Ursinus College Digital Commons @ Ursinus College

Pennsylvania Folklife Magazine Pennsylvania Folklife Society Collection

Winter 1994 Pennsylvania Folklife Vol. 43, No. 2 Susan Kalcik

Hilda Adam Kring

Regina Bendix

Mindy Brandt Ursinus College

Thomas E. Gallagher Jr. Ursinus College

See next page for additional authors

Follow this and additional works at: https://digitalcommons.ursinus.edu/pafolklifemag Part of the American Art and Architecture Commons, American Material Culture Commons, Christian Denominations and Sects Commons, Cultural History Commons, Ethnic Studies Commons, Fiber, Textile, and Weaving Arts Commons, Folklore Commons, Genealogy Commons, German Language and Literature Commons, Historic Preservation and Conservation Commons, History of Religion Commons, Linguistics Commons, and the Social and Cultural Anthropology Commons Click here to let us know how access to this document benefits oy u.

Recommended Citation Kalcik, Susan; Kring, Hilda Adam; Bendix, Regina; Brandt, Mindy; Gallagher, Thomas E. Jr.; Cooper, Patricia Irvin; Schwarz, John I. Jr.; and Wetzel, Willard, "Pennsylvania Folklife Vol. 43, No. 2" (1994). Pennsylvania Folklife Magazine. 140. https://digitalcommons.ursinus.edu/pafolklifemag/140

This Book is brought to you for free and open access by the Pennsylvania Folklife Society Collection at Digital Commons @ Ursinus College. It has been accepted for inclusion in Pennsylvania Folklife Magazine by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Authors Susan Kalcik, Hilda Adam Kring, Regina Bendix, Mindy Brandt, Thomas E. Gallagher Jr., Patricia Irvin Cooper, John I. Schwarz Jr., and Willard Wetzel

This book is available at Digital Commons @ Ursinus College: https://digitalcommons.ursinus.edu/pafolklifemag/140

(toutributofS

REGINA BENDIX, who received her Ph.D. in folklore from Indiana University, is an assistant professor of folklore and folklife at the University of Pennsylvania. She is currently working on a book-length study on the role of authenticity in German and American folkloristics.

MINDY BRANDT became interested in the Amish while doing her undergraduate work at Ursinus College in Collegeville, Pa. Now a graduate student at Temple University, she lives in Philadelphia.

PATRICIA IRVIN COOPER, a resident of Athens, Georgia, worked for Georgia's Historic Preservation Section doing county surveys and National Register nomina­ tions. Her most recent previous work appeared in Material Culture.

THOMAS E. GALLAGHER, who received his Ph.D. in anthropology from Temple University, is editor of Pennsylvania FolkliJe and assistant professor of anthropology at Ursinus College in Collegeville, Pa. He has been engaged in fieldwork among the Amish since 1976.

SUSAN KALCIK received her Master's Degree in English from Miami University of Ohio and did her graduate work in folklore at the University of Texas at Austin. Currently the archivist for the Folklife Division of the America's Industrial Heritage Project in Johnstown, Pa., her scholarly interests include American ethnicity, ethnicity and Catholicism, Slovak Americans, women and folklore, place and identity, and the heritage phenomenon.

HILDA ADAM KRING, Ph.D., author of The Harmonists: A Folk-Cultural Ap­ proach, is retired from the faculty of the Department of Literature and Commu­ nications Arts of Grove City College, Grove City, Pa. Now a full-time hospital volunteer, she still finds time to do scholarly work.

JOHN I. SCHWARZ, JR., Ph.D., recently retired from Lock Haven University of Pennsylvania, where he held the rank of professor of music and served as department chairperson. A contributor to The Musical Quarterly, the English series of Garland Publishing's The Symphony ]720-]840, and the Dictionary oj American Hymnology, he has also had several of his editions of music by Samuel Wesley (1766-1837) published by Novello and Company, England. OTTOR: Thomas E . Gallagher, Jr. M A AGI G OITOR: ancy K. Gaugler EDITORIAL ADvISOR :

Simon J. Bronner Donald B. Kraybill Mrs. Arthur D. Gra eff Hilda Adam Kr ing Earl C. Haag Monica MUlzbauer David J. Hufford John W. Roberts WINTER 1993-94, VOL. 43, NO. 2 Terry G. Jordan Evan Snyder Susan Karcik Kenneth Thigpen Don Yoder

S UBSC RIPTIONS: ancy K. Gaugler CONTENTS F OLK F ESTIVA L DIRECTORS: Mark R. Eaby Jr. 50 The America's Industrial Heritage Project: A Model for Cultural Tourism Thelia Jean Eaby v F OLK F ESTIVAL P UB LI C R ELATIONS: SUSAN KALCIK Gail M. Hartmann 60 The Harmonists Are Waiting for You P EN NSYLVANIA F OLKLlFE, Winter ] 993-94, Vol. 43, No.2, HILDA ADAM KRING published three times a year by 67 The Quest for Authenticity in Tourism Pennsylvania Folklife Society, Inc., and Folklife Studies P .O . Box 92, Collegeville, Pa. REGINA BENDIX 19426. $5.00 for single copies, Autumn, Winter & Spring. Yearly 71 Tourism and the Old Order Amish subscriptio n $15.00. Back issues MINDY BRANDT and THOMAS E. GALLAGHER (v . 21-41), $5.00 each; other prices on request. 76 The Log Cabin: Notes on Its Structure and Dissemination MSS AND PHOTOGRAPHS: The Editor will be glad to consider PATRICIA IRVIN COOPER MSS and photographs sent with 82 On the Making of Die Union Choral a view to publication. When un­ Harmonie (1833): Evidence from Henry suitable, and if accompanied by C. Eyer's Working Papers return postage, care will be taken for their return, although no re­ JOHN 1. SCHWARZ, JR. sponsibility for their safety is 96 In Memoriam: Paul R. Wieand, A True Artist assumed. Editorial correspondence: Nancy K. Gaugler CONTRIBUTORS P.O. Box 92 , (Inside front cover) Collegeville, Pennsylvania 19426 Subscription, business correspondence: Layout and Special Photography P.O. Box 92, WILLIAM K. MUNRO COllegeville, Pennsylvania 19426 COVER:

