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1830s Camp Meeting or Religious Revival in Virginia

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A Narrative of the Visit to the American Churches by Andrew Reed (1782-1862) and James Matheson published in 1838

Early 19th-century camp meeting

We were now on the Northern Neck, an isthmus of various width, and some 150 miles long, which is separated from the mainland of Virginia by the Rappahannoc...We got at last into less frequented paths; wound again and again round the clustering trees and opposing stumps, and then came to what I regarded as the signs of the object sought.  There were, under some trees, pens for the safety of horses; then there were carriages of all descriptions, appearing with horses and oxen, secured and at rest, and occasionally a negro in attendance on them.  Then you passed by a large log-house, which was erected for the time, to supply lodging and food to such as needed them.  Now you saw, in several directions, the parts of cabins, made of the pine-tree, and of the same colour, and only distinguished from it by the horizontal lines in which it ran; and presently you found yourself at the entrance of all you wished to see.

Camp Meeting 1819 American Methodists proceeding to their Camp Meeting English print by or after Jacques-Gérard Milbert (French artist, 1766–1840)

There were in lines, intersected by the trees, a number of tents composed of log-wood, forming a quadrangle of about 180 feet.  In the centre of the further line, in this square, there was a stand for the accommodation of the preachers, which would contain twelve or fourteen persons.  Behind this were stems of trees laid down as seats for the negroes, running off in radiating lines, and closed by some tents for their use, and forming the segment of a circle.  Before the stand, or pulpit, a rail was carried round the first five or six seats, which we called the altar; and seats, composed of tree-stems, filled up the centre of the square.  Within, without, everywhere, the oak, the chestnut, and the fir appeared, and of finest growth; only those within the quadrangle were cleared of underwood, and trimmed up to aid the sight, so that they resembled the beautiful pillars of a cathedral; while their lofty heads, unpruned by the hand of man, united, and made a foliated ceiling, such as no cathedral could approach, and through which the blue sky and bright sun were glancing.

Lorenzo Dow (1777-1834) was a spellbinding but eccentric traveling Methodist evangelist who could still a turbulent camp meeting with "the sound of his voice or at the sight of his fragile but awe-inspiring presence." Dow's audiences often exhibited unusual physical manifestations under the influence of his impassioned preaching. Lorenzo Dow and the Jerking Exercise. Engraving by Lossing-Barrett, from Samuel G. Goodrich, Recollections of a Lifetime. New York: 1856 

It was now the hour of morning worship.  The pulpit was full; the seats were covered with waiting worshippers.  I approached the stand; and was welcomed by the brethren.  We rose, and united in a hymn of praise...The singing to which I have referred, was followed by prayer and a sermon.  The text was, “If God spared not his own Son,” &c.—The preacher was a plain man, and without education; and he had small regard either to logic or grammar.  He had, however, as is common to such persons, an aspiration after high-sounding terms and sentiments, which stood in strange opposition to the general poverty and incorrectness of his expressions.  The proposition, for instance, raised on his text was this:—That the gift of Christ to sinners is the thing set forth with most life, animation, and eloquence, of any thing in the world.  Such a proposition, though badly propounded, was of course above such a man; but though what he said did but little for his proposition, it was said with earnestness and pious feeling, and it told on the plain and serious portions of his audience.  He was followed by a brother of higher qualifications, who took up the close of his subject, and addressed it to the conscience with skill and effect.  The exhortation was terminated by an invitation to come and take a seat within the altar.  These seats were, when wanted, in other words, the anxious seats; two of them were cleared, and a suitable hymn was sung, that persons might have time to comply.  Very few came; chiefly a mother with her boy, who had previously seemed to court notice.  The lad had indulged in noisy crying and exclamation; he was in the hand of an indiscreet parent, and had not been sufficiently discouraged by the ministers.  The exhortations, and then the singing, were renewed; but still with small effect, as to the use of the prepared seats; and so this service closed... 

Camp Meeting with Ladies on one side & Gentlemen on the other

The afternoon service was very similar in arrangement and in effect.  The text was, “Let the wicked man forsake his way,” &c.; but the preacher certainly made a feeble use of a powerful passage.  It was interrupted, too, by a noisy and intemperate man, who had found his way hither; yet it was followed by exhortation superior to itself, and an urgent appeal to the people to come forward and separate themselves.  The results were not better than before.  The only apology for thus pressing under unfavourable circumstances was, that the meetings had been held now for three days; that the solemn services of the Sabbath had just passed over the people; and the worthy ministers were anxious for visible fruit, not only as arising from the present appeal, but from past impressions.

The Kentucky revivals originated with Presbyterians and emerged from marathon outdoor communion seasons, which were a feature of Presbyterian practice in Scotland. Sacramental Scene in a Western Forest Lithograph by P.S. Duval, c 1801

These were the more public and regular services; but other engagements were always fulfilling.  The ministers were invited by their friends to the several tents, to exhort, and sing, and pray, so that when they ceased in one place, they were renewed in another.  And at all times those who liked to gather within the altar, and sing, were allowed to do so; and as, when they were weary, others came up and supplied their places, the singing was without ceasing...

Soon, however, the hoarse notes of the horn vibrated through the air, and summoned me to return.  It was the notice for worship at sundown; and as there is little twilight here, the nightfall comes on suddenly.  I hastened to obey the call, and took my place with the brethren on the preachers’ stand.  The day had now expired, and with it the scene was entirely changed, as if by magic, and it was certainly very impressive.  On the stand were about a dozen ministers, and over their heads were suspended several three-pronged lamps, pouring down their radiance on their heads, and surrounding them with such lights and shadows as Rembrandt would love to copy.  Behind the stand were clustered about 300 negroes, who, with their black faces and white dresses thrown into partial lights, were a striking object.  Before us was a full-sized congregation collected, more or less revealed, as they happened to be near or distant from the points of illumination.  Over the people were suspended from the trees a number of small lamps, which, in the distance, seemed like stars sparkling between their branches.  Around the congregation, and within the line of the tents, were placed some elevated tripods, on which large fires of pine wood were burning, cracking, blazing; and shooting upward like sacrificial flames to heaven.  They gave amazing power to the picture, by casting a flood of waving light on the objects near to them, and leaving every thing else in comparative obscurity.  Still at greater distance might be seen, in several directions, the dull flickering flame of the now neglected domestic fire; and the sparks emitted from it, together with the firefly, rose and shot across the scene like meteors, and then dropped into darkness.  Never was darkness made more visible, more present.  All the lights that were enkindled appeared only to have this effect; as everywhere more was hidden than seen.  If the eye sought for the tents, it was only here and there that the dark face of one could be dimly seen; the rest was wrapped in darkness; and if it rose with the trees around you, the fine verdant and vaulted roof which they spread over you was mostly concealed by the mysterious and thickening shadows which dwelt there.  Then, if you would pierce beyond these limits, there lay around you and over you, and over the unbounded forest that enclosed you, a world of darkness, to which your little illuminated spot was as nothing.  I know of no circumstances having more power to strike the imagination and the heart.

Methodist camp meeting by or after Jacques-Gérard Milbert (French artist, 1766–1840) c 1819. engraving by Matthew Dubourg

But to the exercises.  The singing, which had been sustained in all the interval by some younger persons, now showed its results.  Two or three young women were fainting under the exhaustion and excitement; and one, who was reported to me as a Methodist, was in hysterical ecstasy, raising her hands, rolling her eyes, and smiling and muttering.  It appeared that she courted this sort of excitement as many do a dram, and was frequent at meetings of this character, for the sake of enjoying it.

