Free Library Blog - Posts by Del-Louise M.

What to Say While Fastening the Garland to the Gable

Del-Louise M. — 2013-04-08T18:06:00-05:00

The Borneman Pennsylvania German Collection at the Free Library of Philadelphia is very fortunate to have a very small manuscript, Borneman Ms. 99, about 4" x 3 " in size, entitled Zimmerspruch beÿm Aufstecken des Straußes or What to Say While Fastening the Garland to the Gable. It was most likely put together by a master carpenter for a topping out ceremony. Whoever it was mentions on the last page that he wrote it in haste on September 10, 1787.

A topping out ceremony is a tradition in the building trade that goes back many hundreds of years, and is still much celebrated in the 21^st century on both sides of the Atlantic. When the outer structure and roof of a building have been put into place by a group of skilled carpenters, it is time for the building owner, his neighbors and friends, the master builder, and the construction team to celebrate the event... Click here for the whole article.

Photo Collage Credits L to R
¹ ^L Free Library of Philadelphia
² ^UR Reit- und Fahrverein Grumbach-Wilsdruff
³ ^LR Landeskirchliche Gemeinschaft Marienberg

Please be sure to visit our Facebook gallery for more images of Borneman Ms. 99.

Transcriptions/Translations by Del-Louise Moyer

The Easter Bunny is Pennsylvania Dutch

Del-Louise M. — 2013-03-27T08:34:00-05:00

Many of the traditions we associate with Easter can be traced back to celebrations that honored Ostara, or Eastre (Old English), an ancient pagan Germanic goddess of spring. Associated with the radiant dawn and the reawakening of nature, she represented the renewal of life, joys, and blessings. Such imagery could easily be incorporated into the Christian festival of Christ’s resurrection and the dawning of eternal light and promise.

There were pagan customs that the Christian church reformulated to fit into its rituals, and others that it tolerated. Among the latter were the so-called Easter games that included the symbolic egg. It was viewed as a mysterious capsule that hid a developing being only to be brought forth when the shell broke. Eggs were decorated and offered up in the great spring festivals of yore. The hare also was part of pagan ritual: As one of the most fecund animals known, it became a symbol of fertility.

Georg Franck von Frankenau first wrote about the Alsatian tradition of a Hare bringing Easter eggs in his De ovis paschalibus or About Easter Eggs in 1682, but it was the Pennsylvania Dutch who brought the tradition of the Easter Hare or Oschter Haws to Pennsylvania. Children believed that if they were good, an Easter hare would lay eggs in the grass for them.

o osterhaas, o osterhaas, O Easter hare, O Easter hare,
leg dyni eier bald ins gras! quickly lay your eggs in the grass!¹

Little boys made nests out of their hats, and little girls from their bonnets, which they then put outside in the grass on Easter Eve for the Oschter Haws to lay his eggs for them. The eggs they found the next day may have been a dark rusty brown from the onion skins their mothers had used to dye them the preceding Maundy Thursday, but no matter. A child’s imagination is a place where colors are mixed the hue of the heart.

It was Johann Conrad Gilbert (1734-1812), a Pennsylvania Dutch school teacher and Fraktur artist, who first made a drawing of the Easter hare, probably as a Belohnung or reward for one of his school children. Two examples are known to exist: one at the Abby Aldrich Rockefeller Folk Art Museum in Williamsburg, Virginia, and the other at Winterthur². Gilbert also produced many Taufscheins, bookmarkers, and miscellaneous drawings. The Borneman Pennsylvania German Collection at the Free Library of Philadelphia has one of his birth and baptismal certificates made for a son of Johannes and Eva Fleischer, born in Reading, Pa. on June 11, 1780 (FLP 1051).

¹Translation by Del-Louise Moyer
² N.B. Blog image courtesy of Winterthur Museum, Drawing of Easter rabbit with eggs, by Johann Conrad Gilbert, 1800-1810, Berks County, PA, museum purchase with funds provided by the Henry Francis du Pont Collectors Circle, 2011.10

Rejoice My Heart for a New Year Begins

Del-Louise M. — 2012-12-22T16:16:00-05:00

Had Daniel Schumacher (1729-1787) been an ordinary man, we probably would never have heard of him. His bad habits of drinking, swearing, lying, and dancing, amongst others, were not uncommon among the men of his day. But he was a man of the cloth, or better put: One day he hoodwinked Heinrich Melchior Mühlenberg, founder of the Lutheran church in America, with credentials from the Lutheran pastor of New York city and from the ministerium of Lutheran pastors in Hamburg, Germany. Their contents indicated he had studied theology in a German university and was now ready to be ordained. Mühlenberg assigned him “ad interim” to a new Lutheran congregation in Reading, Pennsylvania, and to two neighboring congregations in Alsace and Schwarzwald. Correspondence traveled slowly, and by the time letters had crossed and re-crossed the Atlantic concerning his status, it mattered little that his credentials were false, and that he harbored many bad habits unbecoming to a Lutheran minister. In the interim Schumacher had worked his way into the ministry.

The story, of course, might have been different had there been enough ordained preachers willing to circuit ride and preach to the Lutheran settlers on the Frontier, but Daniel was intelligent, talented, and strongly felt his calling as he bravely ministered to those on the edges of civilization. His congregations loved him not only for his bravery, but also for his humanity. They could relate to him, and knew he would understand their foibles and weaknesses. When Mühlenberg sought to dismiss him, Schumacher broke away, built his own church, and took most of the congregation with him. He preached to those who lived among the Blue Mountains in northern Berks and present-day Lehigh Counties, and served approximately 20 congregations in his lifetime.

An artist and poet, Daniel Schumacher is one of the few ministers who is also known for his Fraktur—calligraphy and decorative elements such as birds and flowers used by the Pennsylvania Germans to create baptismal certificates, book plates, school rewards, writing samples, etc. Schumacher kept very detailed records of all baptisms, and when he hand drew and colored the Taufscheins (baptismal certificates). The baptismal certificate for John Martin Baly,¹ ca. 1755 (Image 1) is but one example of the approximately 1,700 baptisms he performed.

Daniel also made other types of Fraktur such as confirmation and marriage certificates, bookplates, and poems. His poems are varied in theme and content. In August of 1769 a comet appeared in the skies of Pennsylvania, frightening many as a sign of coming destruction. Daniel agreed and created A Call to Judgment (Image 2) to ask sinners not to take chances, and to repent. Could God also be benevolent? Yes, indeed, and in his New Year’s greetings of 1782 (Image 3) Schumacher embodies a Pennsylvania German tradition of wishing God's blessings on friends and family during the Christmas season.

Rejoice my heart for a New Year begins. Sing unto God a joyous hymn for all that which has been good. Give thanks unto Him for all His blessings that you’ve received in the year just past. Ask of Him His blessings in the New for all your needs. For great is His renown, great are His wonders, with which He has dearly preserved you up to now. Harken to this in all your ways my soul that God might further bless and keep you. In all that you do, in all things along your way, step by step, will He crown you a thousand times over. This I take to heart in this New Year, that now within our world another blessing be made to all of Christendom. That I might do my duty, not tire, nor lessen in my resolve.

To my esteemed Jacob Grimm, my friend, and benefactor:

I wish that heaven may preserve his house, and all within—his wife, children, and kin—their good fortune be under God’s protection. May their bread basket n’er be empty, with blessings to overflowing, and may the light of their oil lamp never dim. May it not be for naught, like Peter when he fished so long ago. No! May God’s benevolence and goodwill be ever with you. By day and by night be true unto God only. Peace, joy, health, and happiness be on all your paths. May God be in your house and upon you so that you may remain happy for the whole year. May you accept with joy what God has in store for you. Finally, when you must take leave of the world, may God delight in lifting you up to heaven.

Herewith I commend myself unto your favor and love. My heart wishes that you remain my friend. This I wish to all of them, that is to the esteemed church elder Jacob Grimm, and to his family for the New Year 1782.

Their pastor

Daniel Schumacher?
Weisenberg Township [Lehigh County, PA]?
m.p.p. (by my own hand).