Folk Festival correspondence: "At its seventy-fifth anniversary symposium, the National 461 Vine Lane Park Service recommended exploring the possibility of Kutztown, Pennsylvania 19530 establishing a national system of 'American heritage Phone 215-683-8707 800-447-9269 areas' or 'landscapes.'" Although the implementation of such a plan is far from certain, the America's Industrial Folk Festival public relations: Heritage Project, already underway, "might give us a Hartmann Associates 461 Vine Lane glimpse into the future of the heritage industry in the Kutztown, Pennsylvania 19530 United States. Now being used as a labaratory and Phone 215-683-5313 prototype for the heritage-area concept and as a national Copyright 1994 model for community revitalization through cultural Entered as third class maIler at Collegeville, Pa. tourism, the [Project] encompasses nine counties in ISSN 0031-4498 southwestern Pennsylvania . . ." THE AMERICA'S INDUSTRIAL HERITAGE PROJECT: A Model for Cultural Tourism

by Susan Kalcik

At its seventy-fifth anniversary symposium, the National potential landscapes at the state and national levels; study­ Park Service recommended exploring the possibility of a ing recommended landscapes to determine eligibility, and national system of "American heritage areas" or "land­ preparing management and use plans for the eligible areas; scapes." This effort stemmed fro m increasing community preparing action/management pl ans for designated heritage pressure to preserve a kind of heritage that did not lend areas; and providing technical and financial support for up it elf to the usual national park model. to ten years, after which the heritage landscapes would be The following description is from a draft of the concept expected to become self-sustaining. Congress, the Secretary paper from the project, formerly called Patchwork America. of the Interior, the National Park Service, state governors In it, heritage areas are roughly defined as places with and agencies, local governments, private groups and in ­ whole and complex identities which include natural and dividuals, and special boards would all have a part in the cultural, humble and grandiose elements fused into di tinc­ process.! tive regional cultures, the layers of which have accumu­ The National Park Service prepared this concept paper lated over generations. They possess outstanding natural, on the American heritage area system as the basis for an scenic, and recreation resources linked by a common theme, extensive national public review and dialogue which took or by a multiplicity of themes. The richest heritage areas place in 1992; on the basis of it, the plan was rewritten. are national symbols, representing the essence of American The current version was used by the Park Service to draft experience; they help define our national character. Not legislation to create a program of heritage areas. Several fossilized museums but lived !n or living landscapes, they congressmen are also working on heritage-area bills. are dynamic but depict an essence of character identified Meanwhile, after some sixty individuals and organizations in time and space. The place-persoll relation i the core attended a meeting sponsored by the National Trust for of a cultural landscape. Hi storic Preservati on a nd the Countryside Institute in Such a system of heritage areas would have multiple February of 1993, a National Heritage Area Coalition, "a functions: to identify, save, protect, and use our heritage network of areas which are working to preserve, interpret, areas, as well as to give them national recognition; to develop, and promote the resources of their special regional pre erve valued traditional ways of life; to pursue and heritage," was developed. The Coalition helped arrange a enhance economic opportunities; to manage change and conference on heritage areas held in Morgantown, West enhance the quality of life for residents; to protect natural, Virginia, in October of 1993, and is helping to arrange cultural, and scenic values; and to strengthen the economic, another to be held in Washington, D. c., in the spring of social, and educational use of natural and historic places. 1994. A subcommittee of the Coalition is working on a The system would not involve federal land acquisition heritage areas policy.2 or traditional national parks. It is perceived as a holistic Since it represents a profound change in direction for process; as a flexible system founded on local commitment the National Park Service, the review of the various leg­ and support, and on public-private partnerships and coop­ islative initiatives promises to be heated; it has already erati on. Short-term federal assistance, both technical and sparked a departmental and national debate about the proper financial, would be provided, but the planning process job of that agency. Traditionalists, fearing the mix of would be a grass-roots operation, with local stewardship economics and preservation in the plan, argue that cultural by both state and local government the goal. tourism will commercialize and cheapen the nation's park The process suggested in the draft involves securing system. Supporters of the plan argue that diversification from Congress legislative authority for a national policy; is nece sary to the economic fut ure of America, and suggest dividing the United States into significant landscape re­ the Park Service can pl ay a role in such diver ification gions and identifying the resources in them; prioritizing by embracing cultural touri m . The area in southwestern Pennsylva­ nia encompassed by th e America 's In dustria l Heritage Project

AMERICA'S INDUSTRIAL HERITAGE PROJECT four fro m the regional touri m o rganizati on and four fro m the regional planning and development agency; and the If support ers of th e plan win th e debate, there is a remai ning nine being the heads of the heritage commi tt ees project already underway w hi ch might give us a g limpse which were next established in the part icipating counti e . int o th e fut ure of the heri tage industry in th e United States. The Commission is assisted by a volunteer techn ical advisory Now bein g used as a laboratory and prototype fo r th e group (form erl y fo ur such groups) th at represent scholarl y, herit age-area concept and as a natio nal model fo r commu­ transportatio n, tourism, and other busi ness concern s. nit y revita li zation throug h cultural touris m, the Ameri ca's Publi c Law 100-698 also designated the Nati o nal Park In dustri al Heritage Project (AIHP), w hi ch encompasses Service as the lead federal agency. Headquart ers fo r th e nine cou nti es in southwestern Pennsylvania, was initi ated project is in Holidaysburg, outside Altoona, where an office by local individuals and groups and the Natio nal Park headed by a Park Service employee was set up. A few Service, wi th th e sig ni fica nt support o f Congressman John years later, when the project was schedul ed to come more Murtha. 3 T he Project's major goals are to encourage th e directl y under the co ntrol of the Commission, staff was protecti on and enh ancement of hi storic resources, and to hired to repl ace most of the Park Service personnel. use those resources as a focus for touris m and economi c However, th e senior Park Service staff member left the development initiati ves. These resources in volve the na­ Service and was hired as executive director. ti ona ll y signi ficant industrial heritage of iron and steel, In addition, a seco nd office, formerl y named the Al ­ coal, and transport ati o n (including rail roads), and th e legheny Hi g hl ands Heritage Center and now call ed the associated labor and social hi story, especiall y of th e many Technical Assistance Office of the Ameri ca's Industri al and vari ed ethnic groups th at imm igrated to the region to Heritage Project, was set up in John stown. It was conceived work in th ese in dustries. as a cent er which would provide technical and professio nal The project began in 1985 w ith a National Park Service support to the community in its effort s to parti ci pate in study of th e nine-county region resulting in a reconn ais­ the project. The Center's staff includes archaeo logists, sance survey o f southwestern Pennsylvani a's heritage histo ri ans, histori cal preservationists, and fo lk lorists work­ resources. In 1986 an ad hoc commissi on to oversee the ing fo r or throug h pri vate contractors: th e Penn sy lvani a project was named, and in August of 1987 an actio n pl an Histori cal and Museum Commissio n; the National Park was written. On November 19, 1988, Public Law 100-698 Service; the Hi stori c Ameri can Building Survey and Hi s­ was enacted, creating the Southwestern Pennsylvani a tori c Ameri can Engineering Record (both of th e Interi or Heritage Preservati on Commission to manage the America's Department ); and the Pennsylvani a Heritage Affairs Com­ Industrial Heritage Project fo r its ten-year life span. Its mission. The purpose of putting these professionals in one twenty-one members, appointed from nominations made to center was to maximize opportunities for them to work the Secretary of the Interior, included two from the Nati onal together on projects. The materials they collect will even­ Park Service, two representing the Commonwealth of tually reside in the America 's Industrial Heritage Project's Pennsylvania (one from the state historical preservation archives and research center planned fo r the Indi ana Uni­ office and one from the Department of Co mmunity affairs); versity of Pennsylvania.

