By Meg Szydlik, Visitor Services Coordinator

February is the part of winter that always feels drearier than any other time of year, at least for me. With that in mind, I wanted to do research on something lighter to counter the snowy days and bitter cold. So I decided to pull out the Fenway Victory Gardens’ collection to explore. The history of the organization and the gardens, founded in 1942 and located in the beautiful Emerald Necklace, can be gleaned from both official statistics and tantalizing pieces of decades-old drama, which peak through the information about plots and plant growth. It tells a small piece of the story of the Fenway area–an area that’s been home to the MHS for more than a century.

The Fenway Gardens’ website explains their origins as a victory garden, which was a WWII movement to increase access to fresh food grown by citizens, with the goal of stretching ration coupons and increasing food sent overseas to troops. There were victory gardens all across America, but the Fenway Gardens of Boston are one of the few that are still around. The records held at the MHS span from 1944 to 2011 and include details of the gardens themselves as well as memberships, board communications, and gardening paraphernalia. The maps of the gardens demonstrate that in many ways, the more things change, the more they stay the same. While many new gardeners appear each year, I noticed over the decades people maintained their gardens year after year, contributing to green space in the city, many assisting other gardeners with their plots as well. The records are a charming peek into the kind of neighborly relationships that sustained the Fenway Gardens for more than 80 years.

The Fenway Victory Gardens were not always assured of success, however. Many documents describe the vandalism that took place in the area and requests for police protection of the Gardens. The safety of the site was frequently called into question by gardeners. Despite these concerns, there was an emphasis on inclusivity, with the 1981 anti-discrimination policy reading “this society shall not discriminate on the basis of race, ethnic origin, religion, or sexual preference” and the 1975 release of a booklet offering community resources for all types of groups, including the elderly, students, and “gay individuals.” The focus on accessibility for all also extended to disabled people, according to an undated report on improving the space for access, which included feedback from real disabled individuals. The Gardens were under constant threat however, and one of the letters by a long-term gardener recalls that in the late 70s, the nearby Red Sox wanted to buy out the space for a parking lot. The community rallied and saved the Gardens instead. If you’ve had trouble parking for a game, I suppose you can blame Fenway Gardens! I think it was worth it though. They are a wonderful piece of community history!

In 2020, the MHS received a plot of our very own after a couple of years of being on the waiting list! Led by the intrepid Laura Wulf, our Photographic & Digital Imaging Specialist, MHS staff members cleaned up the overgrown weeds and built a beautiful respite. The Fenway Victory Gardens are free and open to the public to stroll through. It is such a beautiful site that I highly recommend doing so!

By Maggie Parfitt, Visitor Services Coordinator

One of the best things about working at the MHS is when a coworker sends a link to a catalogue listing with a “you’d like this” message. Recently, I was sent the motherlode of fashion plates in the MHS collection in our 1872 edition of Robert Chamber’s The Book of Days. While there’s too many to include here, I wanted to share some of my favorites, along with some fashion plate background, and some of the ways researchers reference them to support textual research. They’re not just for looking at! (But the looking is also fun).

First things first: what is a fashion plate? Fashion plates, as the name suggests, are illustrations of fashionable dress published in ladies’ magazines and journals starting around the 1780s and continuing through the 19th century. Armed with these illustrations women would travel to their trusted mantua-maker/dressmaker for a new gown inspired by the style in the plate. Some fashion plates even went so far as to include names of milliner’s shops, or the name of the dressmaker who invented the design.

When preserved in their original published contexts fashion plates often include written descriptions detailing fabric types, accessories, and garment names. Sources like these are key for filling in visual gaps in the written record. They help material culturalists and dress historians puzzle together disparate pieces of information like fabric advertisements in period newspapers or mentions of specific garments in letters, diaries, and journals. With all these pieces we can start identifying extant garments more completely and assemble robust theories of the dress of the past.

While a useful tool, it’s important to remember fashion plates were primarily marketing. They reflect a dressmaker’s interpretation of the silhouettes and details in style at the moment, and aren’t necessarily indicative of actual garments. Think of the difference between runway shows and red carpets. While both are modern examples of “high fashion,” red carpet styles have been edited down by individual taste. This does mean you can find fashion plates that are A LOT – with seemingly every accessory piled on there.

