Saturday, August 31, 2013

The Shakers 18C - 19C & Founder "Mother" Ann Lee 1736-1784


Shaker Village, Canterbury, New Hampshire

Ann Lee (1736-1784), founder of the United Society of Believers in Christ’s Second Appearing, commonly called Shakers in the United States, was born in Manchester, England, one of 8 children of John Lees, a blacksmith living on Toad Lane, & his wife. Ann later shortened her surname to Lee. She had no schooling. Early in her teens she went to work in a textile mill, preparing cotton for the looms & cutting velvet & hatter’s fur. There she was distinguished for her “faithfulness, neatness, prudence & economy.” She was a serious girl, “not addicted to play;” she brooded often about sin & the world’s wrongs.

In her twenties 2 events occurred which changed the courser of Ann Lee’s life. In 1758, she joined a society led by James Wardley, a tailor, & his wife Jane, former Quakers, who upon coming under the influence of the French Prophets, or Camisards, had separated from the Friends. From their manner of worship, which consisted of singing, dancing, shouting, shaking, & speaking in new tongues, they became known as “Shakers.” They prophesied that the 2nd coming of Christ was at hand, but otherwise had no definite creed.

The 2nd turning point in Ann’s life was her marriage. At the urging of relatives, she reluctantly consented to wed Abraham Standerin (Stadley or Stanly), a blacksmith employed in her father’s shop. She was still a member of the Church of England, for the banns were published in the Cathedral, Ann & Abraham signing by mark only. After the marriage (Jan. 5, 1762) the couple made their home with her parents, where in the course of the next few years 4 children were born to them, all of whom died in infancy. The deliveries were difficult, & Ann was near death after the birth of the last child.

This unwanted marriage which ended in tragedy, took its toll of the young wife. Worn by hears of toil in the mills, subject to the wretched conditions of an overcrowded slum, she broke down completely. Obsessed by the fears that the deaths of her children were a punishment for her concupiscence, her “violation of God’s laws,” she mortified herself, foregoing sleep & all but the meanest food, until, weak & wasted, she felt “as helpless as an infant.”

While Ann Lee was wasting away in jail, in the summer of 1770, she claimed that "by a special manifestation of divine light the present testimony of salvation and eternal life was fully revealed to her," and by her to the society, "by whom she from that time was acknowledged as mother in Christ, and by them was called Mother Ann."

"She saw the Lord Jesus Christ in his glory, who revealed to her the great object of her prayers, and fully satisfied all the desires of her soul. The most astonishing visions and divine manifestations were presented to her view in so clear and striking a manner that the whole spiritual world seemed displayed before her. In these extraordinary manifestations she had a full and clear view of the mystery of iniquity, of the root and foundation of human depravity, and of the very act of transgression committed by the first man and woman in the garden of Eden. Here she saw whence and wherein all mankind were lost from God, and clearly realized the only possible way of recovery."

"By the immediate revelation of Christ, she henceforth bore an open testimony against the lustful gratifications of the flesh as the source and foundation of human corruption; and testified, in the most plain and pointed manner, that no soul could follow Christ in the regeneration while living in the works of natural generation, or in any of the gratifications of lust."


Returning to the Wardleys, she once again found protection from the buffetings of fate. Now she had a mission, one that elevated her, about 1770, to leadership in the society. Two years later, when the Shakers began to carry their crusade into the streets & churches, they experienced their first “persecution.” Twice, in 1772 & 1773, Ann & her companions were arrested & imprisoned for breach of the Sabbath. She was confined to the “Dungeons” & from there transferred to Bedlam, the Manchester Infirmary. In these prisons she had her “grand vision” of the transgression of the first man & woman in the garden of Eden. Here she received her divine commission to complete Christ’s work. “It is not I that speak,” she told her followers, "it is Christ who dwells in me.” This intimate presence (“I converse with Christ; I feel him present with me, as sensible as I feel my hands together”) was later interpreted by her followers as constituting the second coming of Christ.

After her release from confinement, the Shakers received a “revelation” that the opening of the gospel would occur not in old England but in America. Accordingly Ann - now called Mother, of Mother of the New Creation - sailed for America on May 19, 1774, accompanied by her brother William, her chief disciple James Whittaker, & 6 others, including, strangely enough, her husband. They landed in New York on Aug. 6 & for a time went their separate ways in search of employment. Her husband Abraham found solice in drinking & left his wife. Whittaker, William Lee, & John Hocknell, the only “wealthy” members of the sect, eventually acquired a tract of land in Niskayuna (later Watervliet), near Albany, N.Y., where the Shakers settled in the spring of 1776.