 Camp Meeting in Western part of Virginia 1840 Henry Howe's Historical Collections of Virginia

However, after disposing of this slight interruption, the regular service began.  It was to be composed of exhortation and prayer; and it was excellently conducted.  The leading ministers, who had been wearied by the claims of the Sabbath, had evidently reserved themselves for this period.  The first address referred to the past; the effort which had been made; the results which ought to follow, but which had not followed, and which the speaker feared would not follow.  It was closed by an affectionate expression of concern that they would now show that it had not been in vain.  The next exhortation was on conversion.  Some skilful and orthodox distinctions were established on the subject, as it involves the agency of the Spirit and the agency of man.  It was discriminative, but it was plain and pungent; and threw all the responsibility of perversity and refusal on the sinner.  It made a strong impression.

1800s Camp Meeting

The third exhortation was on indifference and despondency.  The subject was well timed and well treated.  The speaker combated these evils as likely to be a preventative in most persons in coming to a decision; and he made a wise use of evangelical truth for this purpose.  He supported the other addresses by an earnest appeal to separate themselves, and show that they were resolved to rank on the Lord’s side.  The people were evidently much more interested than they had been; and the preachers were desirous of bringing them to an issue.  Exhortation and singing were renewed; and it was proposed that they should go down and pass among the people, for the purpose of conversing with them, and inducing them to come forward.  By these personal applications and persuasions, a considerable number were induced to come forward; and fervent prayer of a suitable character was offered in their behalf.

Methodist camp meeting. Alexander Rider, Hugh Bridport, Kennedy & Lucas lithograph, ca. 1829

It was already late, and here, at least, the service should have stopped.  This was the opinion of the wiser and elder brethren, but they did not press it; and those of weaker mind and stronger nerve thought that the work had only just begun.  It was wished that I should retire, but I was desirous of witnessing the scene.  Other exhortations and prayers, of a lower but more noisy character, were made, with endless singing; favourite couplets would be taken up and repeated without end.  The effect was various, but it was not good; some, with their feelings worn out, had passed the crisis, and it was in vain to seek to impress them; while others were unduly and unprofitably excited.

None discovered this more than the blacks.  They separated themselves from the general service, and sought their own preacher and anxious seat.  A stand was presently fixed between two trees; a preacher was seen appearing and disappearing between them, as his violent gesticulation caused him to lean backwards or forwards.  The blacks had now things to their mind, and they pressed round the speaker, on their feet or their knees, with extended hands, open lips, and glistening eyes: while the strong lights of a tripod, close to which they had assembled, fell across the scene, and gave it great interest and power...It was now considerably past eleven o’clock; I thought I had seen all the forms which the subject was likely to take; and I determined to answer the request of my friends, and retire.

African American Camp Meeting in the South, Harper's Weekly 1872

I had been assured that a bed was reserved for me at the preachers’ tent, and I now went in search of it.  The tent is constructed like the rest, and is about eighteen feet by fourteen.  As the ministers are expected to take their meals at the other tents, this is prepared as a lodging-room.  An inclined shelf, about six feet wide and four high, runs along the entire side of it, and it is supplied with six beds.  I chose the one in the farther corner, in the hope of escaping interruption; as the bed next to me was already occupied by a person asleep.  I relieved myself of my upper garments, and laid myself down in my weariness to rest.  The other beds soon got filled.  But still the brethren were coming to seek accommodation.  One of them crept up by the side of the person next to me; and as the bed would only suit one, he really lay on the margin of his and mine.  Thus discomposed, my resolution was immediately taken not to sleep at all.  There was, however, no need of this proud resolution, for that night there was to be no sleep for me.  There were still other parties to come, and beds to be provided.  After this there was the singing renewed, and still renewed, till youth and enthusiasm were faint and weary, and then it died away.  Still there remained the barking of the watch-dogs, the sawing of the kat-e-dids and locusts, and the snoring of my more favoured companions, and these were incessant...

Edward Williams Clay (after) (American artist, 1799-1857)  Camp Meeting 1838

When the sun actually rose, the horn blew for prayers.  To me, all restless as I had been, it was a joyful sound.  I waited till others had dressed, that I might do so with greater quiet.  I stole away into the forest, and was much refreshed by the morning breeze and fresh air...         On my return, the ministers renewed their kind application to me to preach on the morning of this day.  I begged to be excused, as I had had no rest, and had taken cold, and was not prepared to commit myself to the peculiarities of their service, and which they might deem essential.  They met again; and unanimously agreed to press it on me; “it should be the ordinary service, and nothing more; and as an expectation had been created by my presence, many would come, under its influence, and it would place any other minister at great disadvantage.”  My heart was with this people and the leading pastors, and I consented to preach...

Main Square of the Duck Creek Methodist Episcopal Church Camp Meeting, During Service, near Cincinnati

At eleven o’clock the service began.  I took my place on the stand; it was quite full.  The seats, and all the avenues to them, were also quite full.  Numbers were standing, and for the sake of being within hearing, were contented to stand.  It was evident that rumour had gone abroad, and that an expectation had been created, that a stranger would preach this morning, for there was a great influx of people, and of the most respectable class which this country furnishes.  There were not less than 1,500 persons assembled.  Mr. Taylor offered fervent and suitable prayer.  It remained for me to preach.  I can only say that I did so with earnestness and freedom.  I soon felt that I had the attention and confidence of the congregation, and this gave me confidence.  I took care, in passing, as my subject allowed, to withdraw my sanction from any thing noisy and exclamatory; and there was, through the discourse, nothing of the kind; but there was a growing attention and stillness over the people.  The closing statements and appeals were evidently falling on the conscience and heart, with still advancing power.  The people generally leaned forward, to catch what was said.  Many rose from their seats; and many, stirred with grief, sunk down, as if to hide themselves from observation; but all was perfectly still.  Silently the tear fell; and silently the sinner shuddered.  I ceased.  Nobody moved.  I looked round to the ministers from some one to give out a hymn.  No one looked at me—no one moved.  Every moment, the silence, the stillness, became more solemn and overpowering.  Now, here and there, might be heard suppressed sobbing arising on the silence.  But it could be suppressed no longer—the fountains of feeling were burst open, and one universal wail sprung from the people and ministers, while the whole mass sunk down on their knees, as if imploring some one to pray.  I stood resting on the desk, overwhelmed like the people.  The presiding pastor arose, and, throwing his arms round my neck, exclaimed, “Pray, brother, pray!  I fear many of my charge will be found at the left hand of the Judge!  Oh, pray, brother, pray for us!” and then he cast himself on the floor with his brethren, to join in the prayer.  But I could not pray!  I must have been more or less than man to have uttered prayer at that moment!  Nor was it necessary.  All, in that hour, were intercessors with God, with tears, and cries, and groans unutterable.

Revival Meeting, c. 1850. Painting by Jeremiah Paul (American artist, 1761-1820)

So soon as I could command my state of feeling, I tried to offer prayer.  My broken voice rose gradually on the troubled cries of the people, and gradually they subsided, so that they could hear and concur in the common supplications.  It ceased, and the people rose.  We seemed a changed people to each other.  No one appeared disposed to move from the spot, and yet no one seemed disposed for ordinary exercises.  Elder Taylor moved forward and remarked—“That it was evident nothing but prayer suited them at this time.  And as so many had been impressed by the truth, who had not before, he wished, if they were willing, to bring it to the test of prayer.”  He therefore proposed that if such persons wished to acknowledge the impression received, and to join in prayer for their personal salvation, they should show it by kneeling down, and he would pray with them.  In an instant, as if instinct with one spirit, the whole congregation sunk down to the ground...