[Transcription/Translation 2012 : Del-Louise Moyer]

________________________________________________________________

¹The Free Library of Philadelphia is home to more than 1,000 Pennsylvania German Fraktur – making this one of the largest public collections of Fraktur in existence. The images that accompany this blog post are part of the FLP collection, available online at http://libwww.freelibrary.org/fraktur/.

If I'm Happy, Then I Must Sing, Part One

Del-Louise M. — 2012-10-26T11:24:00-05:00

Three Moravian Manuscripts in the Pennsylvania German Collection at FLP

The Pennsylvania German Collection at the Free Library of Philadelphia contains a wealth of valuable research materials available to scholars and the general public. Among these are three Moravian manuscripts:

• The Theodor Schulz Diary, 1785-1844

• Clavier und Singstücke für Charlotte Sabine Schropp, January 1799

• Music Copybook of Sarah Horsfield, July 14, 1803

Thanks to a 2011 grant from the prestigious National Endowment for the Humanities Save America’s Treasures program, all three Moravian manuscripts have been conserved by the Conservation Center for Art & Historic Artifacts in Philadelphia, and the Clavier und Singstücke für Charlotte Sabine Schropp, January 1799 will soon be available online as a fully digitized FLP e-book.?

Introduction

Reading Theodor Schulz’s diary, or looking at the music copybooks of Charlotte Sabine Schropp and Sarah Horsfield is a very personal journey. Stepping back into time in Part One of If I’m Happy, Then I Must Sing we shall first explore the background common to all Moravians. In Part Two we shall make the acquaintance of Theodor Schulz, and join him as he confides to his diary his interests and observations during a four month stay in Pennsylvania from August to December, 1799. In Part Three we shall meet Charlotte Sabine Schropp, and shall learn more about her family and music copybook begun in January 1799. In Part Four we shall be introduced to Sarah Horsfield and her family, and see from examples in her music copybook started on July 14, 1803 how musical culture and life were changing both in Europe and America at the turn of the nineteenth century. In the process we shall also get a glimpse of the Moravian society in which these three individuals lived; learn how they contributed their talents and skills; and what political and religious thoughts molded their spirits and minds. N.B. All transcriptions of the German script and translations are mine.

Background Common to All Moravians

Moravian culture in the eighteenth and nineteenth centuries was designed to be part of an international uniform whole. Moravian settlements and mission outposts were found everywhere across the globe. No matter in what part of the world, everyone was following the same worship schedule, using the same liturgical materials, and living according to the same set order and communal organization. The result was that there were no political or geographical boundaries for a Moravian. He was a citizen of the world, and that world was Moravian no matter where he found himself.

Count Nicolaus Ludwig von Zinzendorf, German religious and social reformer and bishop of the Moravian Church, so conceived the Moravian mundane life that every portion of it was in some way associated with God, and music was at its core. It was part of the church services, especially the Singstunde (Hour of Song) which was an occasion to worship exclusively in song. Hymns taught and comforted, and were all pervasive. One sang them at every occasion, and from memory, and the melodies learned were categorized by association. For example, when the trombone ensemble played from the bell tower, one knew by the melodies if a death were being announced, and to which choir house the deceased had belonged. There were the love feasts¹, and the individual choir house festivals² where music played a prominent part. Sacred and secular music were performed both with and without instruments for worship, as well as for one’s own enjoyment. The first performances in America of works by European classical composers such as Franz Josef Haydn, Carl Phillip Emmanuel Bach, as well as others, often occurred in Moravian performances at Bethlehem, Pennsylvania. Life in a Moravian community offered certain benefits, and most definitely one of the most important was the musical life of the community.

¹A Lovefeast is a service dedicated to Christian love, and is most famously practiced by the Moravians. Traditionally a sweetened bun and coffee is served to the congregation in the pews by a Diener or server. A Lovefeast seeks to strengthen the bonds and the spirit of harmony, goodwill, and congeniality, as well as to forgive past disputes and instead love one another. Music was an important part of the Lovefeast.

²Choir house festival ~ Moravians lived in the 18^th and 19^th century by the choir system, where members with similar life experiences (age, gender, marital status) worshipped together, and lived together such as the single brothers, single sisters, married couples, widowed men and women, etc. Most choir houses celebrated their own special festival in which music played a prominent part.

Please be sure to visit our Facebook gallery for more images pertaining to these three Moravian manuscripts ~ Borneman Mss. 117, 142, 143.

For additional related Moravian resources, please visit the Moravian Archives website.

Preservation of the Free Library of Philadelphia's Pennsylvania German manuscript collection has been made possible in part by a major grant from the National Endowment for the Humanities: Because democracy demands wisdom. Any views, findings, conclusions, or recommendations expressed in this post do not necessarily represent those of the National Endowment for the Humanities.

If I'm Happy, Then I Must Sing, Part Two

Del-Louise M. — 2012-10-26T11:23:00-05:00

Theodor Schulz (1770-1850)

Theodor Schulz (1770-1850) was born December 17, 1770 in Gerdauen, East Prussia, one of the towns founded by the Teutonic Knights in the Middle Ages, and rich in history from that period. At fifteen he apprenticed himself to the chancery (administrative office) of Ernst Ahasverus Heinrich, Count of Lehndorf (1727-1811) at Steinort where he studied estate management, agriculture, and accounting. While there he met and became friends with Brother Rhenius, inspector of the Count’s chancery, and a member of the Moravians at Königsberg. He was admitted to the Moravian community at Gnadenfrei in 1795. In 1799 Friedrich Metz, Jacob Ertel, Georg Breutel and Schulz came to America en route to an assigned mission post in Surinam. They spent four months becoming familiar with all of the Moravian communities in the region surrounding Bethlehem, Pennsylvania, the Moravian American headquarters. Also, during this time, Schulz was married by lot¹ to Susanna Catharina Elisabeth Loesch (1771-1885). The Schulzes were in Surinam from 1800 to 1806, during which time Theodor compiled a dictionary, hymnal, and a translation of the New Testament Epistles for the Arawak Indians. Due to his wife’s poor health, the family returned to Bethlehem in 1806. Until 1821 he was a pastor and educator to sparsely settled areas around Bethlehem. From 1821 to his death on August 4, 1850, Schulz was Unity administrator of all the Moravian Wachovian land holdings in North Carolina, as well as business manager of Salem, North Carolina. He is especially remembered for his beneficial influence on the missionary works to the Cherokees while serving in these posts.

¹The Moravians drew lots for many purposes, among them the choice of a marriage partner. It was an unbiased way to “seek the will of God” without human interference.

The Theodor Schulz Diary, 1785-1844

The following excerpts of August 6, 1799-December 12, 1799 are presented here for the first time since Schulz wrote his diary, and in my translation. During the four months that Theodor Schulz spent in Pennsylvania, he may well have met Charlotte Sabine Schropp and Sarah Horsfield, both of whom were living in Bethlehem, and whose fathers were very well known within the Moravian community. Johannes Schropp was the business manager for Bethlehem, and Joseph Horsfield was Justice of the Peace and Notary Public. Also, the tours Schulz took of Moravian settlements such as Bethlehem, Nazareth, and Lititz, as well as cities such as Philadelphia with Moravian congregations, represent important places in the lives of both of these young women and their families. Schulz recorded what personally interested him, and reflected on matters close to his heart: the contemporary landscape, customs of the land, architecture, crops, commerce, weather, the daily and spiritual life of all the Moravian communities he visited, as well as that of his own.

6 August [1799] At 6:00 a.m. we received permission from the quarantine medical doctors

(There was a yellow fever outbreak in 1799, and their ship was in quarantine at Mudfort just north of Chester, Pa.) that we continue our journey for which we were very grateful. At three o’clock in the afternoon, to our delight, we dropped anchor in front of Philadelphia. Brothers Meder and Boller picked us up, and the Philadelphia Moravian congregation warmly welcomed us. Along with them we thanked the Savior for his countless, and merciful support. It did us good just to be around them. After being at sea so long, it was wonderful to be on solid ground again and among our own Brethren.