51 Coal trains such as this have long been a familiar sight in the Allegheny Highlands. (All photographs courtesy of the Folklife Division of the AIHP and, unless otherwise noted, the photography is by James W. Harris)

Key to the Project are regional cooperation which results THE REGION in the formation of partnerships, and local support; both are necessary if the plan is to be coordinated regionally and implemented locally. The partners include: 1) the The region delineated by the America's Industrial federal government, represented by the Department of Heritage Project includes Bedford, Blair, Cambria, Fayette, Interior and the National Park Service, including some of Fulton, Huntingdon, Indiana, Somerset, and Westmoreland its support centers, particularly the one in Denver; 2) the Counties in southwestern Pennsylvania, just east of Pitts­ state government, represented by the Pennsylvania Histori­ burgh. The area has a significant industrial heritage of cal and Museum Commission, the Pennsylvania Heritage genuinely national historic value. A good deal of the Affairs Commission, the Pennsylvania Council on the Arts, development of steel technology, for example, took place the Pennsylvania Humanities Council, and the Pennsylva­ in Johnstown where the rails and barbed wire that shaped nia Department of Education; 3) local government; 4) the expansion of the nation were manufactured from the community organizations, groups, and institutions such as mid-1800s on. And much of the built environment is till unions; 5) individuals; 6) the not-for-profit sector; 7) the available for tourists to see. business sector; 8) local scholars; and 9) politicians of The population of the region is multi-ethnic: the original every stripe. Another aspect of the partnership is the State Scotch-Irish, German, English, and Welsh pioneers over­ Heritage Parks system, a parallel industrial heritage and laid with Irish, southern and eastern Europeans, Lebanese, cultural tourism system being built by the Commonwealth. Jews, Mexicans, and southern African American who The entire system is highly politicized in terms of the usual came to work in the mills and mines and on the railroads. power politics and in terms of cultural politics.4 Southwestern Pennsylvania is a microcosm of American

52 Coal miners in Indiana County, Pa. The population of the region is multi-ethnic, for immigrants from many countries came to the area to work in the mills alld mines and 011 the railroads.

cultural pluralism in both rural and urban settings. A region of beautiful scenery and great outdoor rec­ reation opportunities, it is mostly rural with farms and mall town -including former coal patches and company towns--although there are some small cities such a Altoona, Greensburg, and Johnstown with their accompanying decaying inner cities and suburban sprawl. The Pennsyl­ vania Turnpike runs through the region in the south, along a route that date from Indian trails. De pite it outward beauty and eeming peacefulness, this is a troubled region. Located in America' rust belt, it has been seriously affected by de-industrialization, es­ pecially in the coal, steel, and railroading industries which have been declining since the ] 920s. When Bethlehem Steel, which once employed 20,000 workers in Johnstown, announced in the spring of 1992 that it was closing its operations in the city, the current 1,500 employees were threatened with the loss of their jobs if no buyers were found for all or part of the plant. Like smaller coal-patch towns whose identity-and very existence in some cases­ depended upon the company that ran them, Johnstown was a company town. The town logo, which showed a mill with a smoking stack, was changed in recent years. The smoke was removed to indicate the steel industry's efforts to cut pollution, but the change serve just as well as a symbol of the death of teel and other heavy industry in the area.

53 COllrail Shops ill Altoona. The area's coal, steel and railroading industries have been declining since the 1920s. (Photo­ graphs by Barbara L. Moore)

The problems resulting from the de-industrialization of th e region include: 1) unemployment and under-employ­ ment ; 2) unattractive economic alternatives such as garbage dumps, prisons, service jobs, trip mining, and develop­ ment; 3) popul ati on di placement (the young especially move away to fi nd jobs) and th e loss of federal dollars which comes with a hrinking populatio n; 4) an aging population (Penn sylvani a has th e second olde t population in th e country); 5) an increase in hate group activity (the KKK, for example, is recruiting and acti ve in the area); and 6) ecological problems and conservation issues such as acid mine runoff which pollutes water in the region, strip mining which ruins the landscape, and the loss of farmland to development. In additio n, the region suffers from problems common to rural areas in the United States such as a lack of adequate medical services and public transportation. And it share