At Eastham for the Camp Meeting 1852

Thus closed the most remarkable service I have ever witnessed.  It has been my privilege to see more of the solemn and powerful effect of divine truth on large bodies of people than many; but I never saw any thing equal to this; so deep, so overpowering, so universal. 


Religious revival meeting at Eastham, Mass., 1852 Exhortation and preaching at the Camp Meeting at Eastham

Of what use are camp-meetings?  ... In the newly-settled parts, where the inhabitants are so few, and are scattered over so large a surface, the ordinary means of worship and instruction can for a time hardly be enjoyed; and, in this interval, the camp-meeting seems an excellent device for the gathering of the people.  Under such circumstances, the very fact of the being brought together, though it were not for religious purposes, would be a decided benefit...Where the camp-meeting is really wanted and really useful, it interests a careless people in their own moral and religious wants; and is the natural and general forerunner, as the population thickens, of the school-house, the church, and all the appliances of civil life.

This sketch, by Benjamin Henry Latrobe (1764-1820), shows the layout of an 1809 Methodist camp meeting in Fairfax County, Virginia. The men's seats were separated from the women's and the "negro tents" from the whites. To accommodate the powerful, at times uncontrollable, emotions generated at a camp meeting, Latrobe indicated that, at the right of the main camp, the organizers had erected "a boarded enclosure filled with straw, into which the converted were thrown that they might kick about without injuring themselves."   Plan of the Camp, August 8, 1809 Journal of Benjamin Latrobe, August 23, 1806- August 8, 1809


Early 19th-Century Americans attributed to John Brewster Jr. 1766-1854

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John Brewster Jr. (American painter, 1766-1854) Mrs Elizabeth Perkins and Charlie 1809

John Brewster Jr. (American Painter, 1766-1854) Lucy Knapp Mygatt and Her Son George 1799

John Brewster Jr. (1766–1854) was a prolific, deaf itinerant painter who produced many portraits of New England families, especially their children. He lived much of the latter half of his life in Buxton, Maine.

John Brewster Jr. (American Painter, 1766-1854) Hanna Voss Kittery Maine c 1795

John Brewster Jr (American painter, 1766-1854) Boy with Book 1800

John Brewster Jr. (American painter, 1766-1854)

John Brewster Jr. (American Painter, 1766-1854) Boy with Bird 1790

John Brewster Jr. (American painter, 1766-1854) Child in Red Shoes, White Dress, Holding a Peach

John Brewster Jr. (American Painter, 1766-1854) Woman in Grey Dress 1814

 John Brewster Jr. (American painter, 1766-1854) Mary Broughton Mygatt

John Brewster Jr. (American Painter, 1766-1854) Francis O Watts with Bird 1805

John Brewster Jr. (American painter, 1766-1854) Wealthy Jones Winter (b. 1819) and Sarah Marie Winter (b.1817)

John Brewster Jr. (American Painter, 1766-1854) Dr Joh Brewster and Ruth Avery Brewster, the Artits's Father and Stepmother, c 1795

John Brewster Jr. (American Painter, 1766-1854) One Shoe Off 1807

John Brewster Jr. (American Painter, 1766-1854) Comfort Starr Mygatt and his daughter Lucy 1799

John Brewster Jr. (American Painter, 1766-1854) Mary Coffin 1810

John Brewster Jr. (American Painter, 1766-1854) Deacon Eliphaz Thayer and His Wife, Deliverance, 1795-1805

John Brewster Jr. (American Painter, 1766-1854) Mary Jane Nowell c 1810

John Brewster Jr. (American Painter, 1766-1854) Morgan Family Portrait c 1790

John Brewster Jr. (American Painter, 1766-1854)

John Brewster Jr. (American painter, 1766-1854) Eunice P. Deane portrait, ca. 1800

John Brewster Jr. (American Painter, 1766-1854) Ann Batell Loomis 1822

John Brewster Jr. (American Painter, 1766-1854)

John Brewster Jr. (American Painter, 1766-1854) Portrait of a Lady 1800s

John Brewster Jr. (American Painter, 1766-1854) Boy With a Book 1810

John Brewster Jr. (American Painter, 1766-1854) Mary Warren Bryant c 1815

John Brewster Jr. (American Painter, 1766-1854

John Brewster Jr. (American Painter, 1766-1854) Woman in a Landscape c 1805

John Brewster Jr. (American painter, 1766-1854) Girl with book

John Brewster Jr. (American Painter, 1766-1854) Child With Strawberries c 1800

 John Brewster Jr. (American painter, 1766-1854) Child with a Peach 1810

John Brewster Jr. (American Painter, 1766-1854) Sarah Prince 1801

 John Brewster Jr. (American painter, 1766-1854) Elizabeth Abigail Wallingford (1806-1829)

John Brewster Jr. (American Painter, 1766-1854) Marsh Oman Winter and William Winter c 1830

John Brewster Jr. (American painter, 1766-1854) James Prince and Son William 1801

John Brewster Jr. (American painter, 1766-1854)

Abigail Smith Adams (1744-1818) & the Adams' home at Braintree, Massachusetts

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Abigail Smith was born on November 11, 1744, in Weymouth, Massachusetts, the 2nd child of Elizabeth Quincy Smith & the Reverend William Smith. Her father was pastor of Weymouth's North Parish Congregational Church. Abigail's mother, Elizabeth, spent much of her time visiting the sick & distributing food, clothing, & firewood to needy families. Young Abigail accompanied her mother on these visits putting into practice the lessons her father taught at church.  Abigail educated herself in her father's library.

Abigail Adams (1744-1818)  by Gilbert Stuart (American artist, 1755-1828)

When she was 18, Abigail met John Adams, a young lawyer from nearby Braintree. During their 2 year courtship, the young couple spent long periods apart & relied upon writing letters to keep in touch. On October 25, 1764, Abigail's father presided over their wedding. The young couple moved into the house John had inherited from his father in Braintree & began their life together.  Abigail proved to be exceptionally capable of managing the family's finances & household. Meanwhile, John's began to ride the court circuit (traveling from one district to another) building a successful law career.  On July 14, 1765,  John & Abigail's 1st child, Abigail, was born."Nabby," as she was called, was followed by son John Quincy Adams on July 11, 1767, Susanna (who died just after her 1st year), Charles, & Thomas Boylston.   John Adams decided to move his family to Boston, because his work was located there. The Adamses friends inlcuded John's cousin Samuel Adams, John Hancock, James Otis, & Joseph Warren.

The Boston Massacre occured on March 5, 1770. At the risk of his own popularity & career, John Adams chose to defend 8 British soldiers & their captain, accused of murdering 5 Americans.  Although John was an ardent patriot & favored independence, he felt the soldiers had acted properly & been provoked into firing by an unruly mob. Also, he felt it was important to prove to the world that the colonists were not under mob rule, lacking direction & principles, & that all men were entitled to due process of law. Most Americans, driven by emotion, were angry with Adams for defending the hated "redcoats," but throughout the ordeal Abigail supported her husband's decision. In the end, Adams was proved correct & all 9 of the men were acquitted of the murder charges. While the verdict diffused this crisis, far greater ones were destined for the colonies.

1798 Watercolor of the Old House of John & Abigail Adams by E. Malcom  The Old House, built in 1731, became the residence of the Adams family for 4 generations from 1788 to 1927.