A Shaker Dwelling in Mount Lebanon, New York

Here, after 4 years of isolation, came their first opportunity to preach the gospel, as an aftermath of a New Light Baptist revival in & around New Lebanon, N.Y. Hearing of a people who proclaimed that the millennium had already begun, disillusioned subjects of the revival flocked to Niskeyuna to see “the woman clothed with the sun.” Conversions rapidly increased. The prophetess was imprisoned for several months in 1780 on false charges of aiding the British, her pacifist principles having roused suspicion among her patriot neighbors. But after her release she continued her work, carry out, in 1781-83, an arduous but successful proselyting mission into parts of eastern New York & New England. When she died, in the fall of 1784, soon after her return to Nisheyuna, the foundation had been laid for eleven communities. She was buried in the Shaker cemetery at Niskeyuna. Her immediate successor, James Whittaker, lived only three more years, but her work was carried forward & systematized by the next heads of the society, Joseph Meacham & Lucy Wright.

Shakers Dancing

Mother Ann Lee must have had a magnetic personality, for during her career she attracted individuals from every walk of life, & after her death her spirit persisted as an ever-present mother image in the order. Physically she was of medium height, with a fair complexion, blue eyes, & chestnut brown hair. Her teaching was simple: confession was the doorway to salvation, celibacy its rule & cross. She envisaged a fellowship like that of the primitive Christian church, where “all that believed were together & had all things in common.” Like the Quakers, she took a firm stand against slavery, the taking of oaths, the bearing of arms. Repeatedly she counseled neatness, economy, charity to the poor.


While she strictly enjoined celibacy on her followers & for a time seems to have condemned marriage in the outside world as well, she later modified her views, holding that marriage was permissible on the “Adamic plane,” but that there was a higher plane, one nearer perfection, a “resurrection order” that was free of all carnal lust. In this order all should have equal privileges regardless of sex, race, or temporal possessions.

Mother Ann Lee was obsessed about “lust” & her messianic pretensions, but she did inspire a movement deeply religious in aspiration & essentially democratic in practice. Her advocacy of equal rights & responsibilities for women in the Shaker society anticipated the feminist movement in America. Her belief in an equalitarian order, in the dignity of labor, & in the rights of conscience accorded with American idealism. Hers was probaby the most successful experiment in religious communitarianism in American history.

A little more about Mother Ann's theory of lust & salvation -- from a volume of "Hymns and Poems for the Use of Believers" (Watervliet, Ohio, 1833), Adam is made to confess the nature of his transgression and the cause of his fall, in a dialogue with his children:

"First Adam being dead, yet speaketh, in a dialogue with his children.

"Children. First Father Adam, where art thou?
With all thy num'rous fallen race;
We must demand an answer now,
For time hath stript our hiding-place.
Wast thou in nature made upright—
Fashion'd and plac'd in open light?

"Adam. Yea truly I was made upright:
This truth I never have deni'd,
And while I liv'd I lov'd the light,
But I transgress'd and then I died.
Ye've heard that I transgress'd and fell—
This ye have heard your fathers tell.

"Ch. Pray tell us how this sin took place—
This myst'ry we could never scan,
That sin has sunk the human race,
And all brought in by the first man.
'Tis said this is our heavy curse—
Thy sin imputed unto us.

"Ad. When I was plac'd on Eden's soil,
I liv'd by keeping God's commands—
To keep the garden all the while,
And labor, working with my hands.
I need not toil beyond my pow'r,
Yet never waste one precious hour.

"But in a careless, idle frame,
I gazed about on what was made:
And idle hands will gather shame,
And wand'ring eyes confuse the head:
I dropp'd my hoe and pruning-knife,
To view the beauties of my wife.

"An idle beast of highest rank
Came creeping up just at that time,
And show'd to Eve a curious prank,
Affirming that it was no crime:—
'Ye shall not die as God hath said—
'Tis all a sham, be not afraid.'

"All this was pleasant to the eye,
And Eve affirm'd the fruit was good;
So I gave up to gratify
The meanest passion in my blood.
O horrid guilt! I was afraid:
I was condemn'd, yea I was dead.