54 phenomenon) i to pre erve the old place, th e home, for tho e ho lea e. Indeed, touri m re earch ha re ealed that the area' large t potential toun t mar et I compri ed of people \ ho ha e tie to the regIOn. The local paper are full of dlcu · Ion about the re lon' Identll)- and threat to it. One recent cdllonal arguing for the con olidallo n of local go ernment \\'a entitled " Keep Our Identity-Or Keep Our Children." erie of leller to th e editor appeared in the John to\ n Tnbulle-Democrat when the Conemaugh alley emori al Ho pital (built \ ith fund donated after the 1 9 fl ood) changed it name to Conemaugh Ho pital. Where a ked o ne \ riter, \ ere' the Heritage Committ ee and th e Hi tori cal ociety" when thi deci ion wa made. In the ame \ a , th e implementation of a county-wide 911 ystem created re i tance \ hen it nece sitated changing the redundant name of familiar treets. Penn ylvanian still identif , to a large degree, \ ith "old-fa hi oned" val ues, and an "old-fa hioned" way of life; th e state ha been described a "culturally quare." Johnstown's nickname i "The Friendly City," and it i remarkable, to a former Washingto n, D. c., re ident, for it neighborline . The governor of Penn sylvania, in a speech last year at otre Dame College, aid of hi tate: " [Here] it ' till okay to be a Boy Scout or a Girl cout. It 's okay to ay th e Pl edge of Allegiance at chool. To like th e Reader's Digest . .. It 's still o kay to take you r family to church, just like your mom and dad took you." Bar, Rod, and Wire Division, BethLehem SteeL Lower Works First Friday are advertised in th e Jo hnstown paper and in Johnstown, where a good deaL of th e development of grown men cross themselves at public meetin g which, by steeL technoLogy took pLace in th e 19th century. th e way, usually begin with a pledge of allegiance to the flag. And we are not always politically correct or worried about it. The Johnstown Tribulle-Democrat carried an editorial last year entitled "Get Lost Berkeley, We ho nor problems common to the modern, urban world as well: a Columbus." rising crime rate (crime increased one hundred percent in The juxtapo ition of its real and modern problems, and the past year); increased drug use; AIDS; child and spouse the referencing of a simpler time and way of life, bring abuse; and cutbacks in services because of federal, state, into focus in th e region marked out for the America's county, and local budgetary difficulties. The annual con­ Industrial Heritage Project, a struggle between one version ference on historic preservation held in Harrisburg, in late of America's pa t-perhaps America as we would like it April, 1992, chose as its theme and motto, "Pennsylvania to have been or be-threatened by America as we fear it at Risk." But this threat is not limited to buildings of is, or is becomi ng. This struggle is the gell esis and the historic value. What is at risk, as well, in this part of the issue of the cultural heritage industry in this country. Can state is a place and a way of life. we use the past to solve problems in the present? What In southwestern Pennsylvania, as elsewhere, there is a is our past? What version, whose version of the past do strong tie between identity and place, a tie that is not we use? Who makes that decision? How do we link the necessarily broken when people move away. Those remain­ past to the present and the future? Who decides America's ing in the area have devised many strategies for maintain­ agenda for the present and future? ing a sense of place focused on the homes of former residents, or on the home place of their parents or grand­ THE FOLKLIFE DIVISION parents. These strategies include family histories; reunions and homecomings for families, schools, churches, organi­ Let me begin to an wer these questions-and it is only zations and communities; organizations of retired people; a beginning-by describing the role the discipline of folklore and vernacular heritage organizations and projects such as plays in the America's Industrial Heritage Project. The archives, collections, museums, and monuments. It often Project' s Technical Support Center in Johnstown includes seems to the fieldworker that the job of those who choose a Folklife Divison, funded by the Interior Department to stay behind or who return to the region (a not uncommon through the Pennsylvania Heritage Affairs Commission, the

55 Slovak texts used by Josephine Zahomec at St. Stephens Slovak Catholic Church and School ill Johnstown.

latt er staffed by fo lkl orists Shalom Staub and Amy Skillman. and ethnic heritage of the Allegheny Hi ghlands; to provi de James Abrams, named director in 1989, essentially technical assistance; and to develop educational policy and founded the program, creating and directing its specific programs. The Division focuses o n th e social and cultural philosophy, organizati on, and projects within the frame­ histories-as well as th e o n-goi ng expressive practices­ work set up by th e AIHP and the PHAC; I joined th e th at shape the experience and identity of groups within the Division as a fie ld worker and archivist in May of 1990. region. These groups include labor unio ns, work crews, A variety of scho lars, some local, some professional folk­ ethn ic organi zati ons, religious orders, families, and people lorists, have work ed on projects with the program. Until li ving in the same geographic location.5 recentl y, Kath y Kimiecik was with th e Division as the One of th e Folklife Division's first major tasks was to education specialist. Currently, Dan Pfe il stu cker, a di s­ conduct cultural surveys, done over two summers, which pl aced coal miner, has joined the Di vision to set up th e resulted in audio tapes, photographs, logs, and reports. Adult Education Program, designed to train displaced Some fieldworkers addressed topics of special interest such workers for interpretive positions with the Project and at as the preservation of fa rm life in areas threatened by state heri tage-park si tes. development. The materials produced by these, and sub­ In additi o n to its own work, the Folklife Division directs sequent project , serve as the foundation for an automated the work of five documentation centers devoted to specific folklife information center, and will also become part of aspects of AIHP interests. These centers, set up in existing the larger America's Industrial Heritage Project Archives local institutions, are th e Altoona Railroaders Museum; the at Indiana University of Pennsylvania. Somerset Hi storical Center, which studies the impact of T he Division also produced a variety of programs industrialization on agri culture; th e Jo hn stown Area Heri ­ stemming from material and issues revealed in the surveys, tage Association, w hi ch focuses on steel; Indiana Univer­ including a video on life in the African American com­ si ty of Penn sylvani a, which focuses on the coal industry ; munity of Johnstown; programs on labor and foodways for and the gender documentation center at Seton Hill College the National Folk Festival held in Johnstown in 1991 and in Greensburg. 1992; a photo exhibit of contemporary life in the region; The charge of th e Folklife Divisio n is to document, a photo exhibit on ethnicity and Catholicism prepared with preserve, and help interpret various aspects of the industrial the Altoona-Johnstown Diocese for the Columbus

56 Sally Pastorek gives the toast at St. Stephens senior citizens celebration of the traditional Christmas Eve supper.

Quincentenary; an oral history institute which trained stu­ include people, except occasionally to indicate scale. This dents and teachers in oral hi story techniques and issues; reo ri entation toward th e "people story" was reinforced and a tape of narratives for the Park Service's heritage tour when the tourism study revealed its importance by indi­ route. The documentation centers have worked on their cating that people come to see, learn about, and share the own collecting and projects, and this work is reflected in experiences of oth er people. It is significant that the the programming of their host organizati ons including, for America's Heritage Landscape Project stre ses this people­ example, a vernacular architecture study to prepare an locati on conn ection. onetheless, when the Folklife Divi­ outdoor display at the Somerset Historical Museum. sion produced a heritage-route audio tape that followed the But the work of the Folklife Division i not to commodify route with stori es and descriptions of life along it told in culture; not to merely produce raw materials to be shaped the voices of th e people living there, rather than by simply into marketable products by the America's Industrial pointing out th e interesting buildings along the way, it was Heritage Project and its various arms. Rather, an important a difficu lt concept to sell. egment of its work is to bring to bear the di cipline of Another aspect of the refocusing on people i shifting folklore's experience and theory on the whole Project's the vision of them from resource to active participants in proce s as well as its products. Through th e dedication of the Project. The Adult Education Project will trai n local director James Abrams, the Southwestern Pennsylvani a individuals in kills they can use in cultural touri sm. Heritage Preservation Commission and its staff have been Hopefully, this will enable them to get jobs in the heritage receptive to some of this thinking. industry, and also help local communities protect their own In the beginning it was determined th at the fu nctio n of heritage. the Folklife Division would be to tell the " people story," A second area in which the Folklife Division has been and generally this was under tood to mean we would active is in overcoming the bias toward the tangible, or collect oral histories. But the Division wanted project built, environment in heritage projects which are approached planners to understand that people were their responsibility from public history models; in other words, to integrate too, and they did begin to see that they had left people historical preservation with cultural conservation. This in­ out of the picture, sometimes literally. At the end of 1990, volves difficult concepts and processes such as examining while preparing for a workshop in which each program the presentation norms of local groups to plan culturally reported on its year's work, our colleagues noticed that appropriate interpretation and presentation venues. One the difference between the folklorists' photography and sign of success is the addition of a cultural and curatorial theirs was that their slides of roads and buildings did not grant and loan program, suggested by director James

57 Pierogi maker at St. John the Baptist Ukrainian Ca tholic Church in Johnstown. With the Altoona­ Johnstown Diocese, the Folklife Division of the AlHP produced a photo exhibit on ethnicity and Catholicism for the Columbus Quincentenary.

