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A Scene In The Courtroom During The Salem Witch Trials Of 1692. From The History Of Our Country, Published 1899 Poster Print by Ken Welsh / Design Pics - Item # VARDPI12290558
Product Details SKU: VARDPI12290558 UPC: 7439304249205 Condition: New Availability: Usually Ships in 24 Hours Shipping: Calculated at Checkout Title: A Scene In The Courtroom During The Salem Witch Trials Of 1692. From The History Of Our Country, Published 1899 Artist: Ken Welsh / Design Pics Product Type: Fine Art Print Publisher: Design Pics
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A Scene In The Courtroom During The Salem Witch Trials Of 1692. From The History Of Our Country, Published 1899 Poster Print by Ken Welsh / Design Pics - Item # VARDPI12290558 would make the perfect addition to your home or office or gift recipient. This Poster Print is ready for hanging or framing and ships in an oversized tube for maximum protection.
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If We Can’t Picture Them, Were They There?
We don’t have any portraits of Salem women before the eighteenth century: the (European) women of Salem’s (European) founding century are therefore difficult to picture. We are left with nineteenth- and early twentieth-century romanticized and idealized images of dramatic women: persecuted Quakers, the two Annes, Hutchinson and Bradstreet (who never lived in Salem), and above all, the women who were accused of witchcraft. The latter are always represented by illustrations from long after their deaths, or by images of English or continental witch trials, utilized even on the covers of scholarly books on the 1692 trials. Why am I always seeing the Pendle “witches” from 1612 depicted as the Salem “witches” from 80 years later and across the Atlantic?
Because “public-facing” history, presented in digital formats and disseminated through social media, needs pictures: texts just won’t do! And book covers need to draw the reader in. I’m as guilty as the next blogger of using the later nineteenth-century images (of which there are so many!) to illustrate some of my posts, although I never substitute depictions of one event for another. I’d love to have some contemporary illustrations of Salem women in the seventeenth century doing all the things I know they did: parent, cook, sew, garden, make all sorts of stuff, keep taverns, worship, wonder. But there aren’t any. I’d love to have a portrait of Lady Deborah Moody, who settled briefly in Salem before she moved on to New York and was labeled a “dangerous woman” by John Winthrop for her heretical Anabaptist views (and I think her independence), but there aren’t any—I’ve checked through all the English sources as well. I’d love to have an image of the adversaries Martha Rowlandson, who divorced her husband for impotence in 1651, and Eleanor Hollingsworth (mother of Mary English, who I’d also like to see), who operated her own tavern, brewed her own beer, and cleared her husband’s considerable debts. But nothing. There are several portraits of seventeenth-century Massachusetts women, so I guess they need to stand in for their Salem sisters: anything to avoid disseminating those simplistic “Puritan” images!
Real 17th Century Massachusetts Women and a “Puritan Woman, 17th Century” from Cassel’s Historical Scrap Book, c. 1880.
As an English historian, I have a wide range of texts and images available to me with which to explore seventeenth-century women: many portraits of wealthy ladies, prescriptive writing, prints and broadsides, recipe books and diaries, theatrical performances as social comment and criticism (with women as the focus quite a bit in the earlier seventeenth century). So English women seem more diverse, more interesting, more active, more layered, while their sisters across the Atlantic seem a bit…..one-dimensional in comparison. I guess that’s why the authors of books on the Salem Witch Trials pinch English images so often. Of course if we move away from the reliance on the visual we can learn a lot more, but I worry that the exclusive reliance on “picture history” in the public sphere erases those who do not leave an image behind.
I think I can illustrate my concern a bit better by examining some women from the nineteenth century, certainly a much more visual age, but not universally so. There’s been a lot of interest in Salem’s African-American history over the past few years, which is of course great. Two women in particular, have claimed the spotlight: Charlotte Forten Grimké (1837– 1914) and Sarah Parker Remond (1824-1894). Both were incredible women: Charlotte came north from Philadelphia to live among the always-hospitable Remond family to attend Salem’s desegregated schools in the 1850s, and went on to graduate from Salem Normal School (now Salem State University, where I teach) and become Salem’s first African-American teacher in the public schools, while Sarah grew up in Salem in the midst of a very activist Abolitionist family and became a much- heralded advocate herself, before emigrating to first England and then Italy for her undergraduate and medical degrees. Charlotte remained in her teaching position for only a couple of years before returning to her native Philadelphia and then launching an amazing career of advocacy herself, in the forms of teaching, writing, and public speaking. Both women were illustrious, and completely deserving of the two Salem parks which now bear their name. But I can’t help thinking about another African-American woman, Clarissa Lawrence, who spent her entire life in Salem, running her own school for girls, founding the country’s first anti-slavery society for African-American women as well as a benevolent society, with only a brief trip to Philadelphia for a national Abolitionist convention in which she gave the riveting “We Meet the Monster Prejudice” speech. Where is Clarissa’s park or statue in Salem? Why is Charlotte, whose family is from Philadelphia, the feature of Destination Salem’s Ancestry Days, which seeks to serve as “ a gathering point for descendants of Salem’s families as well as a research opportunity for people who want to learn more about their family history”? Her family history is not here! (well actually, none of Salem’s history is here). I suspect the answer to these questions is in good part based on the fact that we have no picture of Clarissa Lawrence, so it’s almost as if she didn’t exist.
Charlotte Forten between the two Salem Nathaniels, Hawthorne and Bowditch on the Ancestry Days poster. This sounds like a great genealogy event, but none of Charlotte’s family records are held by the participating institutions: why not feature Sarah Parker Remond, whose are? We even have several photographs of Sarah!