In 1774 John traveled to Philadelphia, Pennsylvania, as a delegate to the First Continental Congress; where America made its first legislative moves toward forming a government independent of Great Britain. Abigail remained in Braintree to manage the farm & educate their children. Again, letter writing was the only way the Adamses could communicate with each other. Their correspondence took on even greater meaning, for Abigail reported to her husband about the British & American military confrontations around Boston. Abigail took her son John Quincy to the top of Penn's Hill near their farm to witness the Battle of Bunker Hill on June 17, 1775.

Not all Americans shared the Adamses' vision of an independent nation. To those that wavered, Abigail argued, "A people may let a king fall, yet still remain a people: but if a king lets his people slip from him, he is no longer a king. And this is most certainly our case, why not proclaim to the world in decisive terms, your own independence?" John agreed with his wife; & in June 1776, was appointed to a committee of five men to prepare a Declaration of Independence from Great Britain.

1820 Sketch of the Mansion by Abigail Adams Smith who lived with her grandfather John Adams in the Old House from 1818-1829

Abigail's vision of independence was broader than that of the delegates. She believed all people, & both sexes, should be granted equal rights. In a letter to John she wrote, "I wish most sincerely that there was not a slave in the province. It always seemed to me to fight ourselves for what we are robbing the Negroes of, who have as good a right to freedom as we have."  Later Abigail added that John & his fellow delegates should "remember the ladies, & be more generous & favorable to them than you ancestors" when they enact new codes of law. Her views were far too progressive for the delegates of the Continental Congress. 

John soon was appointed president of the Board of War & turned to Abigail for advice on carrying out his job.  Throughout his career, Adams had few confidants. Thus Abigail advised her husband, & John valued her judgment so much that he wrote his wife, "I want to hear you think or see your thoughts."

1828 A drawing of The Adams Seat in Quincy by Mrs. George Whitney

In 1778,  John Adams was sent to Paris on a special mission to negotiate an alliance with France. He remained in Europe from 1778 to 1787, through a succession of different appointments, except for a 3 month rest at home; during which time he drafted the Massachusetts Constitution.  Separated from her husband by the Atlantic Ocean, Abigail continued to keep their farm running, paid their bills, & served as teacher to their children. She particularity labored to develop the great abilities of her son John Quincy, who had joined his father in Europe. In one letter to her son, she inspired him to use his superior abilities to confront the challenges before him: "These are times in which a genius would wish to live. . . . Great necessities call out great virtues."

John Adams by William Joseph Williams, C. 1797.

In 1784, with independence & peace secured from Great Britain, Abigail sailed to Europe to join her husband & son. Abigail spent 4 years in France & England, while her husband served as U.S. minister to Great Britain. As the wife of a diplomat, she met & entertained many people in Paris & London. While never at home in these unfamiliar settings, Abigail did her best to enjoy the people & places of both countries. Abigail was pleased, when the time came to return home to Braintree in 1788.

1846 Woodcut of the Residence of John Quincy Adams

The next year, John Adams was elected the 1st vice president of the United States. During the course of the next 12 years as John Adams served 2 terms as vice president (1789-1797) & 1 term as president (1797-1801), he & Abigail moved back & forth between Braintree (the "Old House")& the successive political capitals of the United States: New York, Philadelphia, & then, briefly, at the unfinished White House in Washington, D.C.

Portrait of John Adams by William Winstanley, 1798.

Abigail had recurring bouts of rheumatism that forced her frequently to retreat to the peace of Braintree recover. In 1796, John Adams was elected to succeed George Washington as president of the United States.  Party lines were forming. John Adams faced dissent in his cabinet & the vice president, Thomas Jefferson, was head of the opposition party. John realized the problems he faced & wrote to his wife, who was in Quincy recovering from a rheumatic bout, that "I never wanted your advice & assistance more in my life."  Abigail rushed to her husband's side & maintained a grueling schedule to perform all her duties as first lady. She entertained guests & visited people in support of her husband. The first lady had a limited budget to carry out her duties, but she compensated for this with her attentiveness & charm.

1849 Daguerreotype of the Old House of John & Abigail Adams by John Adams Whipple

Meanwhile, Great Britain was at war with France, & popular opinion held that America should jump in to aid Great Britain, especially after France insulted the United States by demanding bribes. The president felt that war would weaken the United States & decided on the unpopular course of neutrality. During this time many of Adams' opponents used the press to criticize his policies. Abigail was often referred to as "Mrs. President," for it was widely believed that the president's decisions were heavily influenced by his wife. In reality Abigail disagreed with her husband's stand of neutrality; but people believed she was setting his policies, & this weakened John Adams politically.

1849 Painting of the Old House of John & Abigail Adams by G. Frankenstein

In 1798, with John Adams' approval, Congress passed the Alien & Sedition Acts, which were aimed at restricting foreign influence over the United States & weakening the opposition press. Abigail supported these measures, because she felt they were necessary to stop the press from undermining her husband. The acts proved very unpopular, with Thomas Jefferson & James Madison leading the protest against them. Adams' support of these acts undermined his popular support, already suffering from his courageous but unpopular stand on war with France, & led to his failure to be reelected in 1800.

 1852 View of the Adams Mansion at Quincy by Mallory, C. 1852 from “Gleasons’ Pictorial Drawing Room Companion” Volume 3, August 21, 1852.

In March 1801, John & Abigail retired to Quincy. During her last years, Abigail occupied herself with improving her home & entertaining visiting children, grandchildren, nieces, & nephews. The proud mother watched as her son John Qunicy Adams distinguished himself as a U.S. senator, minister to Russia, & secretary of state. In October 1818, Abigail contracted typhoid fever. Surrounded by family members, she died on October 28. John Adams & his wife had shared 54 years of happiness & companionship, & John wrote, "I wish I could lay down beside her & die too."

Portrait of John Adams at age 88 by Jane Stuart, after Gilbert Stuart, 1824.

See National Park Service Adams House

1800s American Families

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1804 Ralph Eleaser Whiteside Earl (American artist, (c 1785-8–1838) Family Portrait.


1807 The Smith Family 1807 Rachel King Smith (1774-1823) and James Smith (1762-1818), Dumfries, Virginia


Joshua Johnson (American artist, 1763–1824) Family Group


Eunice Griswold Pinney (American artist, 1770-1849) A Memorial To Herself


Joshua Johnson (American artist, 1763–1824) The McCormack Family 1805


John Trumbull (American artist, 1756 – 1843) The Vernet Family 1806



Eunice Griswold Pinney (American artist, 1770-1849) Lolotte and Werther 1810


Samuel F. B. Morse (1791-1872) 1810 The Morse Family


Deborah Goldsmith (American artist, 1808-1836) Mr. and Mrs. Lyman Day and Daughter Cornelia,  Sangerfield, NY c 1823-1824


Joshua Johnson (American artist, 1763–1824) Grace Allison McCurdy (Mrs Hugh McCurdy & Her Daughters


Eunice Griswold Pinney (American artist, 1770-1849) Family Group at Piano c 1820


John Lewis Krimmel (1786-1821) The Country Wedding 1820


John S. Blunt (American artist, 1798–1835) A Cottage Family 1823


Ambrose Andrews (American artist, 1805–1859) The Schuyler Family 1824


Charles Bird King (American artist, 1785–1862) Itinerant Painter 1825


Deborah Goldsmith (American artist, 1808-1836) The Talcott Family 1832


Noah North (American painter, 1809-1880) Family Portrait 1830s


Bass Otis (American artist, 1784–1861) Self Portrait of the Artist and His Family


Frederick R Spencer (American artist, 1806-1875) Family Group 1840


Attributed to French-Born American artist Tomassin Creole Family Mourning Portrait, New Orleans c 1840