Abrams, to parall el the AIHP's hi stori cal and preservati on to add new part ners to the mix, especiall y th e hidden or grant and loan program. Only individuals or groups with invisible and th e disempowered and disenfranchised such a build ing eligible fo r o r listed on the National Register as women and minority groups. This means not only telling of Histo ri c Places can qua li fy to apply to the latter. th eir stories, but including th eir perspecti ves and concerns A noth er of th e Fol kli fe Division's jobs is to assist wi th as well in th e overall pl ann ing o f the Project. Often the the Project's overa ll interpreti ve pl an, and to review in­ Division fi nds itself in the ro le of cultural broker between terpretive plans fo r various individual Project programs. communities and th e bureaucracy of the AIHP. The latt er T his means more th an correcting dates and names; it means is used to dealing with community representati ves such as addi ng to th e depth and complexity o f viewpoints included hi storical societies and business peopl e who tend to rep­ in heritage interpretatio n, and broadening th e understanding resent th eir own int erests as those o f the community. But of who are "autho riti es" on herit age interpretati on. The the Folkl ife Division asks w ho e heritage and whose tory cha ll enge is to "defamil iari ze" the sto ry; to make peopl e i bei ng presented, and how can that story be broadened? look anew at th e fa miliar or expected. This is an ongoing How can everyone affected be persuaded to participate in struggle, fo r th e models th e Project is used to tend to designing th e project? Something as simple as holding a simpl ify th e story rather than to complicate it; they tend meeting in a church hall instead o f the local art museum, to downplay conflict, and to objectify peopl e by makin g for example, can affect who attends and participates. th em o ne dimensio nal or stereotypical. Anoth er major concern and emphasis of the Folklife T he Fo lklife Di visio n has happily embraced the noti on Division is to ti e th e subject matt er of heritage projects­ of partn ers hips as a fa miliar concept, and in the context th e past- to the pre en!. Focusing on the pa t alone of th e A meri ca's Industri al Heritage Project has worked ghett oizes th e experi ence and people o f the region. Nick

58 An Africall American in his livill g room decorated with memorabilia all d fa mily memell ­ toes. Th o e who remain ill th e regioll (or return to it) oft ell preserve th e old place, th e home, for those who leave. (Barbara L. Moore)

Molna r, presi dent of D i trict 2, nited Mine Worker of to escape hard truth and difficul t deci io n and action. Ameri ca, to ld us he was relu cta nt to get involved with th e It could be a progra m in w hich one powerful group c reate Project at first because it eemed to him it was saying th at th e art ificial ident ity most marketable to touri st and impo es coal mining and coal miner are dead issue in th e area, it on a regio n, or select one ver ion of America' mu l­ and to him and hi s fell ow union members they most tiplici ty of pa ts and uses it to set the agenda fo r her future. certainly are not. One way to ti e th e pa t and present t its best, however, a genu inely democrati c herit age together is to involve the public in a di alogue about the movement could help us a in di id ual and a a natio n meaning of their past. to evalu ate the pa t in terms of the present; it could help The Fo lklife Division also works to keep up an ongoin g us to see w here we have been, 0 th at we can decide w here critique of process and product in th e America's Industri al we are going . At it be t, a n A merican heritage la nd cape Heri tage Project, and to convince it and the ati onal Park program could be one part of a re ponse fro m federal , state, ervice th at th ey shoul d have staff fo lklorist and legis­ and local governments addressing real economi c a nd cultural lat ion to pro tect intangible aspects of culture. Finally, and needs in this country. At it s best, th e heritage movement ofte n overl ooked in th e urgency o f cult ural politics, the can broaden the authority to de ign the past, and add new Folkli fe D ivisio n seeks to take advantage of a great voice to a real dialogue about our heritage, its symbols, opportunity fo r ongoing, long-term, in-depth collection and and o ur identity. analysis of fo lklore and fol kli fe, especiall y as affected by E D OTE c hange and the heritage process itself. ' Patchwork Ameri ca: A Partnership Approach to Cu lt ural Conserva­ ti on, Historic Preservation, atural Areas Protection and Economic De­ * * * velopment in America's Special Places. PS Director's Task Force It is not pos ible to predict whether or not the American American Heri tage Areas Concept Paper-Draft, circa 1991-92. 2Personal correspondence from Clare Novak of the atio nal Heritage Heritage Landscape Area system will become a reality. But Areas Coalition, atio nal Trus t fo r His toric Preservation. one reality is inescapable. The heritage movement in 3Democrat, 12th Pennsylva nia Congressional District. Pennsylvania, in the United States, and worldwide is a ' Pu blic Law 100-698- ov. 19, 1988: Southwestern Pennsylva ni a Heritage Preserva tion Commission, Establishm ent. Pall en, Gerald 0, response to common situ atio ns a nd problems, eco nomic "Cultural La ndscapes: The Intent and th e Tenor of the Times," in CRM, and cultura l. It is one strategy for deali ng with change, Volume 14, 0. 6, 1991 : pp. 1 & 3. Bennet, John, et aI, "The America's and with th e kinds of c hange taking place in the world Indu stria l Heritage Project," Partnerships in Parks & Preserva tion Con­ ference Proceedings, Sept. 9-12, 1991: 69-71. Pennd ustry, Vol ume 3, o. today. As David Lowenthal po inted out in his keynote 2, Win ter, 1992. T he Heritage Parntership Cha ll enges: A Preservati on address at the Pe nnsylvani a Heritage Park Conference Stra tegy That Works, 1993. Rail roaders Memorial Mu seum. Comprehen­ held in Altoona in May of 1992, heritage is an im po rt ant sive Management Plan for the Southwestern Pennsylvania Heritage Pres­ ervat ion Commission, U. S. Dept. of the Interio(, December, 1992. fo rce because it brings us together and defines us. I am ' Much of the rest o f this art icle is based o n personal experi ence, convinced that the heritage movement will take some conversations with Di rector, James Abrams, the Program Description of nati onal form, and that the di scipline of fo lklore can be the Folkl ife Di vision and the foll owing: James Abrams and Kathy Kimiecik, "America's Industria l Heritage Project," in New York Folklore News­ instrumental in s haping that form . leller, March, 1992: 4 & 5, 10. Unpublished paper by James Abra ms At its worst, a heritage y tem could be mere foolish on Core and Shadow Concepts delivered at Pennsylvania Heritage Parks nostalgia fo r a time that never was; a cynical marketi ng Program Conference in Altoona, May 4, 1992. David Lowenthal , "Holistic Heritage: Promises and Problems for Pennsylvania," keynote address device fo r a program that c reates low-payi ng service jo b delivered at the same conference and published by Pennsylvania Heritage and syphons real doll ars into corporate pocket ; or a way Affairs Commission, Harrisburg, 1993.

