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History > U.S. History > 19th Century
Here, for the first time in more than eighty years, is a detailed study of political Antimasonry on the national, state, and local levels, based on a survey of existing sources. The Antimasonic party, whose avowed goal was the destruction of the Masonic Lodge and other secret societies, was the first influential third party in the United States and introduced the device of the national presidential nominating convention in 1831.
Vaughn focuses on the celebrated "Morgan Affair" of 1826, the alleged murder of a former Mason who exposed the fraternity's secrets. Thurlow Weed quickly transformed the crusading spirit aroused by this incident into an anti-Jackson party in New York. From New York, the party soon spread through the Northeast. To achieve success, the Antimasons in most states had to form alliances with the major parties, thus becoming the "flexible minority."
After William Wirt's defeat by Andrew Jackson in the election of 1832, the party waned. Where it had been strong, Antimasonry became a reform-minded, anti-Clay faction of the new Whig party and helped to secure the presidential nominations of William Henry Harrison in 1836 and 1840. Vaughn concludes that although in many ways the Antimasonic Crusade was finally beneficial to the Masons, it was not until the 1850s that the fraternity regained its strength and influence.
The New York City Draft Riots of 1863
In July 1863 New York City experienced widespread rioting unparalleled in the history of the nation. Here for the first time is a scholarly analysis of the Draft Riots, dealing with motives and with the reasons for the recurring civil disorders in nineteenth-century New York: the appalling living conditions, the corruption of the civic government, and the geographical and economic factors that led up to the social upheaval.
Historic Cemeteries of Grand Rapids, Michigan
In the late nineteenth century and early twentieth century, the look and feel of cemeteries in the United States changed dramatically, from utilitarian burial grounds to the serene park-like spaces that we know today. The so-called park cemetery was innovative not only for its distinctive landscape architecture but also because, for the first time, its staff took on the tasks of designing, running, and maintaining the cemetery itself, leading to a very consistent appearance. By the mid-1800s, the influence of park cemeteries began to spread from big cities on the east coast to the Midwest—eventually producing fifteen transitional examples in Grand Rapids, Michigan. In The Art of Memory: Historic Cemeteries of Grand Rapids, Michigan Thomas R. Dilley details the history of Grand Rapids’ park cemeteries, finding that their development mimicked national trends and changing cultural beliefs about honoring the dead. Dilley begins by outlining the history and evolution of cemetery design from its earliest days to present, including information about key design elements and descriptions of important designers. He continues by introducing readers to the fifteen historic cemeteries located in the city of Grand Rapids, detailing their histories, formats, and developmental changes along with more than two hundred photos. The cemeteries are divided between public and private properties, and are discussed chronologically, according to the dates of their founding. Dilley also considers the artistic and architectural forms that appear in the Grand Rapids cemeteries, including a thorough discussion of the religious and decorative symbols used on markers, the use of sometimes florid epitaphs, and variations in the form, structure, and materials of cemetery markers of the time. A brief section on the future of the cemetery and an extensive list of bibliographic sources and suggestions for further reading round out this informative volume. Readers with roots in Grand Rapids as well as those interested in social and cultural history will enjoy The Art of Memory.
Women Artists and Democracy in Mid-Nineteenth-Century New York
"I was in high spirits all through my unwise teens, considerably puffed up, after my drawings began to sell, with that pride of independence which was a new thing to daughters of that period."—The Reminiscences of Mary Hallock Foote
Mary Hallock made what seems like an audacious move for a nineteenth-century young woman. She became an artist. She was not alone. Forced to become self-supporting by financial panics and civil war, thousands of young women moved to New York City between 1850 and 1880 to pursue careers as professional artists. Many of them trained with masters at the Cooper Union School of Design for Women, where they were imbued with the Unity of Art ideal, an aesthetic ideology that made no distinction between fine and applied arts or male and female abilities. These women became painters, designers, illustrators, engravers, colorists, and art teachers. They were encouraged by some of the era's best-known figures, among them Tribune editor Horace Greeley and mechanic/philanthropist Peter Cooper, who blamed the poverty and dependence of both women and workers on the separation of mental and manual labor in industrial society. The most acclaimed artists among them owed their success to New York's conspicuously egalitarian art institutions and the rise of the illustrated press. Yet within a generation their names, accomplishments, and the aesthetic ideal that guided them virtually disappeared from the history of American art.