Horace Rockwell (American painter, 1811-1877) Lewis G. Thompson Family 1842-5


George Hollingsworth (American artist, 1813-1882) The Hollingsworth Family, 1850


Sturtevant J Hamblin (American artist, 1817-1884) Family


Thomas Sully (American artist, 1783-1872) The Alexander Family 1851


Sheldon Peck (American painter, 1797-1868) The John G. Wagner Family


Unknown Artist Family Group


Henry F. Darby (American artist, 1829–1897) The Reverend John Atwood and His Family 1845


Oliver Tarbell Eddy (American artist, 1799–1868) The Children off Mr and Mrs Israel Griffith


Ambrose Andrews (American artist, 1805–1859) The Children of Nathan Starr


Stanley Mix (American artist, 1814–1872) The Williamson Family


Erastus Salisbury Field (American artist, 1805–1900) Joseph Moore and His Family 1840


Charles Christian Nahl (German-born American Painter, 1818-1878) Visit to Grandpa 1850


William J. Hough and family by Brayton J. Wilcox 1852-53


Charles Christian Nahl (German-born American Painter, 1818-1878) Crossing the Plains 1856


Unknown Artist 19th-Century American School Fredericksburg, VA Family in a War-Torn House 1860s


Aaron Draper Shattuck (American artist, 1832–1928)The Shattuck Family with Grandmother, Mother, and Baby William 1865


Johannes Adam Simon Oertel (Bavarian-born American artist, 1823-1909) The Colgate Family 1866


John Barnard Whittaker (American, 1836-1926) The Lesson 1871 Detail


William Smith Jewett (American artist, 1812–1873) The Promised Land The Grayson Family


1855 American Country Life

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Fanny Palmer (American artist, 1812-1876) Published by N Currier American Country Life, 1855

Paintings of life in the city

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 Thomas Le Clear (American genre artist, 1818–1862) Young America


Henry Mosler (American genre artist, 1841 – 1920) Canal Street Market


John George Brown (American artist, 1831-1913)   The Longshoreman's Noon


John George Brown (American artist, 1831-1913)  The Bully of the Neighborhood


John George Brown (American artist, 1831-1913)  The Gang


John George Brown (American genre painter, 1831-1913)   A Thrilling Moment


John George Brown (American genre painter, 1831-1913)  A Jolly Lot


John George Brown (American genre painter, 1831-1913)  Dress Parade


John George Brown (American genre painter, 1831-1913)  The Card Trick


John George Brown (American genre painter, 1831-1913)  The Teacher


John George Brown (American genre painter, 1831-1913)  The Transit of Venus


1868 A Stopping Place along the road

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 A Stopping Place on the Road. The Horse Shed. Currier and Ives 1868

Paintings of life on the water

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 Henry Bacon (American artist, 1839–1912) Lady on a Boat


Winslow Homer (American artist, 1836-1910)  An Adirondack Lake


Nelson Augustus Moore (American artist, 1824-1902) A Study in the Narrows, Lake George


Winslow Homer (American artist, 1836-1910) 


George Caleb Bingham (American genre painter, 1811-1879)  Raftsmen Playing Cards


John George Brown (American genre paintere, 1831-1913) Pull for the Shore


George Caleb Bingham (American genre painter, 1811-1879)  Jolly Flatboatmen in Port


George Caleb Bingham (American artist, 1811-1879) Fur Traders Going down the Missouri


Nelson Augustus Moore (American artist, 1824-1902)  The Rower


1853 Farm Scene

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Fanny Palmer (American artist, 1812-1876) Published by N Currier American Farm Scene 1 1853

Back & forth - Crossing the Atlantic

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Henry Bacon (American artist, 1839–1912) Departure from New York Harbor


Henry Bacon (American artist, 1839–1912) The Departure


Henry Bacon (American artist, 1839–1912) Distant Thoughts


Henry Bacon (American artist, 1839–1912) Goodbye


Henry Bacon (American artist, 1839–1912) On the Open Sea


Henry Bacon (American artist, 1839–1912) Romantic Observations


Henry Bacon (American artist, 1839–1912) Land

Carriage Ride

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 Chevaux & Voitures. Le Cabriolet a Pompe. Published by M. Knoedler & Co. New York.

Paintings of the horse & carriage

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Edward Lamson Henry (American genre artist, 1841–1919) A Chat After Meeting


Edward Lamson Henry (American genre artist, 1841–1919) Along the Delaware and Hudson Canal


Edward Lamson Henry (American genre artist, 1841–1919) An Informal Call


Edward Lamson Henry (American genre artist, 1841–1919) At the Watering Trough


Edward Lamson Henry (American genre artist, 1841–1919) Coming Home


Edward Lamson Henry (American genre artist, 1841–1919) Couple on a Horse and Buggy


Edward Lamson Henry (American genre artist, 1841–1919) Leaving Home


Edward Lamson Henry (American genre artist, 1841–1919) Mrs Lydig and Her Daughter Greeting Their Guest


Edward Lamson Henry (American genre artist, 1841–1919) One Sunday Afternoon


Edward Lamson Henry (American genre artist, 1841–1919) Stopping For a Chat


Edward Lamson Henry (American genre artist, 1841–1919) The Conversation


Edward Lamson Henry (American genre artist, 1841–1919) The Country Store


Edward Lamson Henry (American genre artist, 1841–1919) The Latest Village Scandal


Edward Lamson Henry (American genre artist, 1841–1919) Waiting for the Ferry


Edward Lamson Henry (American Painter, 1841-1919) Meeting a Crisis - A Moment of Peril 1890


Edward Lamson Henry (American Painter, 1841-1919) Mrs Lydig and her Daughter Greeting Guests 1891



American Families by Eastman Johnson (1824-1906)

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Eastman Johnson (American painter, 1824-1906) was an American painter who helped establish the Metropolitan Museum of Art in New York City. Best known for his genre paintings of scenes from everyday life, he also painted portraits of the famous & not so famous.

Eastman Johnson (American painter, 1824-1906) Christmas Time the Blodgett Family 1864 Detail


Eastman Johnson (American painter, 1824-1906) Fiddling His Way 1866 Detail


Eastman Johnson (American painter, 1824-1906) The Hatch Family 1871 Detail


Eastman Johnson (American painter, 1824-1906) Sunday Morning 1866 Detail


Eastman Johnson (American painter, 1824-1906) The Brown Family 1869 Detail


Eastman Johnson (American painter, 1824-1906) Life in the South 1859 Detail


Eastman Johnson (American painter, 1824-1906) Fiddling 1866 Detail

1853 Farm Yard

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Fanny Palmer (American artist, 1812-1876) Published by N Currier American Farm Scenes 3 1853

1824 James Fenimore Cooper writes of "proper" work for women in America

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From James Fenimore Cooper, Notions of the Americans

NEW-ENGLAND. 1824. On the Proper Occupations of Women in America.

Edward Lamson Henry (American Painter, 1841-1919) Woman with a Baby

There is something noble and touching, in the universal and yet simple and unpretending homage with which these people treat the weaker sex. I am sure a woman here has only to respect herself in order to meet with universal deference. I now understand what Cadwallader meant when he said that America was the real Paradise of woman...The condition of women in this country is solely owing to the elevation of its moral feeling. As she is never misplaced in society, her influence is only felt in the channels of ordinary and domestic life.