I hope you enjoyed a quick look at just a few of the fashion plates in the MHS’s collection. While meant to inform the fashions for 19^th century society – the upper classes of England and France, they provide great insight into the shapes, silhouettes, and accessories of all classes. I can imagine women of the time pursuing fashion plates and picking and choosing their favorites, much like we do today!

By Heather Rockwood, Communications Manager

While searching the online collection and archives of the MHS for objects and stories to share on social media, I find myself going down rabbit holes when I find slight hints of an interesting story. Recently, this happened with a historical figure of note that I had never heard of, despite having done theater in my youth and being familiar with US history and art. That man was William Dunlap.

William Dunlap (1766–1839) is touted as the father of American theater; he was also influential in art, literature, and design. He is perhaps most famous for his play André, which depicted George Washington on stage for the first time after the United States became a nation. On opening night in 1798, the play caused a bit of a scandal. It tells the story of the British spy Major John André, who Washington executed during the American Revolution. One of the characters in the play is a soldier in the Continental Army. He becomes furious with Washington over the execution and tears the black cockade from the hat he was wearing and throws it to the ground. The audience erupted in fury at such desecration of a sacred Federalist symbol. They booed vociferously and then rioted after the play finished, forcing Dunlap to change the ending.

Charles Frances Adams wrote in his diary of two occasions when he saw the Dunlap play, The Stranger, in 1833 and 1837, although the note in 1837 reveals he had seen the play in 1825 and 1834 as well. Adams wrote this about the play, “This is a piece I never can see without feeling it. Indeed I am more touched by it than by any. If this is the test of a good piece it certainly is good, but I require rather more. I feel the inconsistencies in the character of the heroine, and the affectations of sentiment, it contains.”

Despite having lost an eye to an errantly thrown rock by a school friend as a boy, Dunlap was also a trained artist. He was mainly a portraitist, and the MHS holds a portrait he painted in New York City in 1811 or 1812 after his Park Theatre closed in 1805. The portrait is miniature watercolor of Elizabeth Oliver Lyde. When viewed up close, it shows great attention to the lines of her face, the shadowing and light on her cap and clothes, and the depth of emotion in her eyes.

Not only was Dunlap a playwright, but he also wrote History of American Theatre in 1832, the first history of its kind, andHistory of the Rise and Progress of the Arts of Design in the United States in 1834. He also served as the director of New York’s American Academy of Fine Arts in 1817, and then helped to found New York’s National Academy of Design in 1826.

After searching for collection items that are digitized, I was curious to see if the MHS held any of Dunlap’s plays. What I found was a cache of 57 items in book and microfilm form. MHS even has Dunlap’s published diary, Diary of William Dunlap (1766–1839): the memoirs of a dramatist, theatrical manager, painter, critic, novelist, and historian! These items can be seen by making an appointment with the MHS Library. You can learn how to make an appointment here.

By Susan Martin, Senior Processing Archivist 

Previously on the Beehive, a colleague of mine described the early 20th-century diaries of Robert E. Grant, a policeman in the Hyde Park neighborhood of Boston. The MHS also holds the papers of another policeman, Lieut. James Bruce, a contemporary of Grant’s who lived and worked in Everett.

James Bruce was born in Scotland in 1869, immigrated to the United States in the late 1880s, and was naturalized a few years later. He and his wife (also a naturalized citizen from Scotland) lived at 10 Russell Street in Everett and had four daughters and two sons: Walter, Margaret, Janet, James, Mary, and Emily. Janet died as an infant.

When Lieut. Bruce was patrolling its streets in 1920, Everett’s population was 40,120. According to printed sources, the city was home to many immigrants, primarily from Ireland, England, Scotland, and Canada, as well as 1,129 African Americans.

Bruce’s collection at the MHS consists mostly of volumes documenting his police work, including two diaries, 1921-1922; a precinct arrest log, 1904-1924; and a memoir he wrote called Tattlings of a Retired Police Officer, printed in 1927. Some events described in Tattlings correspond to the log, although Bruce used pseudonyms for publication.

The arrest log, in particular, is a mine of information. Its pages are arranged into columns listing date, full name, nationality, “assisted by” (that is, who assisted Bruce in the arrest), offense, and disposition, or consequence for the arrestee. The first thing that stands out is how many people were arrested for drunkenness—so many that Bruce just used ditto marks to save time.