Art Work: Women Artists and Democracy in Mid-Nineteenth-Century New York recaptures the unfamiliar cultural landscape in which spirited young women, daring social reformers, and radical artisans succeeded in reuniting art and industry. In this interdisciplinary study, April F. Masten situates the aspirations and experience of these forgotten women artists, and the value of art work itself, at the heart of the capitalist transformation of American society.
Many people are generally familiar with the fact that Boston was once known as “the Athens of America.” Very few, however, are clear about exactly why, except for their recollections of the famous writers and poets who gave the city a reputation for literature and learning. In this book, historian Thomas H. O’Connor sets the matter straight by showing that Boston’s eminence during the first half of the nineteenth century was the result of a much broader community effort. After the nation emerged from its successful struggle for independence, most Bostonians visualized their city not only as the Cradle of Liberty, but also as the new world’s Cradle of Civilization. According to O’Connor, a leadership elite, composed of men of prominent family background, Unitarian beliefs, liberal education, and managerial experience in a variety of enterprises, used their personal talents and substantial financial resources to promote the cultural, intellectual, and humanitarian interests of Boston to the point where it would be the envy of the nation. Not only did writers, scholars, and philosophers see themselves as part of this process, but so did physicians and lawyers, ministers and teachers, merchants and businessmen, mechanics and artisans, all involved in creating a well-ordered city whose citizens would be committed to the ideals of social progress and personal perfectibility. To accomplish their noble vision, leading members of the Boston community joined in programs designed to cleanse the old town of what they felt were generations of accumulated social stains and human failures, and then to create new programs and more efficient institutions that would raise the cultural and intellectual standards of all its citizens. Like ancient Athens, Boston would be a city of great statesmen, wealthy patrons, inspiring artists, and profound thinkers, headed by members of the “happy and respectable classes” who would assume responsibility for the safety, welfare, and education of the “less prosperous portions of the community.” Designed for the general reader and the historical enthusiast, The Athens of America is an interpretive synthesis that explores the numerous secondary sources that have concentrated on individual subjects and personalities, and draws their various conclusions into a single comprehensive narrative.
A Nineteenth-Century Odyssey from America to Africa
A decade before the American Civil War, James Churchwill Vaughan (1828–93) set out to fulfill his formerly enslaved father's dying wish that he should leave America to start a new life in Africa. Over the next forty years, Vaughan was taken captive, fought in African wars, built and rebuilt a livelihood, and led a revolt against white racism, finally becoming a successful merchant and the founder of a wealthy, educated, and politically active family. Tracing Vaughan's journey from South Carolina to Liberia to several parts of Yorubaland (present-day southwestern Nigeria), Lisa Lindsay documents this "free" man's struggle to find economic and political autonomy in an era when freedom was not clear and unhindered anywhere for people of African descent.In a tour de force of historical investigation on two continents, Lindsay tells a story of Vaughan's survival, prosperity, and activism against a seemingly endless series of obstacles. By following Vaughan's transatlantic journeys and comparing his experiences to those of his parents, contemporaries, and descendants in Nigeria and South Carolina, Lindsay reveals the expansive reach of slavery, the ambiguities of freedom, and the surprising ways that Africa, rather than America, offered new opportunities for people of African descent.
The Civil War and America's Culture of Death
"Americans came to fight the Civil War in the midst of a wider cultural world that sent them messages about death that made it easier to kill and to be killed. They understood that death awaited all who were born and prized the ability to face death with a spirit of calm resignation. They believed that a heavenly eternity of transcendent beauty awaited them beyond the grave. They knew that their heroic achievements would be cherished forever by posterity. They grasped that death itself might be seen as artistically fascinating and even beautiful."-from Awaiting the Heavenly Country
How much loss can a nation bear? An America in which 620,000 men die at each other's hands in a war at home is almost inconceivable to us now, yet in 1861 American mothers proudly watched their sons, husbands, and fathers go off to war, knowing they would likely be killed. Today, the death of a soldier in Iraq can become headline news; during the Civil War, sometimes families did not learn of their loved ones' deaths until long after the fact. Did antebellum Americans hold their lives so lightly, or was death so familiar to them that it did not bear avoiding?