59 THE HARMONISTS ARE WAITING FOR YOU by Hilda Adam Kring

.,,.. I Feast Hall, Old Economy

There are two towns in central western Pennsylvania­ For economic and religiou reasons, Rapp and his fol ­ Harmony and Old Economy Village-that were the first lowers left Harmony, Pennsylvania, in 1815, for their and third homes of the Harmonists. These were followers second home, also called Harmony (but now named ew of George Rapp (better known as Father Rapp), who came Harmony), built on the banks of the Wabash River in to America from Germany in search of religious freedom southwestern Indiana. In 1825, they moved back to Penn­ in 1804. sylvania, making Economy (now called "Old Economy") In that year they settled in Harmony, Butler County, their third and final home. By 1905 only a few believers thirty miles north of Pittsburgh. They had their official remained, and the Society was dissolved, its property being beginning with the signing of the Articles of Association acquired by the Pennsylvania Hi torical and Museum on February 15, 1805. They were called Harmonists because Commis ion (the sale was not finalized until 1916). early of their Biblically inspired lifestyle: "And the multitude fifty years would pas before the State realized what a of them that believed were of one heart and of one soul; trea ure and memorial it now possessed. neither said any of them that ought of the things which * * '" he pos essed was his own; but they had all things in Both Harmony and Old Economy welcome VI Itor , common."1 and-eschewing the u ual tourist "attraction " and kit ch-

60 Baker House, Old Economy

offer the opportunity to experience a unique environment: Harmonists did not believe in headstone; there are none the quiet villages of a 19th-century religious group. In in the Old Economy Cemetery. addition to activities such as weaving, hat making, printing, Old Economy, found in Ambridge, is an outdoor museum and so forth, that are usually een in historic villages, you of seventeen buildings standing exactly where they were can see in the museums here evidences of their award­ erected. Not reconstructed, but simply maintained just as winning silk industry, a first for communal groups in they were built in 1 25 when the Harmonists returned from America. You may have an interpreter or you may wander their second home in Indiana, the e tructures include a the ground alone, thinking about these people who became feast hall; a store; shops for tailors, milliner, cobblers, celibate because Jesus was celibate. cabinetmakers, and so forth; and a log dwelling house. You will find in these Harmonist towns the religious After showing an introductory film, interpreters dressed and cultural legacy of a people who believed they hould like Harmonists guide vi itors around the complex, which pray and work ("Ora et Labora "). Their tandard were also includes a garden and a grotto. strict: slovenly work was a capital sin, and their buildings * * * were built to last, even though they were chiliasts, believ­ Born in Iptingen in 1757, George Rapp had struggled ing firmly that Christ would come again in their lifetime . with the established Lutheran Church and had a born-again In Harmony you will find a small village where life experience. A weaver, Rapp's job kept him in Iptingen, is lived among and in buildings con tructed between 1804 where he held religious services in houses with other and 1814. Housed in one of these is the Harmony Mu eum, protesters attending. As long as they paid their taxes the which commemorates not only the Harmonist , but also state did not appear to be concerned, but the Lutheran the later Mennonites and Lutherans. Featured above its Church gave them much trouble, so Rapp and his followers entrance is a carving of the Virgin Sophia, the Harmonists' began to look for a refuge. They first thought of eastern personification of wisdom, by Frederick Rapp, Father Rapp's Europe, but wars intervened so they considered Louisiana. adopted son. Nearby is the Harmony Cemetery, famous for Because of the Louisiana Purcha e, however, George Rapp its revolving stone gate of unique design. One hundred decided on the Ohio-Pennsylvania area. In planning the Harmonists are buried in this cemetery, but the only move there wa only one certainty: they would not settle headstone found here marks the grave of Father Rapp's with other German dissenters, for Father Rapp had his own natural son, Johann. Its presence is a mystery since the convictions.

61 Doctor's office and shops in Old Economy

In 1803 Geo rge Rapp set out with son Johann and The " brothers" and "sisters" of the community were friends Dr. P. F. C. Haller and Dr. C hristoph Muller to called by their fi rst names, even by the children.2 Generally find a sui table location for a new community. After first speaking, th e household consisted of five or six members, looking at an area in eastern Ohio, Rapp finally decided but th ere could be as few as two, or as many as eight. on a si te in western Pennsylvania. (Ha ll er did not remain Each house was known by the name of the appointed head wi th th e Harmo ni sts, but fou nded his own community, of it. If the " head" left the Society, died, or for some " Blooming Grove," in Lycoming County.) Frederick practical reason was moved to another dwelling, the house Reichert-George Rapp's soon-to-be-adopted son, had been took the name of the new senior member. left behind in Germany, and it was he who arranged Such rearrangements of households were made con­ transport ation to America fo r Father Rapp's followers. A stantly because of the aged and helpless, who were always genius at organi zati on, Frederick was to become th e great carefully tended and nursed. A few of the Harmonists were designer and businessman of the Harmoni st Society. bedridden for twenty or thirty years, and their lives were From th e beginning, Rapp had between 450 and 500 remarkable examples of patient Christian endurance.) It followers w hom he had known in G ermany. The accounted seems reasonable that through the course of years such number was never exact, moving up to 1200, dropping to patients would have had several different nurses, and thus 800 and th en 327 as th ey moved from Germ any to Harmony, several different household arrangements. Pennsy lvania, to Harmony, Indiana, and, finally, to In all three of their communities the Harmonists' agri­ Economy, Penn sylvani a. cultural and business pursuits in wine and beer making, While communal groups generally dissolve all family and in wool, silk, and cotton fabrics, flourished. As already units, th e Harmo ni sts kept the househo ld in their initial noted, the first two settlements lasted ten years each. Penn sylva ni a settl ement. When they moved to Indiana, Harmony (1805-1815) is the smallest of the museum­ though, th ey built a three-story dormitory with women communities; New Harmony, Indiana (1815-1825) is quite ho used o n o ne sid e of th e hall and men on the other. But large; Economy (1825-1905) saw the growth, power, and this arrangement apparentl y lacked the family warmth th e decline of the Society. The Harmonists left their first two gro up wished to maintai n, so when they moved back to settlements for more suitable locations, but the moves did Pennsylv ani a in 1825 th e family again became a "house­ not disturb them because, like Revelation's " Woman in the ho ld ," with c hildren, as they took in orphans. Wilderness," they thought of themselves as being chased

