraps GAR Programp

So here is a random sampling of some recent additions to my ephemera files, along with some things I haven’t featured before and some notes about why I like these scraps of paper and what I have learned from them, starting with some items I chose completely for their aesthetic qualities, and more particularly, their fonts: even though Salem: its Representative Businessmen and Points of Interest is from the “Electric Age” (1893) and the menu from the Calico Tea House (in the Hawthorne Hotel) is from the Atomic Age (1953) they have a similar aesthetic quality. On the menu in 1953: “Witch House Chicken”, “Derby Wharf Scrod”, and “Seven Gables Salad”. Still in the realm of color, a few trade cards from the first decade of the twentieth century (I think): the first is a very unusual view of the Custom House, and the second features cute rabbits. And how can you beat insects and architecture! A program for an Essex Institute “Social Evening” in 1868 at Hamilton Hall which featured all these creatures viewed under a microscope with musical interludes (LOVE this snail), followed by a program for the annual meeting of the members of the Salem Club in 1914 and a ticket (multiplied) to the 1952 Chestnut Street Day house tour which was held sporadically from the 1920s to the 1970s (it would be great to revive this event).

Salem Scraps in color

Salem Scrap 1910s PC Custom House

Salem Scraps TC Burnett

Program Final

Salem Scraps Snail

Salem Club 1914

Salem Scraps CSD 1952

It’s a lot easier to find things that our intended for an external audience–advertising and tourism pieces basically–than the entomological item above, or the G.A.R. or Salem Club programs. Salem really crafted and disseminated its image from at least the 1890s on and so there is a sea of promotional materials out there: brochures for walking, trolley and automobile tours, little pamphlets of photographic “glimpses” of Old Salem (besides postcards of which there are oceans). Witch City is nothing new, but it was definitely less all-encompassing a century ago, or fifty years ago, or at any time before the 1980s. One thing that you definitely notice when you look over older promotional materials is a consistent emphasis on Revolutionary Salem that is absent now. If you want to be a specialist collector, you could form a collection out of paper items created for the 1926 Salem Tercentenary alone, and at its center would be the Highlights in the History of Salem pamphlet published by the Salem Evening News, which has the perfect title for an ephemeral history.

Salem Scraps 1896

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Salem Scraps 1926


This Time with Dignity

Exciting history news today, and no, history news is not a contradiction in terms. A century-old theory about the execution site of the victims of the 1692 Witch Trials has been verified through a combination of historical, archaeological, and geological analysis by my Salem State colleague Emerson Baker and his fellow members of  The Gallows Hill Project, which includes SSU Geology Professor Emeritus Peter Sablock and Dr. Benjamin Ray, a Professor of Religion at the University of Virginia, as well as local museum professionals, scholars, and writers. Following the assertions of local historian Sidney Perley over a century ago, the team supplemented eyewitness testimonies and material evidence with “ground-penetrating radar and high-tech photography” to verify that the actual Gallows (a sturdy tree or trees) was not located at the apex of the rocky hill in the northwestern corner of Salem known as Gallows or Witch Hill from time immemorial, but considerably below and closer to the main route out-of-town (Boston Street) in a rocky copse of trees called Proctor’s Ledge. It has also been confirmed that there are no human remains on the site, verifying various tales of the recovery of the victims’ bodies by family members under cover of darkness. You can read more about the participants and the process here and here.

Salem Atlas 1897 State Library of MA

Salem Witches PC SSU

The long-assumed execution site, “Witch Square” on the top of Gallows Hill, and the newly-verified site, on Solomon Stevens’ property below, on the 1897 Salem Atlas, State Library of Massachusetts; a “Ye Salem Witches on Gallows Hill” postcard from the 1910s, Salem State University Archives and Special Collections.

Proctor’s Ledge is a terrible place, appearing cursed by its tragic history, both in the seventeenth century and the twentieth, when it was the wellspring of the Great Salem Fire of June 25, 1914. Currently it is a wooded and trashed wasteland behind a Walgreen’s parking lot on busy Boston Street, fortunately purchased and preserved by the City of Salem in the 1930s as “Witch Memorial Land” but essentially left untouched while commercial and residential developments grew up around it.