Philadelphia is a lovely well laid out large city. The houses are almost all built of brick. The city itself lies on the Delaware River. The plan reaches as far as the Schuylkill River, but is not yet built up. The streets are laid out N-S, E-W, intersect each other, and are quite wide. Brick sidewalks for pedestrians are laid out on both sides. After sweating profusely—for it is exceedingly hot—and a most pleasant stay with the local Brethren there, we set out early on the

10 [Aug] tenth in the stage for our trip to Bethlehem, which is 56 American miles away from here. We thought the area would be empty and desolate, but it was just the opposite. We drove the entire day through plantations, small towns, and the beautiful forests of mighty oaks, beeches, and walnut trees in between. We were especially impressed with the fine roadways, and excellent taverns—the mannerly and fine service being quite unexpected. Thirteen English miles from Bethlehem Br. Cunow approached us, and then my faithful Br. Stadiger, and Br. Fischer. At 6:30 we arrived in Bethlehem, and got out in front of the Brothers House where everyone warmly greeted us. An hour later the Elders Conference welcomed us with a pleasant lovefeast, and along with us praised the Savior and thanked Him for our very beings. We were so embarrassed by the lovely and tender outpouring that our eyes overflowed with tears.

This lovely place is built on a mountain, at the foot of which the Monocacy and Lehigh flow by. Over the latter is a high bridge about 200 feet long. The beautiful mountains on which magnificent oaks and nut trees are growing, delight the eye with a charming prospect, and provide some pleasant promenades for the local residents. The islands in the Lehigh gave us frequent pleasure. Especially unusual for us were the field fences, which are unique to America, and which consist of eight to nine foot long split wooden logs, lying end on end on top of one another. Because of this one loses at least six feet of land on both sides. The mill building is beautiful. A lot of maize, field corn, and buckwheat, along with other European fruits, are grown on the rather good local farmland here. Locally it is bound to rain with an East wind, just like the Northwest winds will always bring good weather. Among the various trees were thirteen different types of oaks, walnuts, hickory, nut trees, good-tasting chestnuts, sassafras trees that produce berries, sugar maple, catalpa trees with long shadelike ~~leaves~~ fruits—the leaves are similar to the maple’s, two kinds of hickory (shagbark and shellbark) that also remain green in winter,

15 [Aug] cedars, weeping or babylonica willows—On August 15^thwe went nine English miles with the stage to Nazareth, which is quite beautifully built on a very noble piece of flat land, and has some delightful panoramas. Nazareth Hall—the Gemeinhaus (Congregation House), Paedagogium (Boarding School), and Gemein Saal (Assembly Room)—is a lovely building, 3 floors high. One can see quite a distance from the gallery up on the attic—the Blue Mountains, Hoper Mountain [?], as well as the Delaware and Lehigh Mountains. We also visited the rural Moravian settlement of Schöneck near Nazareth.

21 [Aug] On the twenty-first of August many regional members of the Brethren for Propagating the Gospel among the Heathen, met in Bethlehem for their yearly meeting. We four brothers had the pleasure of being able to attend.

29 [Aug] On the twenty-ninth I ~~held~~ celebrated this blessed festival for the last time in the midst of the Brethren. It was a blessing upon my heart, which will be present

30 [Aug] forever. On the thirtieth we visited Emmaus, and at

2 September Christiansbrunn (Christian’s Spring) and Gnadenthal (Gracedale). One finds fruit and peach trees at both locations. The grain here is usually threshed using horses. The barns are built on the hillsides, so that on one side, built into the foundation, are entrances for the animals to their stalls, and on the other side, above the stalls, is the threshing floor, across which one can drive. The way milk is kept here is also quite wonderful. By means of small water locks, clear flowing spring water can be fed at higher or lower levels into stone spring houses. The milk pans stand in this cold flowing water (Spring water has a constant temperature in southeastern Pennsylvania of 50-55^o F.). Our return trip went by Nazareth, and Friedensthal where we took a look at Br. Eirly’s newly built mill.

11 [Sept] On Wednesday we were once again in Nazareth and on the

12 [Sept] the twelfth in Gnadenthal at noon. On the

13 [Sept] thirteenth Br. Reichel showed us around the place, and we were especially impressed with Br. Henry’s rifle manufactory, the lovely hatmaking workshop,and the metal workshop. In the afternoon we went to Br. Henry’s mill in Plainfield Township, about three miles distant from Nazareth, where his rifles are bored, smoothed, and polished. It was a superb walk northwards through pleasant chestnut and nut trees, and beautiful plantations—four miles from the Blue Mountains, which formed a magnificent vista. Here we tasted the wild, large wine grapes known as fox grapes, which, although very large in size—almost the size of plums—and therefore quite noticeable to us, were not to our liking. There is another type of wild wine grape in Pennsylvania, which is smaller than normal, but tastes very good.

14 [Sept] On the fourteenth we traveled to Easton. Six miles from Nazareth, it is a well laid out but still undeveloped town on the Delaware, into which the Lehigh and Bushkill flow, thereby making the little town of Easton into half of an island. The town is, as it were, enveloped by mountains, the lovely view of which can be seen from all the streets. The high rocky mountains along the ~~Schuylkill~~ Bushkill on the way towards Friedensthal are especially beautiful. They’re building a new bridge across the Delaware, which connects New Jersey with Pennsylvania.

17 [Sept] On the seventeenth, while taking a walk, we took a look at Nain, which is

19 [Sept] well known because of the Indians. On the nineteenth Br. van Vleck recommended Susan Catharine Elisabeth Loesh to me for holy matrimony. She happened to be in Lititz for a visit. Br. Metz had to go to Lititz regarding his future wife so we four Brothers left from Bethlehem in the company of Br. van

21 [Sept] Vleck on the morning of the twenty-first during rainy weather. First we traversed the Lehigh River and its islands; then through the small Jordan Creek towards the little town of Allenstown (Allentown); through Cedar Creek at Trexlers. We breakfasted on the Little Lehigh and Large Spring. After that we went through the village of Cootstown (Kutztown), then the city of Reading. The latter lies in a charming area on a plain between rocky mountains, not far from the Schuylkill, over which we took a ferry. We traveled through the mountains on very stony paths, and several creeks. On the way we encountered a lot of undergrowth with ground acorns—thus, the saying that in America the swine eat the acorns from the trees. Then we went through the miserable little place called Adamstown, which probably got its name from the red earth, i.e. Adam’s earth. We came to Reamstown at noon, and afterwards past Ephrata where the German Seventh-Day Baptists have their colony and cloister. We

22 [Sept] passed through the Cocalico Creek towards Lititz, which lies sixty-four miles from Bethlehem. The place is rather nicely laid out, but the area roundabout is very simple. On the twenty-second in the evening

22 [Sept] I attended a child’s baptism in Warwick Township, which was performed by

23 [Sept] Br. Strohl. On the twenty-third we traveled eight miles with Br. Hübner to the attractive city of Lancaster, which after Philadelphia is the most beautiful city in Pennsylvania. Its layout is very regular. Along with Br. Ludwig Hübner—with whom we lodged—we visited most of the Brethren here. The city has some absolutely outstanding houses. From the ~~Customs~~ Court House in the middle of the city, one can see through all the main streets towards the outlying areas. There are four churches here. From the tower of the Lutheran church we feasted our eyes on the excellent view in and around Lancaster. On

24 [Sept] the twenty-fourth Br. Metz became engaged to Sister T[s]chuddy. We were given a tour around the place, and were pleased to find so many Brethren secure in their faith. The main businesses to note here are the organpipe manufactory of David Tannenberg—who is considered the best organ builder in Pennsylvania. In the Brothers House is a potash works, and Br. Tschuddy fabricates many hats from wood shavings.