Other offenses included assault and battery, disturbance of the peace, larceny, breaking and entering, weapons charges, non-support of dependents, destruction of property, automobile violations, probation violations, and false fire alarms. Rare but still present were a few incidents of manslaughter. Some people were arrested for being ‘idle and disorderly” or “stubborn and disobedient,” “exposing his person,” or gambling on a Sunday. Adultery was also an arrestable offense.

And of course, those being the days of Prohibition, there were arrests for the manufacture and sale of liquor, though not as many as I expected.

Some entries are amusing: “vile, indecent & profane language in the street,” “indecent language near a dwelling” (which was worse, I wonder?), “lewd & lascivious cohabitation,” and “feeding [a] horse on [a] public st without an attendant or the wheels being locked.”

Many are disturbing: “two warrants for assault with intent to carnally know & abuse two juvenile females also one warrant for having in his possession obscene pictures for the purpose of corrupting the morals of the young.” Bruce also dealt with cases of incest, neglected children, mental illness, and animal cruelty.

When an arrestee was African American, Bruce indicated their race in a note next to their name. One Black man from the West Indies was arrested for “not having [a] registration card,” and another was AWOL from military service. I was also intrigued by some of the items that were allegedly stolen. Cash or a diamond ring, I understand, even “five hens,” but “four baby carriage wheels”?

James Bruce was injured in a fall in 1924 and retired from the Everett police force. He died in 1932.

In my research for this blog, I uncovered evidence of a shocking family tragedy. According to the Boston Globe, on 26 February 1922, James Bruce was handling his gun at home, apparently unaware it was loaded. The gun discharged, and the bullet struck his daughter Mary, a 17-year-old student at Everett High School. She died at the hospital six days later.

When I looked through Bruce’s collection for anything that might shed light on this incident, I found no reference to it, except by omission. The last entry in his 1922 diary was written on 24 February, two days before the shooting. The rest of the volume is blank.

By Hilde Perrin, Library Assistant 

With Black History Month upon us, I wanted to investigate items in our collection related to the Black experience in Massachusetts. One item is a pamphlet written by David Walker, titled “Walker’s appeal in four articles: together with a preamble, to the colored citizens of the world, but in particular, and very expressly to those of the United States of America.” Walker’s pamphlet addresses his fellow Black citizens, encouraging them to work against slavery, and calls attention to the racism in the abolition movement.  

Born in North Carolina, David Walker relocated to Boston, where he operated a clothing shop and served as an active member of Boston’s Black community.¹ Walker was a founding member of the Massachusetts General Colored Association (MGCA), a Black-led abolitionist organization which argued for equal rights, fighting against slavery and segregation. The MGCA was active in Boston, and later became more broadly known for merging with the New England Anti-Slavery Association in 1833.² Published in 1830, the abolitionist pamphlet is a powerful piece of writing that exhibits Walker’s and the MGCA’s views on slavery and the need not only for abolition, but for equal rights. 

The pamphlet is divided into four parts, covering the consequences of slavery, the religious aspects of slavery, and the problems of the colonization movement, which was active during this period. Walker wastes no time in airing his grievances, calling slavery the “curse to nations”³ that makes his fellow Black Americans the “most degraded, wretched, and abject” beings⁴. Grounding himself in his Protestant Christian faith, he asserts the evils of slavery and the humanity of African Americans using his language in the pamphlet. Walker repeatedly refers to African Americans as “citizens.” While Black Americans did not legally possess citizenship until after the passage of the 14th amendment in 1868,⁵ Walker uses the word to emphasize a key point in his argument – the importance of their humanity. “You are men, as well as they”⁶ he asserts. He further discusses this by citing the bible and calling out white Christians particularly for their lack of equality. Elaborating on the reluctance of white Christians to accept Black Americans as equal in humanity, Walker challenges white readers to support not just the abolition of slavery for their own consciences, but for the equal rights of their fellow humans.  

The pamphlet showcases Walker’s education and classical knowledge – providing biblical and classical examples against slavery throughout his argument and writing in dialogue with racist founders like Thomas Jefferson and contemporaries like Henry Clay. Using biblical examples of the Israelites enslavement by the Egyptians, he elaborates that even while they were enslaved, they were treated with more humanity than the enslaved in the 19^th century United States.⁷  Not only does he showcase his education through his writing, he also argues for the importance of education, calling to educated African Americans to enlighten their “ignorant brethren.”⁸ Walker sees the need for education as connected with the need for freedom and encourages his readers to seek it out for themselves and others. 