62 Cemetery in Harmony, Pa. three times by a dragon-from Germany; from Butler A page from a st range romance­ County; from Indiana. Economy would become th eir The face, heavenly stewardship. The form, Gertrude Rapp, the woman w ho became the Harmonists' The soul 4 first lady (and whom I call th e Harmony Society Abbess), of Gertrude Rapp was a part of all three of th eir American communities. It is in Harmony where her cradle stood; in ew Harmony * * * where she received much of her education; and in Economy Although hymns played an impo rtant role in the devo­ where she wielded much of her power and influence. The ti onal life of the Harmonists, the authors of those found daughter of Jo hann and Jo han na Rapp, Gertrude quickly in their hymnal remain anonymous. It is assumed that became the delight of Grandfa ther Rapp and all the George and Frederick Rapp and another member of the Harmonists. Fluent in English and French as well as German, Society, one Jacob Henrici, composed most of them, but she also learned to play the piano and organ, did needle­ since the Harmonist belief in common ownership and self­ work, and made wax flowers. When visi tors came to the denial wa all embracing, it follows that no personal glory Great House, it was she who was the hostess-a ho tess was expected from authorship. Composing was a sacra­ renowned for her ginger cookies and wine. mental act of private devotion showing much spiritual In addition to being charming, Gertrude Rapp was passion, and among the hymns they wrote were many assertive and decisive, qualities evidenced when, at age lauding brotherhood, harmony, and the Virgin Sophia. An twenty-two, she was appoi nted head of the si lk industry especiall y interesting one pertains to th e rose, one of the started at Economy. By 1853, th e bu in ess (which produced most important symbols of the Harmonists. ribbons, handkerchiefs, vesting fabrics, dress silks, figured The rose wa first used by the Harmonists in a symbolic and plain satins, and silk velvets) closed down, not because way in 1822. In that year, as a result of a dream of George of her management, but because Congress refused to take Rapp's, a two-story brick church was built in Harmony, action on the protective tariff que ti on. Indeed, her super­ Indiana. Its doorway was carved stone capped by a cornice vision at Economy was such that praises were ung about terminating in a gable, in the panel of which was a rose her as late as 1922-seventeen years after the Harmony carved by Frederick Rapp. It was gilded and had the Luther Society had become a memory: translation of Micah 4:8: "Unto thee shall come the golden

63 • ... • - • ~~ . • .. ~: •

• ...4• • ...• • Silk ribbon and fabric made in Old Economy

Th e goldell rose carved on a newel post in Old Economy

rose, the first dominion. " In choosing to emphasize the newel posts of the Great House in Economy, and in the goldell rose, Rapp had his mysticism, as well as his grotto th ere as well. The Harmonists also sang a religious Lutheranism, to guide him. In hymn and prayer, the rose folk so ng about th e rose, with the significant fact about is the Divine Word made incarnate. The Rose of Sharon th at being their alterati on of the final line of the chorus. from the Song of Solomon became a symbol of Christ The ori gi nal reads: when allegorically considered, and th e image is given added significance in a passage in Isai ah which says that Freut euch des Lebens the age of th e spirit is th e time when Israel shall rejoice Wei l noch das Uimpchen gli.iht and "blossom as th e rose." Pfl icket die ro e Speaking of mys ti cism, th e influence of German mystic Eh sie verbli.iht Jakob Bohme (o r Boehme) on Father Rapp should not be overlooked. It is apparent in th e Destiny of Man, a work [Enjoy life att ributed to Rapp; in th e Harm onist use of th e Virgin While the lamp still glows Sophia; and in th e significa nce they placed in the sym­ Pluck the rose bolism of th e rose. One au th ority on Pennsy lvania folk art Before it withers] says th at "Boeh me elevated the Lily and the Rose into metaphysical and hi storical categories, and he frequently But the Harmonists ch anged the last line to: "Die nie speaks of the ' time of th e lily ' for this is the Lily which verbli.iht "6 ("Which will never wither"). Obviously they shall bring man full kn owledge; and the lily-rose which believed the "Rose" would always be with them. origin ates in God's own tree. With Boehme the Lily and Taken as he was with mysticism and tradition, Father the Rose were inter-changeable."5 Rapp must have known about the German tradition of The rose in outline resembles a wheel or a circle; it Prince Anhault 's labyrinth, constructed with hedges, rocks, represents a unit y or perfection. In true religious spirit and trees, streams, and caverns. (Life was no easy path!) It trad iti on, one finds the go ld en rose used as the trademark was, perhaps, the inspiration for the Harmonists' own of the Harmoni sts in Harmony , Indiana; it appears on some labyrinths which also had symbolic significance for these of th eir fl atirons; on th e Society's one and only tombstone, garden-loving people. The Harmonists, using no permanent found in th e cemetery at Harmony, Pennsylvania; on th e symmetry, used a wild river-privet in their hedgerows,