27 [Sept] On the twenty-seventh we arrived safely back in

1 [October] Bethlehem, glad to be healthy and well. During the night on the first of October

2 [Oct] came the first hoar frost. On the second the four Brethren Winkler, Helwich, Eberhard and Dalmann arrived safely from Europe. I became engaged on the

3 [Oct] third to the already mentioned Sister Susan Catherine Elisabeth Loesh, and on

6 [Oct] sixth we three pairs were married by Br. van Vleck during the Gemeinstunde (congregation service). As difficult as it was for me to give up my coveted bachelorhood, I couldn’t deny, how well my Savior and I know, the many tears shed at the conclusion of this event. He, Who is my only most trusted Friend, shall remain my support, my consolation, my one and only. Thus shall I go with Him alone towards that which His hand has laid upon me, and I look forward to Him making all things right, especially for those who follow Him blindly. On the

10 [Oct] eighth EL pp z M. The tenth we moved from the Gemeinhaus (Congregation House) to Brother and Sister Cunow. On the

11 [Oct] eleventh we all traveled to Nazareth, and the day thereafter partook of a blessed

17 [Oct] Holy Communion. On the seventeenth during the night came the first frost, the

3 November temperature being 28^o Fahrenheit. On Sunday the third of November Br. Hübner ordained Brothers Metz, Ertel, and me as deacons of the Brethren

15 [Nov] Church in Bethlehem. The weather in this month was still fabulously warm.

17 [Nov] In Bethlehem on the seventeenth we attended for the first time a baptism of an

29 [Nov] adult negress Maria. On the twenty-ninth in the night the first inch of snow fell.

30 [Nov] On the thirtieth we finally received news from Br. Haga in Philadelphia that on the fourth of December two brigs were scheduled to leave for Surinam. Thus

1 December we took leave from all our dear Bethlehem friends on Sunday the first of December. Our parting with the Anstalt (House or School) children was especially touching. After the Brethren and we had uttered our prayers and remembrances in the Gemeinstunde (congregation service), we confessed the same once again with the local Elders Conference, and with the goblet of fellowship most tenderly promised to stay with Jesus, and to be joyful witnesses among the white, black and brown peoples, whereby heart and eyes overflowed.

2 [Dec] On the second we started on our trip to Philadelphia, and arrived there at nine o’clock in the evening. We discovered quickly that we would not be leaving this week, which we welcomed for we had various business matters to take care of.

8 [Dec] On the eighth we celebrated a blessed last supper with the Philadelphia Brethren, which Br. Meder held here for the last time—before leaving for New York on the eleventh—half in the German and half in the English language.

12 [Dec] On the twelfth in the afternoon we boarded our brig Nancy, commanded by Captain Simon Carter. Several Philadelphia Brethren accompanied us there, as well as Brothers Henry from Nazareth and Boe[h]ler from Bethlehem. Today’s daily texts were very encouraging, and the watchword was: “Leave joyfully, and be led in peace. He leads with the hands of a mother.” Further the text: “In the same way you have sent me out into the world, so I send them also into the world. May the path we take be blessed, and the words we sow, be brought to life…

Theodor Schulz wrote charming descriptions of towns, people, and countryside en route from his arrival in Philadelphia to Bethlehem, as well as of the various surrounding Moravian settlements. These are of special interest, not only for the detail of Moravian contemporary life depicted, but also for the general topography and history of eastern Pa. in the end of the eighteenth century.

Please be sure to visit our Facebook gallery for more images pertaining to these three Moravian manuscripts ~ Borneman Mss. 117, 142, 143.

For additional related Moravian resources, please visit the Moravian Archives website.

If I'm Happy, Then I Must Sing, Part Three

Del-Louise M. — 2012-10-26T11:22:00-05:00

Charlotte Sabine Schropp (1787-1833)

Charlotte Sabine Schropp (1787-1833) was the second daughter of Johannes Schropp (1750-1805), and Maria Elisabeth (1753-1801) née Tannenberg, and was born November 23, 1787, in Nazareth, Pennsylvania. She came from a very well known musical family. Her grandfather David Tannenberg (1728-1804) was not only the premier organ builder of his day, but also played the organ, the violin, and sang. Liesel, as her mother was known to the family, was also musical, and as a child “…especially enjoyed singing, mainly at Eastertide.” In 1787 Charlotte’s father Johannes was the business manager of Nazareth and three years later moved to Bethlehem to perform the same duties. There were four girls in the family, and all enjoyed a very close relationship with their parents. Therefore, it was heartbreaking when Liesel became terminally ill in 1801. During this final illness Charlotte concentrated on her catechetical studies with Bishop George Henry Loskiel (1740-1814). The Loskiels had no children, and after her father died in 1805, asked Charlotte to come and live with them. She became like a daughter to them. Charlotte became a teacher in the Moravian Female Seminary where she had also studied, but discontinued her duties there to care of the Loskiels. Also, after her sister Maria Louisa died in 1819, she took her six-year-old niece Sophia Louisa to raise like a daughter. Charlotte died June 21, 1833 at age 45.

C.S. Schropp Clavier und Singstücke, 1799 (Pianoforte and Vocal Pieces, 1799)

There are forty-eight pieces in Charlotte Sabine’s Clavier und Singstücke. Nine are keyboard pieces. Only two of these are titled: “The Twins of Latona” (CSS5) and “Federal March” (CSS22). Another keyboard number (CSS14) has a note at the top: “Lesson II.” This appears to be an exercise in octaves for the left hand. Of the thirty-nine vocal works, twenty-seven are in German, and twelve in English. The themes are: worship; Holy Spirit; Christ’s wounds; death; God in nature; children’s Lieder; [songs of] thanksgiving; Christmas; New Year; secular.

The writer of Charlotte Sabine’s Memoir mentions that it was regrettable that she hadn’t left any written evidence of her personal experience with Christ. This isn’t the case, for even in 1799 at age twelve, she was already collecting musical pieces, which reflected upon such things. There are twenty-eight hymns in Charlotte Sabine’s Clavier und Singstücke, such as Henrietta Luise von Hayn’s hymn Weil ich Jesu Schäflein bin (I’m Jesus’ Little Lamb) (CSS40), which expresses Moravian sentiments.

Using Psalm 23 as a model, von Hayn created the charming and childlike Weil ich Jesu Schäflein bin for one of the Moravian sisters, who was a dear friend. Today, it is frequently used in children’s services. The melody is in the Brethren Choral Book, 1784 (Brüder Choral-Buch, 1784). She wrote about forty hymns, which are to be found in the Brethren Hymnal, 1778 (Brüder Gesangbuch,1778), and which reflect her fervent love of Christ. In my translation, it reads:

I am Jesus’ little lamb, And I never tire of my Shepherd dear, as He leads me far and near. He who loves me, He who ever knows me by my name. As I frolic to and fro, guided by Him, this I know, sweetest grass and water pure, He will give me ever sure. Happy little lamb am I, loved by Him who lives on high. And when all is at an end, He will call me, as my friend, And will carry me upon his breast to my home of final rest, Amen, yes, I’m truly blessed.

Charlotte Sabine’s mother Liesel, as she lay dying, comforted others and herself by selecting and singing hymns. Johannes Schropp wrote in her Memoir that on 14 August 1801 “…around 1:00 in the morning she requested that we sing, and started the verse herself: ‘I’ll fix upon his wounds, and love as much as I can, and in the spirit shall focus upon them without ceasing…Again, “…on 17 August in the evening around ten o’clock she was heard singing with an unusually bright voice: ‘Your torture, fear, and pain, O Lord Jesus console me.’ ”

The hymns in Charlotte Sabine’s Clavier und Singstücke as well as her mother Liesel’s use of hymns in her final days aptly illustrate why Moravians wrote hymns, and still do:

• to express their own vision of God and their relationship to Him.

• to increase the choice and number of pieces available for congregational use.

• to celebrate special occasions.

• to teach their beliefs

• to comfort.

It was part of a Moravian child’s education to be thoroughly schooled in vocal music. Charlotte Sabine may have collected so many hymns because memorizing hymn tunes and chorales was a daily event, and part of the spiritual learning process. She came from a musical family, and as we have seen, both her grandfather and mother were known to love to sing. For instance, on May 4, 1793 David Tannenberg was so moved by the consecration of his organ during a communion service at the Graceham, Maryland Moravian Church that he spontaneously stood up and sang a few appropriate verses from the gallery, much to the surprise and delight of the congregation. Obviously the adult Schropps and Tannebergs had a repertoire of memorized hymns, which they could call upon for all occasions.