 Charles Courtney Curran (American painter, 1861-1942)  Shadows

I have heard young and silly Europeans, whose vanity has probably been wounded in finding them selves objects of secondary interest, affect to ridicule the absorbed attention which the youthful American matron bestows on her family; and some have gone so far in my presence, as to assert that a lady of this country was no more than an upper servant in the house of her husband...To me, woman appears to fill in America the very station for which she was designed by nature.

Jerome Thompson (American genre artist, 1814-1886) Gathering Wildflowers

In the lowest conditions of life she is treated with the tenderness and respect that is due to beings whom we believe to be the repositories of the better principles of our nature. Retired within the sacred precincts of her own abode, she is preserved from the destroying taint of excessive intercourse with the world.

 J Bond Francisco (American painter, 1863-1931) The Sick Child 1893

She makes no bargains beyond those which supply her own little personal wants, and her heart is not early corrupted by the harmful and unfeminine vice of selfishness; she is often the friend and adviser of her husband, but never his chapman. She must be sought in the haunts of her domestic privacy, and not amid the wranglings, deceptions, and heart-burnings of keen and sordid traffic.

Henry Bacon (American-born artist, 1839-1912) Peeling Apples

So true and general is this fact, that I have remarked a vast proportion of that class who frequent the markets, or vend trifles in the streets of this city, occupations that are not unsuited to the feebleness of the sex, are either foreigners, or females descended from certain insulated colonies of the Dutch, which still retain many of the habits of thier ancestors amidst the improvements that are throwing them among the forgotten usages of another century.

John George Brown (American genre paintere, 1831-1913)   The Cherry Picker

The effect of this natural and inestimable division of employment, is in itself enough to produce an impression on the characters of a whole people. It leaves the heart and principles of woman untainted by the dire temptations of strife with her fellows. The husband can retire from his own sordid struggles with the world to seek consolation and correction from one who is placed beyond their influence.

 Thomas Eakins (1844-1916) Spinning 1881

The first impressions of the child are drawn from the purest sources known to our nature; and the son, even long after he has been compelled to enter on the thorny track of the father, preserves the memorial of the pure and unalloyed lessons that he has received from the lips, and, what is far better, from the example of the mother...

John Leon Moran (American painter, 1864-1941) Cabbage Pickers 1883

  I saw every where the utmost possible care to preserve the females from undue or unwomanly employments. If there was a burthen, it was in the arms or on the shoulders of the man. Even labours that seem properly to belong to the household, were often performed by the latter; and I never heard the voice of the wife calling on the husband for assistance, that it was not answered by a ready, manly, an cheerful compliance.

William Sidney Mount (American painter, 1807-1868) Cracking Nuts 1856

The neatness of the cottage, the farm-house, and the inn; thc clean, tidy, healthful, and vigorous look of the children, united to attest the use fulness of this system. What renders all this more striking and more touching, is the circumstance that not only is labour in so great demand, but, contrary to the fact in all the rest of christendom, the women materially exceed the men in numbers. This seeming depature from what is almost an established law of nature is owing to the emigration westward. By the census of 1820, it appears, that in the six States of New-England there were rather more than thirteen females to every twelve males over the age of sixteen.
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John George Brown (American genre paintere, 1831-1913)   Home Comforts


William Sidney Mount (American painter, 1807-1868) Eel Spearing at Setauket Fishing Along the Shore 1845


 Thompkins H Matteson (American painter, 1813-1884)  The Christmas Day Turkey Shoot (see Cooper's Pioneers) 1857


Edward Lamson Henry (American Painter, 1841-1919) Flower Girl Gathering Water 1880


Enoch Wood Perry (American painter, 1831-1913) Women Weaving Baskets


 Elizabeth Nourse (American painter, 1859-1938) Tennessee Woman Weaving 1885


 Harry Roseland (American painter, 1867-1950) An Important Letter 1898


William Aiken Walker (American painter, 1839-1921) Charleston Vegetable Seller



Jerome Thompson (American painter, 1814-1886) Taking Lunch to the Workers Noonday in Summer 1852


Thomas Hicks (1823–1890) Kitchen Interior with Woman Preparing the Food


Harry Roseland (American painter, 1867-1950) Tending a Sick Child, A Serious Case 1899


 Guy Orlando Rose (American painter, 1867-1925) Gathering the Potatoes 1891


 John Eastman (American Painter, fl 1842-1880) Mother Comforting a Child


Harry Roseland (American painter, 1867-1950) The Dressmaker 1900


 Thomas Waterman Wood (American painter, 1823-1903) Collecting the Mail at the Village Post Office 1873


Harry Roseland (American painter, 1867-1950) Feeding the Children or One More Spoon 1889


 William Henry Snyder (1829–1910) Tutoring the Children at a Quiet Time


Thomas P Rossiter (American painter, 1818-1871) Welcoming the Husband Home to the House on the Hudson 1852


William Sidney Mount (American painter, 1807-1868) Woman Fortune Telling 1838


Theodore Robinson (American painter, 1852–1896) Haying, 1884


 Thomas Waterman Wood (American painter, 1823-1903) Gathering Eggs  1882


James Goodwyn Clonney (American artist, 1812–1867) Offering Baby a Rose


Pinckney Marcius-Simons (1865-1909) The Writer


1810 View of the Mansion of the late Lord Timothy Dexter in Newburyport

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 A View of the Mansion of the late Lord Timothy Dexter in High street, Newburyport, 1810.

Paintings of life on the farm

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George Henry Durrie (American Painter, 1820-1863)  Haying at Jones Inn


Winslow Homer (American artist, 1836-1910) The Milk Maid


Nelson Augustus Moore (American artist, 1824-1902)  Farmer, Son and White Horse


Winslow Homer (American artist, 1836-1910) Fresh Eggs


Jerome Thompson (American genre artist, 1814-1886)  Noonday in Summer


Winslow Homer (American artist, 1836-1910) Boys in a Pasture


George Henry Durrie (American Painter, 1820-1863) Cider Pressing


Winslow Homer (American artist, 1836-1910) The Shepherdess of Houghton Farm


William Sidney Mount (American genre painter, 1807-1868)  Ringing the Pig (Scene in a Long Island Farmyard)


Winslow Homer (American artist, 1836-1910) The Sick Chicken


Jerome Thompson (American genre artist, 1814-1886) In the Fields


William Sidney Mount (American genre painter, 1807-1868)  Raffling for the Goose


Winslow Homer (American artist, 1836-1910) Shepherdess Tending Sheep


Arthur Watson Sparks (American artist, 1871–1919)  A Meal for the Pigs


Samuel S. Carr (American genre painter, 1837–1908)  With the Sheep


Rural 19th-Century America by Eastman Johnson (1824-1906)

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Eastman Johnson (American painter, 1824-1906) was an American painter who helped establish the Metropolitan Museum of Art. Best known for his genre paintings of scenes from everyday life, he also painted portraits of the famous & not so famous.