In Awaiting the Heavenly Country, Mark S. Schantz argues that American attitudes and ideas about death helped facilitate the war's tremendous carnage. Asserting that nineteenth-century attitudes toward death were firmly in place before the war began rather than arising from a sense of resignation after the losses became apparent, Schantz has written a fascinating and chilling narrative of how a society understood death and reckoned the magnitude of destruction it was willing to tolerate.
Schantz addresses topics such as the pervasiveness of death in the culture of antebellum America; theological discourse and debate on the nature of heaven and the afterlife; the rural cemetery movement and the inheritance of the Greek revival; death as a major topic in American poetry; African American notions of death, slavery, and citizenship; and a treatment of the art of death-including memorial lithographs, postmortem photography and Rembrandt Peale's major exhibition painting The Court of Death. Awaiting the Heavenly Country is essential reading for anyone wanting a deeper understanding of the Civil War and the ways in which antebellum Americans comprehended death and the unimaginable bloodshed on the horizon.
Justice and Injustice in the Old Southwest
Bad Company and Burnt Powder is a collection of twelve stories of when things turned "Western" in the nineteenth-century Southwest. Each chapter deals with a different character or episode in the Wild West involving various lawmen, Texas Rangers, outlaws, feudists, vigilantes, lawyers, and judges. Covered herein are the stories of Cal Aten, John Hittson, the Millican boys, Gid Taylor and Jim and Tom Murphy, Alf Rushing, Bob Meldrum and Noah Wilkerson, P. C. Baird, Gus Chenowth, Jim Dunaway, John Kinney, Elbert Hanks and Boyd White, and Eddie Aten. Within these pages the reader will meet a nineteen-year-old Texas Ranger figuratively dying to shoot his gun. He does get to shoot at people, but soon realizes what he thought was a bargain exacted a steep price. Another tale is of an old-school cowman who shut down illicit traffic in stolen livestock that had existed for years on the Llano Estacado. He was tough, salty, and had no quarter for cow-thieves or sympathy for any mealy-mouthed politicians. He cleaned house, maybe not too nicely, but unarguably successful he was. Then there is the tale of an accomplished and unbeaten fugitive, well known and identified for murder of a Texas peace officer. But the Texas Rangers couldn't find him. County sheriffs wouldn't hold him. Slipping away from bounty hunters, he hit Owlhoot Trail.
From Famine Ireland to Immigrant America
In 1847, in the third year of Ireland's Great Famine and the thirteenth year of their rent strike against the Crown, hundreds of tenant farmers in Ballykilcline, County Roscommon, were evicted by the Queen's agents and shipped to New York. Mary Lee Dunn tells their story in this meticulously researched book. Using numerous Irish and U.S. sources and with descendants' help, she traces dozens of the evictees to Rutland, Vermont, as railroads and marble quarries transformed the local economy. She follows the immigrants up to 1870 and learns not only what happened to them but also what light American experience and records cast on their Irish “rebellion.” Dunn begins with Ireland's pre-Famine social and political landscape as context for the Ballykilcline strike. The tenants had rented earlier from the Mahons of Strokestown, whose former property now houses Ireland's Famine Museum. In 1847, landlord Denis Mahon evicted and sent nearly a thousand tenants to Quebec, where half died before or just after reaching the Grosse Ile quarantine station. Mahon was gunned down months later. His murder provoked an international controversy involving the Vatican. An early suspect in the case was a man from Ballykilcline. In the United States, many of the immigrants resettled in clusters in several locations, including Vermont, Illinois, Iowa, Maryland, and New York. In Vermont they found jobs in the marble quarries, but some of them lost their homes again in quarry labor actions after 1859. Others prospered in their new lives. A number of Ballykilcline families who stopped in Rutland later moved west; one had a son kidnapped by Indians in Minnesota. Readers who have Irish Famine roots will gain a sense of their own “back story” from this account of Ireland and the native Irish, and scholars in the field of immigration studies will find it particularly useful.
The Religion of the Lost Cause, 1865-1920