Although hymns predominate in Charlotte Sabine’s “Clavier und Singstücke,” the collection is made up of both sacred and secular music. We find an aria from Sir George Collier’s opera “Selima and Azor” (1776); German, and British Isles folk songs; several English pieces to poems by Dr. Joseph Addison; songs of thanksgiving; and children’s songs. The diversity of music and the notation “Lesson II” on the keyboard piece CSS14 support that this number, as well as others, were school instructional material.

Please be sure to visit our Facebook gallery for more images pertaining to these three Moravian manuscripts ~ Borneman Mss. 117, 142, 143.

For additional related Moravian resources, please visit the Moravian Archives website.

If I'm Happy, Then I Must Sing, Part Four

Del-Louise M. — 2012-10-26T11:21:00-05:00

Sarah Horsfield (1785-1867)

Sarah Horsfield (1785-1867), was the oldest daughter of Joseph Horsfield (1750-1834) and Elizabeth (1754-1836) née Benezet, and was born December 17, 1785. She had two younger sisters.

Her grandfather Timothy Horsfield (1708-1773) emigrated to Long Island in 1725, and after he married Mary Doughty, a young Quaker, opened his home to Moravians who were passing through his area. In December 1741, the Horsfields were honored to host Count von Zinzendorf on his first night in America. Horsfield’s family and he moved to Bethlehem on October 28, 1749. Timothy served as Justice of the Peace and Colonel of Northampton County during the French & Indian War.

Sarah shared her mother’s same special love for hymns, and hymn texts. Elizabeth’s children wrote in her Memoir, the original of which is in English: “…She would frequently and with peculiar emphasis repeat her favorite hymn, ‘O tell me no more of this world's vain store...’ ”[A hymn by John Gambold, a Welsh Moravian]

Joseph, Sarah’s father, was the youngest of eight children, and was born in Bethlehem November 24, 1750. He served as a Justice of the Peace, Notary Public, postmaster, and as superintendent of the first bridge to be built over the Lehigh River. He also was a member of the Aufseher Collegium, which was the board of supervisors overseeing Bethlehem’s businesses. He enjoyed being active in the musical life of the congregation, and served as an organist for the services on a regular basis.

After completing her studies at the Moravian Female Seminary, Sarah taught there from 1804 to 1819. When her parents needed someone to look after them, their oldest daughter gladly took the responsibility, caring for them with special love and attention until their deaths—her father in 1834, and her mother in 1836. She then took up residence in the Sisters House for thirty-one years. Sarah was very close to God, and walked with Him in a way noticeable to all who came into contact with her. Rev. Edmund de Schweinitz who presided over her funeral wrote, the original of which is in English: “…Her knowledge of hymns was extraordinary, &. in her long & lingering illness of many months, she often gave expression to her faith by repeating the songs of Zion. Even when her mind wandered, hymns would recall her to a sense of Christ’s presence.”

Sarah Horsfield Music Copybook, July 14, 1803

The Sarah Horsfield Music Copybook, 1803 contains thirty-seven vocal pieces, all of which are in German, except for three, which are in English. The Lieder, songs, and arias are for solo voice with indications sometimes for a section to be sung by chorus, or as a duet. The themes are worship; God in nature; nature; mourning; remembrance; [songs of] thanksgiving; friendship; hope; and consolation.

Five excerpts from Der Tod Abels (Death of Abel) are found in Sarah’s Music Copybook, and shed light on the changes in musical culture at the turn of the nineteenth century both on the Continent and in America. In 1762 when the Moravian communal system was abandoned in favor of a cash economy, key Moravian families of independent means began to pay musicians to copy music for them. The Nazareth General Store Ledger, 1795-1806 includes, among many others, an entry in 1798 for copying the piano-vocal score of Johann Heinrich Rolle’s Der Tod Abels.

Rolle’s (1716-1785) fame was assured when he provided the music for Der Tod Abels, a sacred drama (1769) by Johann Samuel Patzke (1727-1787). Rolle was then musical director in Magdeburg and much respected by his fellow musicians, especially Johann Friedrich Reichardt (1752-1814), Royal Prussian court conductor (Kapellmeister) to Frederick II. It was Salomon Gessner (1730-1788), one of the most internationally popular writers of his day, who wrote the original religious epic Der Tod Abels (1759). His Idylls (1756) and the Death of Abel were both quickly made available in English. They appealed to the pietistic sentiments in Europe and America; consequently were reprinted many times; and remained popular up to around 1825 when literary tastes changed. Patzke acknowledged that he used Gessner’s work as his model. It was, however, Rolle’s music rather than the weak writing of Patzke that carried the day, and assured the work’s popularity. In fact, it so enchanted the public that Bernhard Christoph Breitkopf quickly brought out a piano-vocal score, to be used at home by aficionados of serious music for their personal enjoyment. Rolle responded on June 12, 1776 to Breitkopf about producing a new edition: “Leave it as it is. It [the original edition] has survived its critics; has been in demand; and remains in demand. I have proof of this from the many personal inquiries I receive for orders.”

Both the Moravian inventories and music copybooks from 1780 onwards support the observation that Moravians were current with the musical and literary scene in Europe. Young women of a certain class and background were expected to be well-schooled in music and skilled in playing the clavier, not only for the domestic enjoyment of fine music within their own homes, but also in the unforeseen event that they needed to financially support themselves. As we have seen with Rolle and Der Tod Abels, music publishers were very quick to take advantage of this and published piano-vocal scores of current popular music, whether classical or otherwise, for private use. They, as well as the Moravians, saw a financial opportunity, and both astutely restructured how they did business in order to capture this unique and profitable market. The Bethlehem schools expanded their already enviable music programs to include both current sacred and popular music, and packaged them for the prominent Moravian families and outside affluent families, who would expend whatever monies were necessary to educate their daughters in the finest manner at the prestigious Moravian day and boarding schools.

??Perhaps Sarah’s already knew what destiny had in store for her when she inscribed a poem on the front flyleaf of her “Music Copybook, 1803” entitled “Das Clavier” by the poet Christian Felix Weiss,(1726-1804). In my translation, it reads:

Sweet sounding Clavier, ?What joy you give to me. ?In my solitude how amusing you can be; ?As I direct, so you become, ?One time inspirational,?Another time lighthearted fun.?If I am happy, let sound a cheerful lay;?If I am full of grief or pain, my hurt allay. ?When I begin to sing some pious songs, How much do you me then inspire.?So may my breast n’er ope itself to false desire,?My joys be pure, that they my strings will be,?And my whole life resound with sweetest harmony !

Charlotte Sabine Schropp’s and Sarah Horsfield’s were contemporary to one another, and led similar lives. Both

• were born into well-to-do, prominent Moravian families, Sarah in 1785, and Charlotte Sabine in 1787.

• must have known each other.

• must have attended the Female Seminary together.

• owned manuscript music copybooks.

• subsequently taught at the Female Seminary.

• forfeited married life.

• became primary caregivers and devoted their whole lives to loved ones.

Conclusion

The three Moravian manuscripts presently part of the Henry Stauffer Borneman Pennsylvania German collection at the Free Library of Philadelphia are valuable assets to researchers and to the general public. They furnish a detailed view of the sacred traditions and secular changes in the lives of the Moravian communities and individuals at the turn of the 19^th century, as well as views of a lost early America, both its landscapes and people’s lives. The constant and unchanging element has always been the music, which was the lifeblood of Moravian life then and continues to be so now.

• The Theodor Schulz Diary, 1785-1844 will be available in a forthcoming publication I am presently preparing. It will be annotated. Plans are for it to contain the original old German script, a transcription, and English translation, making it a very practical resource.

• Clavier und Singstücke für Charlotte Sabine Schropp, January 1799 will soon be digitized, and available online.

• The Music Copybook of Sarah Horsfield, July 14,1803 will be available to scholars and the general public at the FLP Rare Book Department.

Please be sure to visit our Facebook gallery for more images of these three Moravian manuscripts ~ Borneman Mss. 117, 142, 143.

For additional related Moravian resources, please visit the Moravian Archives website.