Eastman Johnson (American painter, 1824-1906) The Girl I Left Behind Me


Eastman Johnson (American painter, 1824-1906) Dinah 1866-69


Eastman Johnson (American painter, 1824-1906) A Ride for Freedom The Fugitive Slaves 1862


Eastman Johnson (American painter, 1824-1906) A Day Dream 1877


Eastman Johnson (American painter, 1824-1906)


Eastman Johnson (American painter, 1824-1906) An Earnest Pupil 1881


Eastman Johnson (American painter, 1824-1906) At the Camp Spinning Yarns and Whittling c 1864-66


Eastman Johnson (American painter, 1824-1906) Catching Up on the News


Eastman Johnson (American painter, 1824-1906) Corn Husking


Eastman Johnson (American painter, 1824-1906) Cranberry Pickers 1879


Eastman Johnson (American painter, 1824-1906) Feather Duster Boy 1880


Eastman Johnson (American painter, 1824-1906) Gathering Lilies 1865


Eastman Johnson (American painter, 1824-1906) Husking Bee Nantucket 1876


Eastman Johnson (American painter, 1824-1906) Ice Skater 1879


Eastman Johnson (American painter, 1824-1906) In the Hay Loft 1877


Eastman Johnson (American painter, 1824-1906) Interior of a Farm House in Maine 1865


Eastman Johnson (American painter, 1824-1906) Kitchen at Mount Vernon 1857


Eastman Johnson (American painter, 1824-1906) Man With a Scythe 1868


Eastman Johnson (American painter, 1824-1906) Measurement and Contemplation 1861-63


Eastman Johnson (American painter, 1824-1906) Musical Instrument c 1860


Eastman Johnson (American painter, 1824-1906) Negro Boy 1860


Eastman Johnson (American painter, 1824-1906) Ruth c 1880


Eastman Johnson (American painter, 1824-1906) Sarah May Girl in the Barn 1877-80


Eastman Johnson (American painter, 1824-1906) Setting the Trap


Eastman Johnson (American painter, 1824-1906) The Card Players 1853


Eastman Johnson (American painter, 1824-1906) The Confab


Eastman Johnson (American painter, 1824-1906) The Conversation (at Cranberry Harvest) 1879


Eastman Johnson (American painter, 1824-1906) The Little Convalescent c 1872


Eastman Johnson (American painter, 1824-1906) The Lord Is My Shepherd 1863


Eastman Johnson (American painter, 1824-1906) The Young Sweep 1863


Eastman Johnson (American painter, 1824-1906)  Mother and Child


Eastman Johnson (American painter, 1824-1906)  At the Maple Suger Camp


Eastman Johnson (American painter, 1824-1906)  Barefoot Boy 1860


Eastman Johnson (American painter, 1824-1906)  Bo Peep


Eastman Johnson (American painter, 1824-1906)  Feeding the Turkey


Eastman Johnson (American painter, 1824-1906)  Boy in Maine Woods


Eastman Johnson (American painter, 1824-1906)  Dropping Off


Eastman Johnson (American painter, 1824-1906)  Feeding the Lamb


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


Eastman Johnson (American painter, 1824-1906)  Sunday Morning


Eastman Johnson (American painter, 1824-1906)  Camp Scene 1857


Eastman Johnson (American painter, 1824-1906)


Eastman Johnson (American painter, 1824-1906)  Lunchtime


Eastman Johnson (American painter, 1824-1906)  Five Boys on Wall


Eastman Johnson (American painter, 1824-1906)  Man with a Pipe


Eastman Johnson (American painter, 1824-1906)  New Bonnet


Eastman Johnson (American painter, 1824-1906)  Street Musicians


Eastman Johnson (American painter, 1824-1906)  In the Fields


Eastman Johnson (American painter, 1824-1906)  In the Fields


Eastman Johnson (American painter, 1824-1906)  Life in the South


Eastman Johnson (American painter, 1824-1906)  Lighting his Pipe


Eastman Johnson (American painter, 1824-1906)  Sugering Off at Camp Maine


Eastman Johnson (American painter, 1824-1906)  Sunday Morn


Eastman Johnson (American painter, 1824-1906)  Winnowing Grain


Eastman Johnson (American painter, 1824-1906)  Old Mount Vernon 1857


Eastman Johnson (American painter, 1824-1906)


Eastman Johnson (American painter, 1824-1906)  Sleigh Ride


Eastman Johnson (American painter, 1824-1906)  Woman on a Hill


Eastman Johnson (American painter, 1824-1906)  The Counterfitters


Eastman Johnson (American painter, 1824-1906)  Young Musicians


Eastman Johnson (American painter, 1824-1906)  Union Soldiers Accepting Drink


Eastman Johnson (American painter, 1824-1906)  The Eavesdropper


Eastman Johnson (American painter, 1824-1906)  Turning Off Camp in Maine


Eastman Johnson (American painter, 1824-1906)  Woman Reading


Eastman Johnson (American painter, 1824-1906) Scholar


Eastman Johnson (American painter, 1824-1906)  Girl and Pets 1856


Eastman Johnson (American painter, 1824-1906)  Hollyhocks

1832 Views of Cincinnati, Ohio by New Orleans artist Adrien Mayers (? 1801–1833)

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1832 View of Mr Pendelton's House near Cincinnati Ohio by Adrien Mayers (? 1801–1833)


1832 View of Mr Pendelton's House near Cincinnati Ohio by Adrien Mayers (? 1801–1833)


Although there is no way to prove that this is the painter we are studying here, on the web this notation about the dispersal of property after death appears in New Orleans, Louisiana, records.  "Court of Probates - Sale by the Register of Wills. - On Thursday the 7th day of November, 1833, at 10 o'clock in the morning, I will expose for sale for the amount of the succession of  the late Adrien Mayers, at the late domicile of the deceased, in Chartres street, between Toulouse and Jefferson streets, the contents of his store, consisting of Pictures, Engravings, sets of China ware, and other fancy articles."  Courrier de la Louisiane, November 4, 1833, p. 3. Nouvelle-Orléans (New Orleans, La.)


1832 Cincinatti Ohio by Adrien Mayers (? 1801–1833)


1832) View of Cincinatti Ohio from Mr Pendelton's House by Adrien Mayers (? 1801–1833)


1832) View of Cincinatti, Ohio Near Deer Creek by Adrien Mayers (? 1801–1833)


1832 View of Cincinatti, Covington, and Newport by Adrien Mayers (? 1801–1833)

1828 Mid-West Revivals as Dangerous Entertainment

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Frances Trollope, Domestic Manners of the Americans. Written during her stay in America, 1827-1831

Mid-West Revivals as Dangerous Entertainment 1828.

I never saw any people who appeared to live so much without amusement as the Cincinnatians. Billiards are forbidden by law, so are cards. To sell a pack of cards in Ohio subjects the seller to a penalty of fifty dollars. They have no public balls, excepting, I think, six, during the Christmas holidays. They have no concerts. They have no dinner parties.

They have a theatre, which is, in fact, the only public amusement of this triste little town; put they seem to care little about it, and either from economy or distaste, it is very poorly attended. Ladies are rarely seen there, and by far the larger proportion of females deem it an offence against religion to witness the representation of a play.

It is in the churches and chapels of the town that the ladies are to be seen in full costume: and I am tempted to believe that a stranger from the continent of Europe would be inclined, on first reconnoitering the city, to suppose that the places of worship were the theatres and cafes of the place.

No evening in the week but brings throngs of the young and beautiful to the chapels and meetinghouses, all dressed with care, and sometimes with great pretension; it is there that all display is made, and all fashionable distinction sought. The proportion of gentlemen attending these evening meetings is very small, but often, as might be expected, a sprinkling of smart young clerks make this sedulous display of ribbons and ringlets intelligible and natural.

Were it not for the churches, indeed, I think there might be a general bonfire of best bonnets, for I never could discover any other use for them.

The ladies are too actively employed in the interior of their houses to permit much parading in full dress for morning visits. There are no public gardens or lounging shops of fashionable resort, and were it not for public worship, and private tea-drinkings, all the ladies in Cincinnati would be in danger of becoming perfect recluses.

The influence which the ministers of all the innumerable religious sects throughout America have on the females of their respective congregations, approaches very nearly to what we read of in Spain, or in other strictly Roman Catholic countries. There are many causes for this peculiar influence.