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The verification of the execution site is exciting to me, both professionally and personally. I’ve done a lot of work on the late medieval era and the Black Death, and this is a field in which collaborations between history and science have been profoundly revealing–and interesting. I’m not such an innocent that I believe that history is always about the pursuit of the truth, but if and when it is, science can help us open the “black box”. Personally, this announcement has also renewed my hope that we–the City of Salem–can acknowledge the tragedy of the Trials in a dignified and historical way: not as a lesson about tolerance today but simply and respectfully as a tragedy for the individuals who lost their lives in the past, and not as an event to exploit, but rather as an episode to solemnize. I’ve been rather depressed since Halloween: the images of people trashing the downtown Salem Witch Trials Memorial and adjacent Old Burying Point, combined with the lack of any meaningful response by city officials to whom I appealed to make it stop, have left me soul-searching about why I would want to live in a place that has such little respect for the dead. Frankly, I still don’t have much confidence in the City Council, but Mayor Kimberley Driscoll’s pledge that “Now that the location of this historic injustice has been clearly proven, the city will work to respectfully and tastefully memorialize the site in a manner that is sensitive to its location today in a largely residential neighborhood” is hopeful. At the very least, the neighbors and relatively distant location from downtown– combined with the site’s rather chilly atmosphere–should deter the transformation of Proctor’s Ledge into another Witch City prop.

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The Salem Witch Trials Memorial, October 2015.


Losing our Way?

One of the latest looming commercial developments in Salem is a proposal for a new showroom facility by the F.W. Webb Company, a large distributor of plumbing and HVAC parts, on an abandoned lot adjacent to its large brick building on Bridge Street. The lot was long occupied by the Universal Steel and Trading Company, which stored and processed scrap metal on the site, creating a contaminated cauldron from which they simply walked away, leaving the City to clean up the mess. Once the site was cleaned up–a process that took several years–the City put the parcel up for sale, and F.W. Webb was the only bidder. The public process by which the City divests itself of the site and the Webb proposal is reviewed by various city boards commenced last week, and consequently both the big picture and the little details are starting to emerge. Regarding the former, the jury’s still out for me–of course the proposed new building appears blandly “modern” and appears to have no connection to the existing Webb building–but this section of Bridge Street is not distinguished by structures of great architectural integrity. Where the terraced gardens of Federal Street houses once sloped down to the North River used car lots have more recently and characteristically occupied a filled-in Bridge Street, so you can argue that anything is an improvement. There are two “details” that do concern me at this point in the process, however: 1) the not-so-veiled threat inherent in the F.W. Webb proposal documents: this new building will allow us to remain in Salem and; 2) the loss of venerable public “way”called Beckford Way. This public path once accessed the riverfront but is now a trail to nowhere; nevertheless, it is still public property and will cease to be if the Webb proposal is approved.

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Webb Building

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Beckford Way

Bridge Street 2016 MA Boating and Fishing Access

NOW: The current Webb building on Bridge Street and the adjacent lot, now cleaned and paved, on which the company wants to build a new showroom building; rendering of the proposed new building and Beckford Way alongside the lot. A current map of Salem, with no Beckford Way.

I looked into the history of Salem’s public ways a bit, primarily by examining maps of the city in 1820, 1851, 1903 and 1916 in the Norman B. Leventhal collection at the Boston Public Library. It was an interesting exercise, through which you could clearly see the disappearance and/or transformation of myriad ways, courts, and even streets by projects that were both public and private. The nineteenth century privileged the train while the twentieth century was all about the car; the pedestrian lacked advocacy in both centuries. Sewall Street, once lined with houses, became a parking lot for the YMCA and adjacent developments; Liberty Street was absorbed by the Peabody Essex Museum just a decade ago. Now all of Salem’s “ways” exist only in condominium developments built out on Highland Avenue: they’re not even really part of the city.