"Here ends the life of the first man,
Your father and his spotless bride;
God will be true, his word must stand—
The day I sinn'd that day I died:
This was my sin, this was my fall!—
This your condition, one and all.

"Ch. How can these fearful things agree
With what we read in sacred writ—
That sons and daughters sprung from thee,
Endu'd with wisdom, power, and wit;
And all the nations fondly claim
Their first existence in thy name?

"Ad. Had you the wisdom of that beast
That took my headship by deceit,
I could unfold enough at least
To prove your lineage all a cheat.
Your pedigree you do not know,
The SECOND ADAM told you so.
"When I with guile was overcome,
And fell a victim to the beast,
My station first he did assume,
Then on the spoil did richly feast.
Soon as the life had left my soul,
He took possession of the whole.

"He plunder'd all my mental pow'rs,
My visage, stature, speech, and gait;
And, in a word, in a few hours,
He was first Adam placed in state:
He took my wife, he took my name;
All but his nature was the same.

"Now see him hide, and skulk about,
Just like a beast, and even worse,
Till God in anger drove him out,
And doom'd him to an endless curse.
O hear the whole creation groan!
The Man of Sin has took the throne!

"Now in my name this beast can plead,
How God commanded him at first
To multiply his wretched seed,
Through the base medium of his lust.
O horrid cheat! O subtle plan!
A hellish beast assumes the man!

"This is your father in my name:
Your pedigree ye now may know:
He early from perdition came,
And to perdition he must go.
And all his race with him shall share
Eternal darkness and despair."

The same theory of the fall is stated in another hymn:
p. 123

"We read, when God created man,
He made him able then to stand
United to his Lord's command
That he might be protected;
But when, through Eve, he was deceiv'd,
And to his wife in lust had cleav'd,
And of forbidden fruit receiv'd,
He found himself rejected.

"And thus, we see, death did begin,
When Adam first fell into sin,
And judgment on himself did bring,
Which he could not dissemble:
Old Adam then began to plead,
And tell the cause as you may read;
But from his sin he was not freed,
Then he did fear and tremble.

"Compell'd from Eden now to go,
Bound in his sins, with shame and woe,
And there to feed on things below—
His former situation:
For he was taken from the earth,
And blest with a superior birth,
But, dead in sin, he's driven forth
From his blest habitation.

"Now his lost state continues still,
In all who do their fleshly will,
And of their lust do take their fill,
And say they are commanded:
Thus they go forth and multiply,
And so they plead to justify
Their basest crimes, and so they try
To ruin souls more candid."

The "way of regeneration" is opened in another hymn in the same collection:
p. 124

"Victory over the Man of Sin.

"Souls that hunger for salvation,
And have put their sins away,
Now may find a just relation,
If they cheerfully obey;
They may find the new creation,
And may boldly enter in
By the door of free salvation,
And subdue the Man of Sin.

"Thus made free from that relation,
Which the serpent did begin,
Trav'ling in regeneration,
Having pow'r to cease from sin;
Dead unto a carnal nature,
From that tyrant ever free,
Singing praise to our Creator,
For this blessed jubilee.

"Sav'd from passions, too inferior
To command the human soul;
Led by motives most superior,
Faith assumes entire control:
Joined in the new creation,
Living souls in union run,
Till they find a just relation
To the First-born two in one.

"But this prize cannot be gained.
Neither is salvation found,
Till the Man of Sin is chained,
And the old deceiver bound.
All mankind he has deceived,
And still binds them one and all,
Save a few who have believed,
And obey'd the Gospel call.

"By a life of self-denial,
True obedience and the cross,
We may pass the fiery trial,
Which does separate the dross. p. 125
If we bear our crosses boldly,
Watch and ev'ry evil shun,
We shall find a body holy,
And the tempter overcome.

"By a pois'nous fleshly nature,
This dark world has long been led;
There can be no passion greater—
This must be the serpent's head:
On our coast he would be cruising,
If by truth he were not bound:
But his head has had a bruising,
And he's got a deadly wound.

"And his wounds cannot be healed,
Light and truth do now forbid,
Since the Gospel has revealed
Where his filthy head was hid:
With a fig-leaf it was cover'd,
Till we brought his deeds to light;
By his works he is discover'd,
And his head is plain in sight."