Gertrude Rapp, Expert in Silk and Song

Del-Louise M. — 2012-07-31T14:36:00-05:00

In their search for freedom of conscience and worship, as well as for the promise of economic self-sufficiency and inexpensive land, many German-speaking Christian sectarian groups emigrated to Pennsylvania from the late 17^th century onwards. Some of these pietists organized themselves into communal societies under the direction of charismatic leaders. Best known of these are the Ephrata Cloisters under Conrad Beissel and the Moravians under Count Nicholas von Zinzendorf. Both communities sought autonomy and separation from the outside world, while developing self-supporting profitable economies. In every case these people emphasized the arts and crafts, especially music. They emulated David and his singing praises unto God with the timbrel and harp (See: Psalm149: 3). They also remembered that Apostle Paul had exhorted Christ’s followers in Colossians 3:16 to “…let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord.”

It is, therefore, not surprising to find music as a focal point of another pietistic group, the Harmony Society, founded by the charismatic leader George Rapp (1757-1847). The Harmonists established three successive settlements: They first moved to Butler County, Pennsylvania in 1804. There they created a thriving communal village named Harmony. In 1814 the town was sold at a considerable profit. Everyone moved west to Indiana where they again prospered in a communal setting, also known as Harmony. Circa 1824 the members sold this enterprise to Richard Owen, who renamed it New Harmony. George Rapp and his followers then returned to Pennsylvania establishing the village of Economy in Beaver County, which also proved to be economically very successful. However, because members took vows of chastity, the group inevitably dwindled in numbers. In 1905 upon the death of its last adherent, the Society ceased to exist. Its vast real estate holdings were sold principally to the American Bridge Company, which enlarged the town, and incorporated it as Ambridge.

The chief recreation of the Harmonists was music. Every member of the Society had some training, and almost every one could play a musical instrument. They celebrated Christmas, Easter, and Good Friday, as well as their own Harmonie Fest (Founder’s Festival), Danksagungstag (Day of Thanksgiving), and Liebesmahl (Lovefeast). At each of these celebrations music played a prominent part, and elaborate programs were arranged for them. Also, quite often during times of planting or harvesting, the members would conduct hymn writing contests among themselves. In some instances the winning hymn was printed for use in future celebrations.

The Borneman Pennsylvania German collection is fortunate to have several of the Harmony Society’s manuscripts and imprints. Especially noteworthy is Borneman Manuscript Nr. 101, Gertrude Rapp’s (1808-1889) Liederbuch. She was the founder’s granddaughter, and was an active, and especially enterprising member of the Harmony Society. An accomplished pianist and singer, Gertrude was the only female Harmonist who studied an instrument.

The bookplate in her Liederbuch contains her name, location, and date in German, i.e. Songbook for Gertrut Rapp. Harmonie, Ia [Indiana], in May 1823, along with a lovely Fraktur example of a hand-drawn spring floral bouquet with red roses, blue and pink quatre foils done in watercolors. The songbook contains many original composed pieces celebrating, among others, Christmas (Auf den Christtag A.D. 1822, 121), the Harmony Fest (Ode Auf das Harmoniefest A.D. 1822, 111, Aufs Harmoniefest 1823, 123); Easter (Ostern 1856, 128-131). Many songs contain the word “Harmony” in varying contexts. An astounding number praise the beauty of nature, and focus exclusively on the harmonists’ appreciation of the natural beauty surrounding them. For example Seht Gespielen, seht die Flur (See, my Playmates, See the Meadows in Full Bloom…8-10) rejoices in springtime more in the style of a secular song than a hymn. Another Nur Thoren verachten den Bauern stand… (Only Fools Despise Tillers of the Soil, 67-68) seems more a declaration of a secular creed than religious sentiment.

Before the Society began printing its songbooks, the members wrote personal collections of their songs into strongly bound blank books such as Gertrude’s. In 1820 Heinrich Ebner of Allentown, PA printed the first Harmonist songbook entitled “Harmonisches Gesangbuch.Theils von andern Authoren, Theils neu verfasst.” Zum Gebrauch von Singen und Musik für Alte und Junge. Nach Geschmack und Umständen zu wählen gewidmet. Allentown, Lecha County, im Staat Pennsylvanien. Gedruckt bei Heinrich Ebner, 1820 (Harmonist Songbook, Containing a Partial Selection of Other Authors’ Works and a Selection of Original Compositions. To Be Sung by Old and Young Alike, and To Use According to One’s Own Taste and/or Per the Occasion, Allentown, Lehigh County in the State of Pennsylvania. Printed by Heinrich Ebner, 1820). The Borneman Fraktur collection has a copy of this first edition with a bookplate, now part of the FLP Fraktur Digital collection, FLP B-70, which translated reads: This Songbook belongs to David Lenz, Harmonie [IN], February 2, 1823. Please note that Gertrude started her songbook in May of 1823, and the Fraktur inscription for David Lenz, a member of the Harmony Society, is from February 1823.

Upon comparison of the registers from both works, there don’t appear to be any shared hymns. However, the Harmony Society printed the second edition themselves at Economy in 1827, and it is here that we find Gertrude’s nature-oriented manuscript pieces in print: Du hoher schwarzer Thannenwald (You Lofty Stand of Dark-hued Pine); Der Greiss des Silberhaares (The Old Man With the Silver Hair); Wie des Lenzen milde Lüfte (How the Mild Breezes of Spring…). Gertrude collected 52 songs, of which circa 25% are included in the second edition of the Harmonist Songbook of 1827. Her choices reflect a happy spirit who sings of God’s presence in all of nature.

Gertrude possessed many talents, and, like her step uncle Frederick Rapp (1775-1834), proved to be a very smart and adept entrepreneur. In 1827 at age 19, she took an avid interest in raising silkworms and the manufacture of silk fabrics. Since the Harmonists were master weavers, and already had a highly developed and profitable textile business, it made sense to investigate the pros and cons of adding silk to their cotton, linen, and woolen products. Gertrude invited silk specialists to teach her all the details of silk production. She also learned how to care for silkworms. Through repeated experimentation, effective techniques for reeling silk were developed. Within a few years the Harmonists were producing five to six thousand pounds of cocoons annually, and from this manufactured silk, ribbon, brocade, velvet, and satin. Their products were of very high quality, and their business grew, peaking in the 1840’s. When the U.S. government refused to grant them a protective tariff from foreign competition, they ceased production in 1852. They realized to continue would be unprofitable. For twenty-five years, Gertrude Rapp not only managed the production of silk goods equal to or superior to the European silk imports, but also was the gracious hostess to many important personalities, who came to Economy, Pennsylvania to learn about their techniques and experiences with silk.

Please be sure to visit our Facebook gallery for more images of Gertrude Rapp’s Songbook, Borneman Manuscript 101.

A Collection of Musick Adapted for the Harpsichord ex Libris Michael Hillegas

Del-Louise M. — 2012-07-09T17:36:00-05:00

My name is Michael Hillegas, and if you know me, it’s most likely because I served as the first Treasurer of the United States from 1777-1789. I have always, as you may have surmised, had close ties to Philadelphia. After all I was born, and spent much of my life here. So imagine how excited I was when I found out that I still have connections, and at the Free Library of Philadelphia (FLP) no less! Firstly, Laura J. Stroffolino, presently a librarian in the Catalog Department at FLP, is my cousin through my uncle Johann Friedrich, best known for having challenged Johann Phillip Boehm, a Reformed minister who played an instrumental role in planting the German Reformed Church in America. However, in 1727 when my uncle questioned his qualifications to preach in several Reformed congregations, Boehm was not yet ordained. He never forgave this, and even as late as 1744 was complaining about it in official letters to the Classis at Amsterdam. This is a governing body of pastors and elders of the Reformed church having jurisdiction over our local churches. In the course of his July 8, 1744 (#38) report Rev. Boehm mentioned that “Whereupon after that time Frederick Hillegas arrived in this country with a companion. He also had two brothers, called Peter and Michael, living at Philadelphia, but he himself lived at New Goshenhoppen.” Michael was my father, so now posterity knows how we’re all family. I’d like to dedicate the rest of my thoughts penned here to Laura and all of our common relatives.