Salem 1820 BPL

Bridge Street Before LC HABS

THEN: Jonathan Saunders map of Salem, 1820, clearly indicating Beckford Street’s access to the North River, Boston Public Library Leventhal Map Center; a map of the terraced gardens of Federal Street (a bit further west from the Webb property) before the River was filled in for the railroad and Bridge Street extension, HABS, Library of Congress.


The Mysterious Miss Hodges

For some time, I’ve been curious about a pair of beautiful daguerreotypes by the esteemed Boston photography studio of Albert Sands Southworth and Josiah Johnson Hawes (1843-1863) featuring a lovely young woman identified only as “Miss Hodges of Salem”. All of the Southworth and Hawes photographic portraits are riveting, but these are particularly so: they are large, whole-plate images, they were insured by the partner photographers, and both were retained by members of the Hawes family long after the dissolution of the partnership. The description for the daguerreotype in the collection of the Metropolitan Museum reads: The Boston partnership of Southworth and Hawes produced the finest portrait daguerreotypes in America for a clientele that included leading political, intellectual, and artistic figures. Nothing is known today about Miss Hodges, but Southworth and Hawes made two costly whole-plate portraits of her for their studio collection, suggesting that she was sufficiently well-known – or sufficiently photogenic – to warrant displaying her likeness in the front-room public gallery.

Miss Hodges MFA

Miss Hodges MET

Miss Hodges of Salem, c. 1850: (1) Museum of Fine Arts, Boston (gift of Edward Southworth Hawes in memory of his father Josiah Johnson Hawes); (2) Metropolitan Museum of Art (gift of I. N. Phelps Stokes, Edward S. Hawes, Alice Mary Hawes, and Marion Augusta Hawes, 1937).

So which was it: well-known or photogenic? Well I’m not entirely sure, because Miss Hodges is somewhat mysterious, but I think it is the latter. I think “Miss Hodges of Salem” was Sarah Ellen Hodges, born in 1823 to Joseph Hodges and his wife Elizabeth Shipman Hodges, both of old Salem families. There are a couple of other candidates, but Sarah is my best bet. If she is indeed our Miss Hodges, she never married, and lived with family members and then alone in a boarding house on Bridge Street in Salem from 1883 until her death in 1895. The extended Hodges family was old and prosperous, with a succession of Salem sea captains dating back to the seventeenth century, but Joseph Hodges seems to have been a bit of a black sheep and I think money might have been a problem. His family of seven, including Sarah and her four siblings, moved around every few years according to the Salem city directories: from one old family home to another on lower Essex Street. And then there is this very curious entry in the Genealogical Record of the Hodges Family of New England, Ending December 31, 1894 by Almon D. Hodges (1896):

Joseph Hodges is said to have been so small at birth that he was put into a silver tankard and the cover shut; but he grew to be a very large man, like most of his race. When Gen. Washington visited Salem, Oct. 29, 1789, the babe Joseph (then 13 days old) was held up at the window to see him. Joseph Hodges was a shipmaster in his younger days, but retired early from active business. He met his death through an accident. He was walking on the railroad bridge at the northern end of the tunnel when a train of cars came on the bridge behind him. He was large and heavy and unable to escape by running, so he crouched at the side of the track, but was knocked to the flats below and died a few minutes after he was taken up.

Early retirement? Hit by a train? By sheer coincidence (?) his wife died by accident on the railroad, near the northern end of the tunnel twenty years later, according to Sidney Perley’s History of Salem (Volume III). Have these two railroad deaths–both at the northern end of the tunnel– been confused? I hope so! In any case, there are other hints that the Hodges were at most a tragic family, or at least one that did not adjust very well to Salem’s nineteenth-century transition from commerce to industry. Sarah was the only one who didn’t marry or get out of Salem, and I have no insights into what she might have done with her life. She and her siblings inherited a mere half of a house among them after their mother’s death in 1883, which they quickly sold, and then she appears to have lived alone until her death. The daguerreotypes might have been one of the highlights of her life, if indeed they depict her.

Millard Fillmore Southworth and Hawes

A Daguerreotype of President Millard Fillmore taken at just about the same time as those of Miss Hodges. It is about half the size of hers, and sold for over $10,000 at a 2005 Skinner auction.