Walker concludes the article by printing an excerpt from the Declaration of Independence, and highlights to readers the hypocrisy of the document, asking “Do you see your declaration, Americans!!!!!! Do you understand your own language?”⁹ He tasks white Americans with raising the enslaved to the condition of “respectable men,” and further stating that they must “make a national acknowledgement to us for the wrongs they have inflicted.”¹⁰ With dramatic use of exclamation points and capital letters, Walker crafts his language to display his anger and to emphasize the importance of his argument. His fiery language reminds us today of the weight of slavery, and the responsibility that comes with perpetuating it, and gives us a glimpse into the Black participation in the abolition movement.¹¹ 

By Madeline Birnbaum, Library Assistant

Elizabeth Susan Hill (1871-1957) and Susan Putnam Hill (1878-1935) were sisters and teachers with a keen interest in the natural world. The daughters of Mary Susan McIntire and Charles Henry Hill, a farmer and produce dealer, they grew up in Groton, Mass. with six other siblings. Little documentation of their early lives survives, but both went on to become teachers, Elizabeth in Groton and Susan in Lancaster, about fifteen miles from her hometown. This blog post will focus on Susan Hill, and a Part II will focus on her sister.

Around 1907, Susan Hill became the director of a school gardening program, which encouraged children to tend their own small garden plots and carefully observe the cycles of growth and harvest, as well as the intricacies and curiosities of animal life around the gardens. This program was situated within the wider “nature study” movement in the United States, which by the time Hill began to teach was a fully-fledged pedagogical approach. Scientists and educators such as Louis Agassiz, Lucretia Crocker, Wilbur S. Jackman, and Anna Botsford Comstock had been among those at the forefront of the late-19th-century effort to incorporate experiential learning and the study of natural science into American public schools. The desire among members of the cultural establishment to develop an educated voting populace, their anxiety over increased urbanization, and their impulse to Americanize the many new immigrants to the United States all contributed to the educational policy environment in which nature study flourished.[1]

The MHS holds several notebooks related to Susan Hill’s gardening program, most kept by Hill herself. Through these notebooks, we can see the depth of care Hill had for the program and the extent of her knowledge of gardening and botany; it seems likely that much of her expertise and enthusiasm stemmed from her upbringing as the daughter of a farmer. Describing three new school gardens begun in Lancaster, Hill writes,

“The children were very interested and enthusiastic. Each child had a note book and kept a record of his garden – telling when things were planted [–] when up – when blossomed – when first eaten. In this way they find out for them selves how long it takes for the various things to be ready for the table. […]

School gardening does not teach how to grow vegetables merely, but it gives the children a sense of ownership […] He is taught that that little garden is his and he will do his best to make the most of it.”[2]

Hill seems to place equal weight on the knowledge and skills of gardening on the one hand and the lessons of personal responsibility and respect for property on the other, making for an interesting combination of innovative pedagogy and traditionalist, conservative messaging.

The politics of education aside, one doesn’t need to take Hill at her word that the children were enthusiastic about their gardens. Alongside Hill’s eleven extant gardening notebooks, two children’s notebooks are held at the MHS that communicate the students’ investment in learning in their own unique ways.

The first notebook, kept by a child called Mary L., shows how Hill guided younger children in their learning. The back of the notebook contains a series of questions about the basics of botany in what appears to be Hill’s handwriting and their answers carefully written by Mary. The call-and-response nature of the questions, as well as the way they build on and branch out from one another, recalls the form of a catechism.

“1. What is Botany?

Botany is the study of Flowers.

2. What does even the smallest seed contain?

Even the smallest seed contains a Little Plant.

3. What is this Little Plant called?

The Embryo.

4. What are the Leaves of a seed called?

The leaves in the seeds are called Cotyledons.

5. What is the bud between the Cotyledons called?

The bud between the leaves is called the Plumule.”[3]

The majority of Mary’s notebook is comprised of entries for different species of plants and animals, each accompanied by another series of questions written by Hill and (usually) dutifully filled in by her student. In the below entry for a blackberry plant, Mary fills out the required answers to Hill’s many technical questions (Size? Shape? Petals? Sepals?) and then writes in the “Remarks” field, “very prickly.” From what we can tell from her notebook, Mary seems to have been a bright and curious student.