Following the doctrines were put forth by Ann Lee, & elaborated by her successors:

I. That God is a dual person, male and female; that Adam was a dual person, being created in God's image; and that "the distinction of sex is eternal, inheres in the soul itself; and that no angels or spirits exist who are not male and female."

II. That Christ is a Spirit, and one of the highest, who appeared first in the person of Jesus, representing the male, and later in the person of Ann Lee, representing the female element in God.

III. That the religious history of mankind is divided into four cycles, which are represented also in the spirit world, each having its appropriate heaven and hell. The first cycle included the antediluvians—Noah and the faithful going to the first heaven, and the wicked of that age to the first hell. The second cycle included the Jews up to the appearance of Jesus; and the second heaven is called Paradise. The third cycle included all who lived until the appearance of Ann Lee; Paul being "caught up into the third heaven." The heaven of the fourth and last dispensation "is now in process of formation," and is to supersede in time all previous heavens. Jesus, they say, after his death, descended into the first hell to preach to the souls there confined; and on his way passed through the second heaven, or Paradise, where he met the thief crucified with him.

IV. They hold themselves to be the "Church of the Last Dispensation," the true Church of this age; and they believe that the day of judgment, or "beginning of Christ's kingdom on earth," dates from the establishment of their Church, and will be completed by its development.

V. They hold that the Pentecostal Church was established on right principles; that the Christian churches rapidly and fatally fell away from it; and that the Shakers have returned to this original and perfect doctrine and practice. They say: "The five most prominent practical principles of the Pentecost Church were, first, common property; second, a life of celibacy; third, non-resistance; fourth, a separate and distinct government; and, fifth, power over physical disease." To all these but the last they have attained; and the last they confidently look for, and even now urge that disease is an offense to God, and that it is in the power of men to be healthful, if they will.

VI. They reject the doctrine of the Trinity, of the bodily resurrection, and of an atonement for sins. They do not worship either Jesus or Ann Lee, holding both to be simply elders in the Church, to be respected and loved.

VII. They are Spiritualists. "We are thoroughly convinced of spirit communication and interpositions, spirit guidance and obsession. Our spiritualism has permitted us to converse, face to face, with individuals once mortals, some of whom we well knew, and with others born before the flood." * They assert that the spirits at first labored among them; but that in later times they have labored among the spirits; and that in the lower heavens there have been formed numerous Shaker churches. Moreover, "it should be distinctly understood that special inspired gifts have not ceased, but still continue among this people." It follows from what is stated above, that they believe in a "probationary state in the world of spirits."

VIII. They hold that he only is a true servant of God who lives a perfectly stainless and sinless life; and they add that to this perfection of life all their members ought to attain.

IX. Finally, they hold that their Church, the Inner or Gospel Order, as they call it, is supported by and has for its complement the world, or, as they say, the Outer Order. They do not regard marriage and property as crimes or disorders, but as the emblems of a lower order of society. And they hold that the world in general, or the Outer Order, will have the opportunity of purification in the next world as well as here.


This posting based, in part, on information from Notable American Women edited by Edward T James, Janet Wilson James, Paul S Boyer, The Belknap Press of Harvard University, Cambridge, Massachusetts. 1971

Tuesday, August 27, 2013

Music & Dance - Early 19C Philadelphia by John Lewis Krimmel 1786-1821



Immigrant artist John Lewis Krimmel was one of the first painters to record early 4th of July celebrations. He was born in Ebingen, Wurtemberg, Germany, in 1787, and accidently drowned near German-town, Pennsylvania, in July of 1821. He came to Philadelphia in 1809, to engage in business with his brother but soon abandoned the business to concentrate on his art.

He began his art career painting portraits, but a copy of Wilkie's "Blind Fiddler" caught his attention; & he turned to humorous subjects and genre painting. Krimmel gathered information for his paintings in the American countryside around Philadelphia by observing local habits, rituals, & ceremonies, so even though he took most of his compositional formats from British prints made after paintings by the satirical artists William Hogarth & David Wilkie, his subject matter was familiar to his potential audience at the Pennsylvania Academy. He also painted more serious historical pictures, & at the time of his death he had received a commission to paint a large canvas on the landing of William Penn. Krimmel was president of the Society of American artists.