Christmas without Stockings

Our stockings were hung on the mantle with care but I wore no stockings with my Christmas dress:  it was far too hot! It was 69 degrees by my last observation, the warmest Christmas in greater Boston since 1932. That’s a bit deceptive though, as I did a little research (weather history–now there’s a rabbit hole!) and found that Christmases in the high 50s/low 60s degree range were not all that uncommon in the twentieth century. There were windows open throughout the house, I was cooking with the back door open, we had drinks and appetizers out in the backyard. People wanted to spend time outside, so the usual mid-afternoon Christmas feast was pushed up to evening, along with the presents. So many thoughtful ones, including a cocktail shaker shaped like a 1950s rocket from my stepson and a necklace with a propeller charm from my husband—and new chimneys, of course. The only low point of the day was a jammed (by me, and too many potato peelings) garbage disposal, for the third year in a row. Like clockwork.

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Christmas 2015: out back and front, a green and misty morning giving way to sun, oysters outside, Bette Davis’s adorable hat in The Man who came to Dinner (1942), too sunny for Christmas dinner!


Dancing towards Christmas

A week of events and grading: there is no why to make the latter look enticing or even interesting (though admittedly there is much less of it now that I’m chair, one of the few benefits of that position) so I’ll focus on the former. Over the past week we went to an “audience-driven” theatrical event at the Peabody Essex Museum‘s Gardner-Pingree House, the PEM’s monthly PM evening, themed as “Wassail” for December, and the annual Hamilton Hall Holiday (Christmas) Dance. The first event, All at Once upon a Time, was very special. I must admit that I signed up for it simply so I could spend an hour in the Gardner-Pingree, arguably Salem finest Federal house and Samuel McIntire’s masterpiece. It wasn’t every expensive: I would have been willing to spend much, much more simply to stare at those mantels and moldings for an hour. But the experience, for lack of a better word, carried me away from the material world, at least for a bit. The creation of Giselle Ty, a freelance opera and theater director based in London and New York, All at Once consisted of a small cast of seven or eight interacting with an “audience” of fifteen people, engaging in various activities, sketches and performances throughout the house–indeed on every floor. We were led through the house and enticed to listen, observe, read, write, dance, drum, and throughout it all, wonder. Ty is really after wonder, an increasingly rare commodity in this know-everything-instantly information age. The house looked magical, and because none of us were allowed to have phones or cameras I will entice you to click over to see some of John Andrews’ beautiful pictures at his Flikr photostream: he has allowed me to use a couple below but you should see more. Everyone’s experience is a bit different during this happening, so here’s mine:  I listened to a tale of trees in the front parlor, wrote a few lines of poetry in the dining room, unraveled and danced with a ballerina in a second-floor bedroom, and then watched a monkey and bear dance up on the third floor, after which we all danced with all of the cast. Then downstairs through the kitchen (with a Rumford Roaster!!!) to where we began. Later in the week, the PEM’s Wassail included traditional music (including the fifteenth-century Boars Head Carol) and dancing, and provided another opportunity to view the exhibition of  Native Fashion Now. The week was capped off by the Hamilton Hall Christmas (Holiday) Dance, preceded by a lovely pre-dinner party by one of the Dance’s patronesses at another one of Salem’s elegant Federal houses. I’m feeling very fortunate this morning, and still trying dust off some of the silver glitter in which I doused myself last night!

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Photo by John Andrews for Peabody Essex Museum

Photo by John Andrews for Peabody Essex Museum

Photo by John Andrews for Peabody Essex Museum

Photo by John Andrews for Peabody Essex Museum

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Dancing Hamilton Hall

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The Week’s Festivities: photographs of Gabrielle Ty’s All at Once Upon a Time at the Peabody Essex Museum’s Gardner-Pingree House courtesy of John Andrews of Creative Salem and Social Palates photography; Morris Dancers at PEM’s Wassail and formal attire from Native Fashion Now; fabulous skirt at a fabulous pre-Christmas Dance dinner party and the Christmas (Holiday) Dance at Hamilton Hall. I can never capture the actual dancing!