Historical Interpretations of the Salem Witch-Trials, 1692 with Anika Choudhury
Salem Witch Trial Scene – (Original Caption) Salem Witch Trial. Accusation of bedeviled girl. After an engraving by Howard Pyle.
The supernatural, magic, and witchcraft persisted to be a part of the United States belief system as a result of a sincere, generational fear of the unknown. In American history, early modern European migrants and New England Puritans feared anything paranormal, and most importantly, witches that could harm their families. There were many factors involved which led to the accusations of witchcraft in Puritan society. Some of the biggest reasons for why accusations ravaged Salem included fear, the belief in both good and bad witchcraft, the willingness of physicians to utilize witchcraft as a form of medical diagnosis, politics, and potential ergot poisoning. Sadly, for those accused of witchcraft in Salem, the factionalism of both the Town and Village provided the ideal conditions for what is most widely regarded as the greatest witch-hunt in American history.
Puritans used spells to describe what they did not understand. This was thoroughly described in The Devils Dominion, when author Richard Godbeer stated that, “Magic offered a release from uncertainty.” He also explained that although it did this, it came in two categories – good and bad. “Bad” magic came from a source that was detrimental to religious beliefs of the Puritans. Image magic, on the other hand, was the practice of enchanting an object in order to harm a person. Image magic was believed to be the evil magic that witches used to harm others.
In Witchcraft at Salem, the author, Chadwick Hansen, delves into the fear of witchcraft in Salem’s society during the 17th century. He explores the way in which members within the community were affected by their beliefs, and how they responded to those that showed bizarre behavior or unexplainable physical symptoms. Hansen also explains that any person that was thought to be sick with a physical or psychological disorder that was not understood would be misinterpreted as being afflicted by “the evil hand.” He asserts that the fear of it is what gave the ritual its power. Some of the physical symptoms Hansen describes of those afflicted by witchcraft include convulsions, loss of certain senses, and intense pain. These symptoms happened to coincide with someone accusing another person of witchcraft. It can be seen that a physician being unable to diagnose an unexplainable illness helped with strengthening the fears of witchcraft, which in turn sparked a growth of accusations.
Hansen argues that this hysteria was created by the pressures of their immensely devout and particularly strict society, as they believed witchcraft was more likely than a psychological illness. Numerous young women started to exhibit some odd symptoms such as memory problems, temporary hearing loss, vision and speech impairment, seizures, bite marks and pin pricks on the skin surface, among several other peculiar behaviors. These girls were afflicted by spontaneous fits considered impossible for a person to do to themselves. One of the girls involved was Reverend Parris’ daughter. He decided his prayers weren’t working, and that he needed to bring his daughter to a doctor. After viewing her, the doctor established that it was very obviously the hand of the devil and they were under the spell of witchcraft. These symptoms affecting a mass group were not something that was understood by the community. Attempting to blame it on the witchcraft would be their own way to make sense of something for which they had no credible justification.
In addition to this, throughout their 1974 text, Salem Possessed, Boyer and Nissenbaum largely hypothesize that the roots of the Witch-Trials were attributed to the divide amongst Salem Town and Salem Village. This divide was based on the size of the church, prosperity, and geographic location. They note that the priests, including Samuel Parris, took advantage of this division. Salem Village had become more socially distant to the town, as the town experienced the growth of commercial wealth. Salem’s villagers also had very little assistance from neighboring areas and had little freedom and political control to champion themselves. The lack of adequate involvement by officials further weakened the village, and these community conflicts had dire effects on a town that was volatile and poorly developed from the outset.
When the Puritans first founded New England, it was emphasized that society was just to be one entity acting in the best interests of the whole as opposed to a set of individuals operating for their own gain. This concept was central to the initial settlements’ success. The moral and economic threat of a radical change in the values of the society exacerbated the more detached Pro-Parris group to view the opposing party as an immoral group which jeopardized the moral and economic integrity of the Salem community itself. This ultimately resulted in the Salem Witch-Trials becoming a paranoid witch-hunt.
- The Devil’s Dominion: Magic and Religion in Early New England by Richard Godbeer
- Witchcraft at Salem by Chadwick Hansen
- Salem Possessed: The Social Origins of Witchcraft by Paul Boyer and Stephen Nissenbaum
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Reviews for "The Art of Performing with Magic Hover Winder Spheres"
- John - 1 star
I was very disappointed with the Magic Hover Winder Sphere. First of all, it did not work as advertised. The sphere was supposed to magically float and rotate, but it barely lifted off the ground and the rotation was hardly noticeable. Secondly, the construction was very flimsy. The materials used felt cheap and the sphere broke after using it for just a couple of days. Overall, I cannot recommend this product as it did not meet my expectations and was a waste of money.
- Sarah - 2 stars
I was really excited to try the Magic Hover Winder Sphere, but it fell short of my expectations. Firstly, it was not easy to use. The instructions were not clear and it took me a while to figure out how to make it work. Secondly, even when I did manage to get it to float, it was very unstable. It kept wobbling and often crashed into objects around the room. Additionally, the battery life was very short, and it required frequent recharging. I would not purchase this product again.
- Mike - 3 stars
The Magic Hover Winder Sphere was just alright for me. Although it did float and rotate as advertised, it didn't provide the smooth and stable experience that I was hoping for. It often got stuck in one position and required constant adjusting. The battery life was decent, but the charging process was quite slow. Overall, it was an average product that didn't impress me much.