John Lewis Krimmel (German-born American artist, 1786-1821) Barroom Dancing 1820


John Lewis Krimmel (German-born American artist, 1786-1821) Merrymaking at a Wayside Inn


John Lewis Krimmel (German American arttist, 1786-1821) The Quilting Frolic 1813

Sunday, August 25, 2013

Friday, August 23, 2013

African American spirituals & the shout...


The Shout at a Prayer Meeting, Georgia, Charles Stearns, The Black Man of the South (New York, 1872)

The very first negro spirituals were inspired by African music even if the tunes were not far from those of hymns. Some of them, which were called “shouts” were accompanied with typical dancing including hand clapping & foot tapping.

After regular a worship service, congregations often stayed for a “ring shout.”  It was a survival of primitive African dance. The men, & sometimes women, arranged themselves in a ring. The music started, perhaps with a Spiritual, and the ring began to move, at first slowly, then with quickening pace. The same musical phrase could be repeated over & over for hours. This produced an ecstatic state. Women sometimes screamed & fell. Men, exhausted, dropped out of the ring. 

The most common early spiritual musical format was call-and-response, with a song leader singing improvised verses, while a group provided short repetitive & often rhythmic responses. The songs themselves could be slow and mournful or in the more rhythmic, up-tempo style also associated with the ring shout, a holy dance.

Wednesday, August 21, 2013

19C American Women, Music & Dance


 Eastman Johnson (American painter, 1824-1906)   Fiddling his Way (Black fiddle player)


Cornelius Krieghoff (Canadian genre painter, 1815-1872),  Fiddler and Boy Doing Jig

  
Eastman Johnson (American genre painter, 1824-1906).  Musical Instinct

  
Cornelius Krieghoff (Canadian genre painter, 1815-1872),  Breaking Lent


Eastman Johnson (American painter, 1824-1906)  Fiddling His Way (White fiddle player)


 Lily Martin Spencer (1822 - 1902 ) War Spirit at Home 1866


Eastman Johnson (American artist, 1824-1906) Negro Life in the South in 1859 detail


Monday, August 19, 2013

Celebrating in 1830-60s America - Music & Dance by William Sidney Mount 1807-1868


William Sidney Mount (American painter, 1807-1868) Catching the Tune 1866-7
 

William Sidney Mount (American painter, 1807-1868) Dance of the Haymakers 1845


The Irish tradition of "dancing a jig" in the Middle Atlantic was noted by a newspaper reporter in the middle of the century.  In 1848, a reporter for the New York Tribune visited a hotel in Philadelphia's Southwark district where working-class men & women came to drink & dance. When the "old negro fiddler" strikes up a tune in a dancing-room upstairs, the reporter records,

"The dance proceeds for a few minutes in tolerable order; but soon the excitement grows, the dancers begin … accelerating their movements, accompanied with shouts of laughter, yells of encouragement and applause, … Affairs are now at their height. The black fiddler increases the momentum of his elbow and calls out the figure in convulsive efforts to be heard [while] the dancers, now wild with excitement, leap frantically about … and at length conclude the dance in the wildest disorder and confusion. As soon as the parties recover, the fiddler makes his appearance among them and receives from each gentleman a tip as his proportion of the ceremony of 'facing the music,' and the floor is cleared for a new set; and so goes on the night."


William Sidney Mount (American painter, 1807-1868) Right and Left 1850


William Sidney Mount (American painter, 1807-1868) Dancing on the Barn Floor 1831


William Sidney Mount (American painter, 1807-1868) The Banjo Player 1856


William Sidney Mount (American painter, 1807-1868) Rustic Dance After a Sleigh Ride 1830


William Sidney Mount (American painter, 1807-1868) The Bone Player 1856


William Sidney Mount (American painter, 1807-1868) The Breakdown Bar Room Scene 1835


William Sidney Mount (American painter, 1807-1868) Just in Time


William Sidney Mount (American painter, 1807-1868) The Power of Music 1847


William Sidney Mount (American genre painter, 1807-1868)  The Banjo Player 1856


Saturday, August 17, 2013

Shakers dancing...


From the beginning of the Shaker movement, dancing, or “laboring” under operations of the spirit was an essential element of Shaker worship. The Shakers found several reasons to add dance to their worship. They found 19 scripture passages saying that said they should dance for the Lord.  They also reasoned that God created the whole body, not just the mouth & hands; therefore, they should praise the Lord with their whole bodies. The communal family often gathered in its family meeting room to worship during the weekday evenings, at first in spontaneous, individual dancing, & later to repeat intricate dance steps.