Where equality of rank is affectedly acknowledged by the rich, and clamorously claimed by the poor, distinction and pro-eminence are allowed to the clergy only. This gives them high importance in the eyes of the ladies. I think, also, that it is from the clergy only that the women of America receive that sort of attention which is so dearly valued by every female heart throughout the world.

With the priests of America the women hold that degree of influential importance which, in the countries of Europe, is allowed them throughout all orders and ranks of society, except, perhaps, the very lowest; and in return for this they seem to give their hearts and souls into their keeping. I never saw, or read, of any country where religion had so strong a hold upon the women, or a slighter hold upon the men.

I mean not to assert that I met with no men of sincerely religious feelings, or with no women of no religious feelings at all; but I feel perfectly secure of being correct as to the great majority in the statement I have made.

We had not been many months in Cincinnati when our curiosity was excited by hearing the " revival" talked of by every one we met throughout the town. " The revival will be very full"--" We shall be constantly engaged during the revival"--were the phrases we constantly heard repeated, and for a long time without in the least comprehending what was meant; but at length I learnt that the un-national church of America required to be roused, at regular intervals, to greater energy and exertion. At these seasons the most enthusiastic of the clergy travel the country, and enter the cities and towns by scores, or by hundreds, as the accommodation of the place may admit and for a week or fortnight, or, if the population be large, for a month; they preach and pray all day, and often for a considerable portion of the night, in the various churches and chapels of the place. This is called a Revival.

I took considerable pains to obtain information on this subject; but in detailing what I learnt I fear that it is probable I shall be accused of exaggeration; all I can do is cautiously to avoid deserving it. The subject is highly interesting, and it would be a fault of no trifling nature to treat it with levity.

These itinerant clergymen are of all persuasions, I believe, except the Episcopalian, Catholic, Unitarian, and Quaker. I heard of Presbyterians of all varieties; of Baptists of I know not how many divisions; and of Methodists of more denominations than I can remember; whose innumerable shades of varying belief it would require much time to explain and more to comprehend.

They enter all the cities, towns, and villages of the Union in succession; I could not learn with sufficient certainty to repeat, what the interval generally is between their visits. These itinerants are, for the most part, lodged in the houses of their respective followers, and every evening that is not spent in the churches and meeting-houses, is devoted to what would be called parties by others, but which they designate as prayer-meetings. Here they eat, drink, pray, sing, hear confessions, and make converts.

To these meetings I never got invited, and therefore I have nothing but hearsay evidence to offer, but my information comes from an eye witness, and one on whom I believe I may depend. If one half of what I heard may be believed, these social prayer-meetings are by no means the least curious, or the least important part of the business.

It is impossible not to smile at the close resemblance to be traced between the feelings of a first-rate Presbyterian or Methodist lady, fortunate enough to have secured a favourite Itinerant for her meeting, and those of a first-rate London Blue, equally blest in the presence of a fashionable poet. There is a strong family likeness among us all the world over.

The best rooms, the best dresses, the choicest refreshments solemnize the meeting. While the party is assembling, the load-star of the hour is occupied in whispering conversations with the guests as they arrive. They are called brothers and sisters, and the greetings are very affectionate. When the room is full, the company, of whom a vast majority are always women, are invited, intreated, and coaxed to confess before their brothers and sisters, all their thoughts, faults, and follies.

These confessions are strange scenes; the more they confess, the more invariably are they encouraged and caressed. When this is over, they all kneel, and the Itinerant prays extempore. They then eat and drink; and then they sing hymns, pray, exhort, sing, and pray again, till the excitement reaches a very high pitch indeed. These scenes are going on at some house or other every evening during the revival, nay, at many at the same time, for the churches and meeting-houses cannot give occupation to half the Itinerants, though they are all open throughout the day, and till a late hour in the night, and the officiating ministers succeed each other in the occupation of them.

It was at the principal of the Presbyterian churches that I was twice witness to scenes that made me shudder; in describing one, I describe both, and every one; the same thing is constantly repeated...

When the singing ended, another [preacher] took the centre place, and began in a sort of coaxing affectionate tone, to ask the congregation if what their dear brother had spoken had reached their hearts? Whether they would avoid the hell he had made them see? "Come, then!" he continued, stretching out his arms towards them, "come to us and tell us so, and we will make you see Jesus, the dear gentle Jesus, who shall save you from it. But you must come to him! You must not be ashamed to come to him! This night you shall tell him that you are not ashamed of him; we will make way for you; we will clear the bench for anxious sinners to sit upon. Come, then! come to the anxious bench, and we will show you Jesus! Come! Come! Come !"

Again a hymn was sung, and while it continued, one of the three [priests] was employed in clearing one or two long benches that went across the rail, sending the people back to the lower part of the church. The singing ceased, and again the people were invited, and exhorted not to be ashamed of Jesus, but to put themselves upon "the anxious benches," and lay their heads on his bosom. "Once more we will sing," he concluded, "that we may give you time." And again they sung a hymn.

And now in every part of the church a movement was perceptible, slight at first, but by degrees becoming more decided. Young girls arose, and sat down, and rose again; and then the pews opened, and several came tottering out, their hands clasped, their heads hanging on their bosoms, and every limb trembling, and still the hymn went on; but as the poor creatures approached the rail their sobs and groans became audible. They seated themselves on the "anxious benches;" the hymn ceased, and two of the three priests walked down from the tribune, and going, one to the right, and the other to the left, began whispering to the poor tremblers seated there.

These whispers were inaudible to us, but the sobs and groans increased to a frightful excess. Young creatures, with features pale and distorted, fell on their knees on the pavement, and soon sunk forward on their faces; the most violent cries and shrieks followed, while from time to time a voice was heard in convulsive accents, exclaiming, "Oh Lord !" "Oh Lord Jesus !" "Help me, Jesus!" and the like.

Meanwhile the two priests continued to walk among them; they repeatedly mounted on the benches, and trumpet-mouthed proclaimed to the whole congregation, " the tidings of salvation," and then from every corner of the building arose in reply, short sharp cries of "Amen!" "Glory !" "Amen!" while the prostrate penitents continued to receive whispered comfortings, and from time to time a mystic caress. More than once I saw a young neck encircled by a reverend arm. Violent hysterics and convulsions seized many of them, and when the tumult was at the highest, the priest who remained above again gave out a hymn as if to drown it.

It was a frightful sight to behold innocent young creatures, in the gay morning of existence, thus seized upon, horror-struck, and rendared feeble and enervated for ever. One young girl, apparently not more than fourteen, was supported in the arms of another some years older; her face was pale as death; her eyes wide open, and perfectly devoid of meaning; her chin and bosom wet with slaver; she had every appearance of idiotism. I saw a priest approach her, he took her delicate hand, "Jesus is with her! Bless the Lord !" he said, and passed on.

Did the men of America value their women as men ought to value their wives and daughters, would such scenes be permitted among them?

It is hardly necessary to say, that all who obeyed the call to place themselves on the "anxious benches" were women, and by far the greater number, very young women. The congregation was, in general, extremely well dressed, and the smartest and most fashionable ladies of the town were there; during the whole revival, the churches and meeting-houses were every day crowded with well-dressed people.

It is thus the ladies of Cincinnati amuse themselves: to attend the theatre is forbidden; to play cards is unlawful; but they work hard in their families, and must have some relaxation. For myself, I confess that I think the coarsest comedy ever written would be a less detestable exhibition for the eyes of youth and innocence than such a scene.
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