My other connection to the Free Library of Philadelphia is my Music Arranged for Harpsichord, a manuscript that I kept from July, 1747 to 1754 or so, and which Henry Stauffer Borneman saved from obscurity by adding it to his Pennsylvania German collection of Fraktur, imprints, and manuscripts. When Mr. Borneman died in 1955, FLP was able to buy this exquisite collection, which reflects the essence of Pennsylvania German art and culture. So, my music book is now labeled Borneman Manuscript 144, and, thanks to a 2011 grant from the prestigious Save America’s Treasures program, a select number of these manuscripts will soon be restored to pristine condition, and digitized for online access. I’m hoping mine will be among them.

I was eighteen when I first started keeping the Harpsichord book, and was quite proud of my musical accomplishments, so I had a special label printed that you’ll find at the one end of the book on the inside cover EX LIBRIS MICHAEL HILLEGAS Anno Domini 1747. I couldn’t resist having another label, to be found at the other end of the book on the inside cover and written in my hand: A Collection of Musick adapted for the Harpsichord &c. with a downturned ear on which I wrote in mirror image M. Hillegas, His Book, July 1747.

People are always quoting what John Adams says in his diary about my musical interests: “Hillegas is one of our Continental Treasurers, is a great Musician—talks perpetually of the Forte and Piano, of Handell, &c. and Songs and Tunes. He plays upon the Fiddle.” Had we ever had a chance to talk upon the subject, I would have told Adams that my father insisted I follow him in his business as a merchant, but also encouraged me to study music, for it was the one thing in life I lived for.

If you’re a Hillegas, you never do anything half way. Thus, as you’ll see from my Harpsichord book, I learned musical theory, also how to play a thorough-bass, which is a musical shorthand used by keyboard players during my day to indicate intervals, chords, and non-chord tones in relation to a bass note. With this “figured bass” we were able to add the proper chords to the melody, and improvise where needed. You can’t play a harpsichord without tuning it, so I included Instructions for Tuning as well, and became a master tuner.

You’ll find my hand-drawn picture of a clarinet with a fingering chart, an additional illustrated finger-chart for a clarinet with four keys, which I later tipped in—an insert, which I pasted to a page of the book, along the binding margin, and a hand-drawn picture of guitar frets with the scale of the guitar. Obviously, I was more than casually interested in both instruments. I don’t know why, but I only included fragments of some parts for clarinetto and Violino from a Minuet—a slow, stately dance in triple meter which is presently quite popular—by Mr. Humphreys, an English composer and violinist, who died in 1733 when only 26.

As to other music I collected, you’ll find George Frideric Handel’s Water Piece, a collection of orchestral movements for orchestra, written for a festival that took place on July 17, 1717 at the request of King George I on boats on the Thames River in England. Also, you’ll find a Hornpipe in 4 variations by him. A Hornpipe, of course, is a dance. Mr. Handel was so fond of its rhythmic aspects that he used it as the tempo marking alla hornpipe in his Water Music, No. 12. Mr. Handel also set Mr. Lochman’s charming verses in the song The Request to the Nightingal.

There are also some country dances such as The Man in the Moon, On Ev’ry Hill, and I’ve got a Wife of my ain’. These are mostly Scottish, and you need a good Scottish fiddler to do them justice. Also of this ilk are Prince Eugen’s March Tune, The Highland March, and King George’s Minuet.

Then there’s Bright Author of my Present Flame, words by Allan Ramsay and set by Mr. Travers, an English composer and organist to the Chapel Royal in 1737. You might recognize The God Vertumnus lov’d Pamona fair for voice and instruments set to music by Charles John Stanley in 1748. Blinded when he was two years old, Mr. Stanley is an astonishing musician, and I must say I’m quite fond of this piece.

I also made a copy in my book of The Miller’s Wedding, which was sung by the character Mr. Beard in Harlequin Ranger, a pantomime produced and performed by the actor Henry Woodward at Drury-lane, London in the 1751 season. It’s quite jolly.

Adolph Charles Kunzen’s Minuet taken from his Sonatas for Harpsichord Opus 1 is quite enjoyable to play. Kunzen comes from Germany but lived in London from 1754 to 1757. His 12 Sonatas for Harpsichord were dedicated to the Prince of Wales, and since then have been published as Opus 1. He also has written an excellent thorough bass tutor. Of course, there are other pieces from my Harpsichord book, which I’ll share with you another time.

May I mention my former teacher Mr. John Palma, who some people say was the first to give a public concert in Philadelphia on January 25, 1757? I rather think I made a note in my Harpsichord book that I took my first lesson on January 3, 1754 with Mr. Palma, and at the following lesson paid him two Guineas. I also marked off how many lessons I took and paid, which were forty I believe. Also, if my memory serves me correctly, there were an additional twenty-one lessons, which I did not mark as paid.

My father taught me that you should always take an opportunity and turn it into a profit. When he died in 1749, I took over his business, and using the entrepreneurial skills I had learned working in his counting house, increased the family sugar refining and iron manufacturing interests quite handsomely. It will also not surprise you that I used my musical knowledge, performance training, and my business know-how and connections to open the first music store in Philadelphia, operating from my home in Second-street opposite Samuel Morris, Esq. On December 13, 1759, I placed an advertisement in the Pennsylvania Gazette letting it be known that I had

an extraordinary good and neat harpsichord with four stops; a good Violoncello; an Assortment of English and Italian violins, as well common ones as double lined, of which some extraordinary; a Parcel of good German flutes, imported here from Italy. Also imported in the last Ships from London, a large Assortment of Musick, of the best Masters, vis., Solos, Overtures, Concerto’s, Sonata’s and Duets, for Violins, German Flutes, Hautboys, French Horns, Violoncellos, and Guittars, Volontaries and Lessons for Organ and Harpsichords, ruled Paper of various sizes for Musick, and Musick Books, Tutors or Books of Instructions to learn to play on the Violin, German Flute Hautboy or common Flute without a Master, Song Books, Cantatas, Songs in Sheets and a choice Parcel of Violin Strings &c.

If you look at other additional Pennsylvania Gazette music advertisements such as those of January 5, 1764, May 21, 1772, and June 19, 1776, plus some of the request orders I sent to the London publisher John Johnson in 1760, you’ll note that I was quite successful and knew what I was about. I knew my product, and my clientele. I personally was familiar with the music and its composers, and the instruments upon which the music was played. I also knew the local music and dance masters, and they in turn introduced my music shop to their students. So, you see there was no lack of customers, but quite the opposite.

Everywhere I went I followed my father’s advice, and took advantage of the moment, and what it offered me. I value what a man can do for himself and others if free to dispose over his own property thus earned by ingenuity and his own wits.

During the Revolutionary War when America desperately needed financial support, I chose to donate or loan moneys in support thereof. In fact, so deeply did I care about the future of this land that I gave almost all of my assets to the cause. Since I had been selected in 1775 by the Continental Congress as co-treasurer of the colonies, in 1776 Continental Treasurer, and then in 1777 assumed the title Treasurer of the United States, I saw the need first hand. During this time I came into contact with many men who valued music as I, and wherever I could serve them I did. Thus, in 1776 I added A Complete Tutor for the Fife to my shop inventory for more fife players would be needed as the war progressed. I had other instruments in the shop ready to supply the military bands as needed. It also was my pleasure to serve Mr. Thomas Jefferson in his musical needs between 1775-1779 for printed music, violin strings, guitar strings, and a violin mute. Some find it quite singular that my music shop was apparently the only one of its kind in all of the Colonies prior to the American Revolution.

Please know that I continued making music as well as selling it. I remember offering to play my violin in a chamber orchestra at a funeral in 1776. Frances Hopkinson will tell you that several of us played in 1778 for a Court of Music at Mr. Brown’s at the Navy Office. There were many other occasions as well, too numerous to mention. However, I hope you can see that music is and always will be part of my life, and that I have been successfully involved with it artistically and commercially since the days of my youth. My Harpsichord book, that is, the Borneman Manuscript 144 is proof of this and a valuable witness to all who require documentation of my passion and love for the art of music.