Shaker Dance by C. Winter from Dan Emmett and the Rise of Early Negro Minstrelsy by Hans Nathan

An anonymous observer among the Shakers at Albany, NY, recorded these observations:

"At half past seven p.m. on the dancing days, all the members retired to their separate rooms, where they sat in solemn silence, just gazing at the stove, until the silver tones of the small tea-bell gave the signal for them to assemble in the large hall.

"Shakers, their mode of Worship" Hartford Lith. D.W. Kellogg & Co., [ca. 1830-1842].

"Thither they proceeded in perfect order and solemn silence. Each had on thin dancing shoes; and on entering the door of the hall they walked on tip-toe, and took up their positions as follows: the brothers formed a rank on the right, and the sisters on the left, facing each other, about five feet apart.

"After all were in their proper places the chief Elder stepped into the center of the space, and gave an exhortation for about five minutes, concluding with an invitation to them all to 'go forth, old men, young men and maidens, and worship God with all their might in the dance.' Accordingly they 'went forth,' the men stripping off their coats and remaining in their shirt-sleeves.

Shakers Dancing

"First they formed a procession and marched around the room in double-quick time, while four brothers and sisters stood in the center singing for them. After marching in this manner until they got a little warm, they commenced dancing, and continued it until they were pretty well tired.

"During the dance the sisters kept on one side, and the brothers on the other, and not a word was spoken by any of them. After they appeared to have had enough of this exercise, the Elder gave the signal to stop, when immediately each one took his or her place in an oblong circle formed around the room, and all waited to see if anyone had received a 'gift,' that is, an inspiration to do something odd. Then two of the sisters would commence whirling round like a top, with their eyes shut; and continued this motion for about fifteen minutes; when they suddenly stopped and resumed their places, as steady as if they had never stirred..."


American Heritage magazine reported,
"The main attraction for tourists was Sunday public worship meeting, when hundreds of spectators crowded into the meetinghouse to watch the Shakers perform the dances that gave them their name. The effect on the audience was electric. Outsiders who could tolerate celibacy and communalism, and even shrug their shoulders at the notion that men and women were equal, were scandalized by the idea of dancing in church. Amazed, amused, or aghast, shocked observers likened Shakers at worship to kangaroos, dancing bears, and overgrown antelopes bounding around the room. “Senseless jumping,” Emerson wrote, “this shaking of their hands, like the paws of dogs.”
 
The Graphic, May 14, 1870 Shakers at Meeting. The Religious Dance. Illustration by Artist Arthur Boyd Houghton

Most of their worship was singing and dancing. In the beginning, the dancing was done individually. Later in the 1800s the dancing became more organized and practiced by the group as a whole. The complicated steps and interesting formations brought hundreds of people to watch the Shakers dance.
“And to work they went with one accord,” observer Mrs. Hall reported, “singing or rather screaming, tunes of a kind of jig time, at the same time walking round the room with a swinging step somewhat between a walk and a dance and flapping their hands with a penguin kind of motion.”
When true simplicity is gained,
To bow and to bend we shan't be ashamed.
To turn, turn will be our delight,
'Til by turning, turning we come round right
 
 

See:  Noyes, John Humphrey, History of American Socialisms (1870)

Tuesday, August 13, 2013

Back to School


Edward Lamson Henry (American artist, 1841-1913)  A Country School


John George Brown (1831-1913) A Liesure Hour 1881


Constant Mayer (French-born Amerian artist, 1832–1911) The Sewing School


John George Brown (1831-1913) Autumn Landscape 1870


Francis William Edmonds (American artist, 1806–1863) The Two Culprits


John George Brown (1831-1913) School Bound 1873


Winslow Homer (American artist, 1836-1910) Blackboard


Winslow Homer (American artist, 1836-1910) The Country School


Winslow Homer (American artist, 1836-1910) Homework


Winslow Homer (American artist, 1836-1910) The Noon Recess

John George Brown (American artist, 1831-1913)  What's Your Name


Winslow Homer (American artist, 1836-1910) Country School


Edward Lamson Henry (American artist, 1841-1913) Kept In


John George Brown (1831-1913)  Off to School - A Breezy Morning


Winslow Homer (1836-1910) School Time


Francis William Edmonds (Amercian genre painter, 1806-1863) The New Scholar 1845