The other, anonymous child’s notebook appears to have been created by a student a little older than Mary, and whose study of nature was more self-directed. Rather than a structured series of questions written by Hill and responses penciled in by the student, this notebook takes the form of a journal. The student was clearly a dedicated gardener, as an anecdote about visitors to the school plots demonstrates:

“July 22. Two boys from town came to visit our gardens and our teacher asked them to judge our gardens, they were very severe I got 99%, I had one weed in my garden.”

A reader can also tell that the student was keenly observant and had a genuine interest in the natural world. There are several instances in the notebook in which the student describes taking home a moth or leaf with eggs on it to observe more carefully. In one entry, they vividly capture the drama of a flying ant attacking a spider, with intricate drawings of what appear to be the three stages of the flying ant’s life on the page opposite. The student writes,

“I saw a large flying ant trying to carry a live spider away. It was too large and bungling to carry it frontways so he walked backwards dragging it along after him.”[4]

Susan Hill’s collection of gardening notebooks allows us insight into a distinctive trend in American education, and also provides a window into the ambitions and projects of a teacher in small-town Massachusetts at the beginning of the twentieth century. My personal favorite aspect of the collection, though, is how it keeps alive the curious minds of Hill’s students and the tiny, intricate details of nature, like a blackberry flower’s five white petals or the mortal struggle of a captured spider, so often unnoticed and even more often unrecorded.

[1] Kohlstedt, Sally Gregory. “Nature, Not Books: Scientists and the Origins of the Nature-Study Movement in the 1890s.” Isis, Vol. 96, No. 3 (2005), pp. 324-352.

[2] Hill family papers, Carton 1, Folder 26, MHS.

[3] Hill family papers, Carton 1, Folder 41, MHS.

[4] Hill family papers, Carton 1, Folder 42.

By Meg Szydlik, Visitor Services Coordinator

If you are like me, you’ve taken online quizzes that pull questions from the written citizenship tests to see how much you know about your own history. As a historian, I have always done well, so I decided to explore other ideas of what American citizenship means. I choose the 1920 children’s book I Am An American by Sara Cone Bryant as an example. I wasn’t sure what to expect when I started to explore the online copy linked in the MHS’ catalog entry. What I found was a highly-propagandized retelling of the history of the United States. The book has a particular focus on WWI, and on ideas of cleanliness. It was interesting to read with the context of another hundred years and knowledge of WWII, the Civil Rights Movement, and even the Cold War. There are countries that did not even exist yet and others that have fallen in the century since this book was published. The world is so different, and yet so similar.

The particular narrative presented in the text is one that does not match with the experience of every American. One part that really struck me was the chapter about the flag and how the flag had no “black pages” or “marks of tyranny” on it. Elsewhere in the book, Bryant discusses slavery as a bad thing and briefly references its negative reflection on the United States, but stops short of truly engaging with the legacy of enslavement, including sharecropping and rampant racism. It startled me how little the book, published a little over 50 years after the end of the Civil War, discussed abolition. It is interesting to me as well that Birth of a Nation, a 1915 racist film classic screened to much acclaim in Woodrow Wilson’s White House, was less than a decade old. In 2024, I would certainly consider chattel slavery and the protection of the right to own another person to be a black mark on the flag though apparently Mrs. Bryant does not. And I am far from alone in that thought, as discussions about monuments indicate.

Throughout the text, there is an emphasis on the innate goodness of America that I found ahistorical. Continually insisting that Americans are the best, bravest, and most free people in the world at a minimum suggests an untrustworthy level of bias and propagandizing. It gives off the same energy as my mother insisting that her children are the best, but where I can forgive my beloved mother her love for her children, I have a much more difficult time with Mrs. Bryant. American history is full of fights on the Senate floor, political intrigue, and corruption, none of which is acknowledged in the text. The United States is not perfectly pure! Nor would I expect it, or any country or state, to be. But in the immediate aftermath of what we now refer to as World War I and the Red Scare, it would have made sense to shore up support wherever possible and schoolchildren make excellent targets for what reads an awful lot like indoctrination.

The children reading this text in school grew up just in time for World War II, where American nationalism reached a fever pitch yet again. While I do not doubt that there were many factors involved, I suspect that this kind of messaging played a role. The American exceptionalism of the text is still taught in schools today, or at least was when I was an elementary student. That message of exceptionalism is now interwoven with complications – slavery, racism, child labor, women’s rights, and poverty are all part of the story. American history is filled with complications and citizenship should be too, even in times of triumph.