Please be sure to visit our Facebook gallery for more images of the Michael Hillegas Music Arranged for Harpsichord, Borneman Manuscript 144.

Beware! Lions, Tigers and Bears in the Rare Book Department

Del-Louise M. — 2012-06-05T12:15:00-05:00

Beware! Lions, tigers and bears have been found in the Rare Book Department at the Free Library of Philadelphia. Before making this discovery several weeks ago I wouldn’t have believed it either, but there really are lions, tigers, and bears in the Borneman Pennsylvania German Manuscript Collection. I’ve only really met one lion so far, but I predict I’ll soon be meeting tigers and bears as well. The lion who greeted me was wearing a crown; holding an upraised sword in his right paw; and a sheaf of arrows in his left. None too friendly mind you! However, he was looking to his left, and safely enclosed in a shield, surmounted with a fleur-de-lis crown. He had lost part of his face, and tail, which made me none too happy because it’s always important to see a lion’s face. I asked myself how long he had been living in the Borneman Manuscript 1, Hymnal of the Pietists of the Wissahickon, where I had found him. This king of the beasts wasn’t about to tell me, and I totally understood because you see, he was in two pieces. The bookbinder must have cut him in two before binding the blank leaves of paper into a narrow format. While paging through the manuscript I also found a lily on a shield, surmounted by a fleur-de-lis crown. The lily I had rather expected because someone had noted in pencil on the front pastedown (the leaf of an endpaper that is pasted to the inside of the front or back cover of a book) that one might find one. No one, however, had ever said anything about a lion! Both the lion and the lily are watermarks, and there are, indeed, lions, tigers, bears, other animals, flowers, and symbols used by papermakers as watermarks.

So, what is a watermark? A watermark is a figure or design impressed in paper as it is being made. Take one of your bank checks and hold it to the light: You should be able to see a “security” watermark , which guarantees the check’s authenticity. Paper manufactured today, as in the 18^th and 19^th century, bears a watermark, which is unique to the producer of that paper. It is his/her trademark.

Most paper made prior to circa 1817 is marked with finely and evenly spaced sieve-like line impressions left by the thin strands of brass wire that were fixed horizontally to a rigid rectangular wooden frame a bit larger than the intended paper size, and with vertical chain line impressions that were left in the paper by the slightly thicker brass wires laid at about one inch intervals across, and perpendicular to the finer horizontal wires. Paper handmade on these types of moulds is known as laid paper, and is easily distinguished from wove paper, which, when held to the light will appear uniformly translucent, exhibiting no pattern whatsoever. Although there were wove paper moulds in use as early as about 1788, this type of paper did not begin to replace laid paper until after ca. 1817.

In the 18^th and 19^th century, watermarks were formed by hand from fine wire, and then sewn—also with fine wire—to the upper surface of the laid paper mould’s wire sieve. Most early American watermarks were simple in design, such as initials or a name on one half of the mould and a symbol or device, i.e. the countermark, on the other half. Individual characteristics are always evident in both the design and execution, as well as in their positions relative to the chain and laid lines. Paper and its watermarks are an integral part of a manuscript or book, and a vital tool in document identification. They help establish approximate dates for undated manuscripts. Often there are no dates given at all for a particular manuscript, or there are a whole lot of different dates, and names appended to excerpts with notations identifying the original author and when he wrote the piece, but no mention of the scrivener and when he copied the piece into that particular manuscript. In those instances where several people have made different entries over a period of time, the watermark is instrumental in setting time and geographical parameters.

Records show that many American mills were in business for only relatively short periods of time, so a date before which and after which a watermark would have been less likely in use can be determined with relative certainty. However, because a mill may have held the paper for further seasoning (further aging of paper), or a printer may have delayed using the paper he had intended for immediate use, the interval between the production of a sheet of paper and its use is not so easily ascertained. Interestingly enough, research does indicate that approximately 94% of all paper featuring a date in the watermark was used within six years of the watermark date.

So far we’ve been able to look at about 20 manuscripts from the Borneman Pennsylvania German Manuscript collection, and have found 16 watermarks of which four have their countermarks. Of those, we have five digital images obtained by using a backlit scan to capture the image. The cooperation of conservators such as Jim Hinz, Rebecca Smyrl, Mary Broadway, and Keith Jameson at the Conservation Center for Art & Historic Artifacts (CCAHA) has made it possible to do the backlit scans when the manuscripts are disbound for conservation.

A few examples will show you how these watermark images are helping us determine when and where the manuscripts were created.

Borneman Ms. 1, The Hymnal of the Pietists of the Wissahickon, is a commonplace book containing select copies of religious works, hymns, descriptions of religious ecstatic experiences, and poetry. We do not know who the scrivener was or when he created the work. However, we do know that the copy he made of Madame Guyon’s Short and Easie Method of Prayer was an English translation "done out of French, and printed in the year 1704" (excerpted from title page of work). We also know from a note to hymn #188 Der einsamen Turtel=Tauben…that it was sung by Johann Gottfried Selig (1668-1745) on July 24, 1709. Selig was one of the leaders of the Johannes Kelpius Community along the Wissahickon.

Thomas’s Gravell’s American Watermarks 1690-1835 (New Castle, Delaware: Oak Knoll Press, 2002), has an example from 1709 (Fig. 619, 134) of our fleur-de-lis watermark, which belongs to Wintherthur Museum in Wilmington, Delaware. Per Jeanne Solensky, librarian for the Joseph Downs Collection of Manuscripts and Printed Ephemera at Winterthur Museum, this 1709 document (55.759) is part of their Legal Documents collection, Collection 268. The record refers to a suit brought by Joseph Growden of Philadelphia for damages sustained (not specified), and is on paper made by the Rittenhouse Papermill, the oldest papermill in America (1690).

William Algernon Churchill was an avid collector of watermarks, and includes in his important work Watermarks in Paper in Holland, England, France, etc. in the XVII and XVIII Centuries and Their Interconnection (Amsterdam: M. Hertzberger, 1935; repr. 1967, 1985, and 1990) an illustration of our lion from his collection. It was found on paper used in 1707 by the Republic of the Seven United Provinces, a republic in Europe existing from 1581-1795. It is the watermark of the famous French papermaker Jean Villedary (1668-1758). Should we be concerned that we’ve found a European papermaker’s watermark? Prior to the American Revolution almost all paper was imported from Europe, so it’s not unusual to find European watermarks on paper used in the colonies predating 1775. Both watermarks help us place the date of the Borneman Ms. 1 to ca. 1709, and the Rittenhouse watermark suggests that it had to have been written on this side of the Atlantic.

Borneman Ms. 98, Charles F. Egelmann's Commonplace Book of Remedies Along with Notes on Sundry Mechanical and Scientific Topics is undated. A watermark PB in outline in the center of one of the Ms. pages identifies the papermaker Peter Bechtel, a native of Germany, who owned and operated mills in Germantown, PA, and who is known to have ordered moulds watermarked PB on an annual basis from 1798 until 1820 from Nathan Sellers, America’s first large-scale maker of paper moulds. Our PB watermark matches a PB watermark in a document dated 1806 from the Delaware Historical Society Collection (Thomas Gravell’s American Watermarks (Fig. 749, 163). This information helps us estimate that Egelmann started writing the manuscript in America ca.1806. Without the watermark, we would have no way to approximate the date of Borneman Ms. 98.

It is important to record paper and watermark information when cataloguing a book or manuscript: Both are essential tools in determining the age of a document, and are an integral and added dimension to the work. Dr. Keith Arbour, noted author, and bibliographer has this to say on page xv of his Foreword to Thomas Gravell’s American Watermarks : “It is now up to bibliographers and institutional cataloguers of early American imprints to act on the widespread—and widely ignored—recognition that records for books under their scrutiny are unacceptably inadequate unless they include paper and watermark descriptions.”

We have begun to record the watermarks we’re finding in the Borneman Pennsylvania German Manuscript collection. Their digitization and availability online will provide a global audience unlimited instantaneous access to a resource, valuable not only to us, but also to the public-at-large. Please be sure to visit our Facebook gallery for more watermark digital images.