64 Two symbols of the Harmonists-the Virgin Sophia and the lily-carved above a doorway in Harmony, Pa.

The symbolic golden rose carved by Frederick Rapp above the door of the church in New Harmony, Indiana

together with flowering trees and shrubs, and some thorn dissension within the group and left with over two hundred trees fittingly symbolic of the thorny paths of life. 7 On member , hoping to receive one hundred thousand dollars Sundays, the Harmonists would wander about the laby­ from the Society. rinths, experiencing the reality that life is beset with George Rapp' understanding of celibacy was based on difficulties and that the labyrinth terminates at the same Christ's own celibacy, and on I Corinthians 7:1, 7, 8, 32; point from which it starts-man's beginning and his end. and Matthew 18:12: The grottos built by the Harmonists were also rich with symbolic meaning. Standing in the middle of the labyrinths, It is good for a man not to touch a woman. they were rough on the outside but beautiful inside, thus For I would that all men were even as I am showing clearly that outward appearances mean nothing; myself ... that it is that which is within-the soul-that is everything. I say therefore to the unmarried and widows, In Indiana the Harmonist grotto had a blind door; one had it is good for them if they abide even as to push on the wall to find the entrance. In Old Economy I ... Village the door is a bent bark, showing that a the tree He that is unmarried careth for the things is bent, so will it grow. that belong to the Lord, how he may please * * * the Lord. Much has been written about the Society'S decision to and there be eunuchs, which have made become a celibate community; critics say the Harmonists themselves eunuchs for the kingdom of brought about their own demise when Father Rapp intro­ heaven's sake. duced the idea in 1807. Actually, this is not so: celibate monastic orders have endured for hundreds of years, but Moreover, he clung to his chiliastic belief so firmly that of course these orders accept newcomers. Saying that when he died at age eighty-nine on August 7, 1847, he newcomers did not fully understand or accept Harmonist said: "If I did not think Christ would come again during tenets (particularly their sense of chiliasm and communal my lifetime, I would think this is my last hour." ownership) and so would cause discord and trouble, after With Father Rapp's death the strong, charismatic lead­ 1832 Father Rapp refused to accept them. In that year one ership was gone, but the ideals continued under such men "Count Proli," an opportunist-outcast from Germany, cau ed as Romelius Langenbacher (known as Baker) and Jacob

65 Statue of Harmony at Old Economy

The grotto at Old Economy

Henric i. With th e membership getting older, however, farming and woolen-mill work were reduced or given over to Germ an hirelings, and in vestments were made in oil , coal, land, and railroads. There was no standing still in th eir ho ly experime nt , althoug h they were now embarked on the slow decline w hich led to the di ssolution of th e Society in 1905. " * " There is a sto ry w hich says Fath er Rapp thought th at "all persuasions were like fl owers and th at th e Heavenl y Fath er liked a vari ed boquet [SiC]."RTh e Harmoni st " fl ower" has been preserved in th eir unique communities. For the tourist who asks w here a monument to these people can be found, th e answer is inscribed on a plaque mounted on the door o f the Great House in Old Economy Village: " Monument? Look a ll about you. It is everywhere." A visit to Harmo ny and Old Economy Village, then, is a chance to experi ence cultural tourism at its best.

BIBLIOGRAPHY

Arndt, Karl J.R., George Rapp 's Harmony Society, 1785-1847. ENDNOTES Philadelphia: University of Pennsylvania, 1965. Bible. King James Version. 'Holy Bible, King James Version, Acts 4:32. Duss, John S., The Harmonists. Harrisburg: The Telegraph Press, ' John S. Duss, Th e I-farmol/ists (Harrisburg, Pa., 1943), p. 29. 1943. ' Aa ron Will ia ms, Th e Harmol/Y Society (Pittsburgh, 1866), p. 116. Kring, Hilda Adam, Th e Harmonists-A Folk-Cultural Approach. ' Harrison D. Mason, "Gertrude Rapp of Old Economy"-a poem, Metuchen: The Scarecrow Press, Inc. and The American Theological 1922 (pamphlet published at Old Economy, n.d.). Library Assoc., 1973. sJohn S. St oudt , Pel/nsylvania Folk-Art (Allentown, Pa ., 1948), p. 44. Lockridge, Ross F, The Labyrinth. New Harmony: New Harmony ·Gerd a C. Schmidt, " Hymns, Intrinsic Aspect of Communal Life," Memorial Commission, 1941. unpublished paper, Old Economy, Pa . Schmidt, Gerda C., "Hymns, Intrinsic Aspect of Communal Life," ' Ross F. Lockridge, Th e Labyrifllh (New Harmony : New Harmony unpublished paper at "Old Economy," Pa. Memori al Co mmiss ion, 1941 ), p. 34. Stoudt, John J., Pennsylvania Folk-Art. Allentown: Schlechter's, 1948. "Hilda Adam Kring, Th e Harmol/ists: A Folk-Cultural Approach Williams, Aaron, The Harmony Society. Pittsburgh: W.S. Haven, (Metuchen, .1 ., 1973), p. 172. 1866.

66 THE QUEST FOR TTHE TI ITY I TOURISM AND FOLKLIFE STUDIES b y R ina B ndL~ The promi e of eeing touching or e periencing au­ th entici ty ha come to be almo t a sil/ e qua 1/ 0 1/ of touri tic promotion.1 A French advert i ement from th e ummer of 1992 read: "Tahiti and its i lands--authentic fa ci nati ng and un forgettab le."2 The brochure for the herlock Hol me Mu eum in th e Ips in ite u fo r 'a i it t the world 's fir t authentic replica of [ Holme ] front room at 221 b Baker Stree t. ") nd an ad erti er fo r luggage urge us to bu y a bag th at " for your comfort , \ e imagined ... in the most authel1lic traditiol/ ."· These are ju t the extremes of commodi fied authenticity offered by touri m promoter who can embrace anything from cul tural experience to travel att ire a a potential locu of au th en ticity. T here are many w ays in which touri m and au thenticity get linked, as for example, in the judgment of travel j ournalists. T heir me sage is not imply to further ess ent ialize the au then tic in its cultural, geographi c and material rep re entation- they al 0 participate in th e dis­ course of the cognoscenti, th ose w ho know how to discern the real thing from the fake. A ew Y ork Tim es j ournalist set apart one Spanish town from other potential destinati on by describing it "as a li ving village and not a ' rest oration of an au thentic Spa nish town. "'5 The " facade versus the real thing" dichotomy also speaks from the following passage: " The sm art people don' t go to Sa nta Fe just fo r Santa Fe itself. Local re ident , so me of whom refer ironically to th eir outrageously success ful town as 'The Adobe Boutique,' will tell you th at th ere's very litt le of th e real ew M exico in th e countless shops and galleries, or in the trendy restaurant . T o get a tas te of th e authen tic Southwest you' ve got to hit the road. "!> Lastl y, th ere are tex ts w hich bu i ld the bridge to the central concern of this explorati on, th e linkage between tourism, authentici ty, and folklore and fo lklife scholars in their role as stu dents and analysts of culture. W e get th e blunt conn ection between th e study of culture and its marketing in an excerpt from an airline magazine article on Australia, where AA T Killg's Bushtucker Barbecue Moonlight Tour is rated as a "surprisingly info rmati ve," " more mas -market tour" th at offers " th e authenticity of anthro-tourism ."7 M ore reflecti ve is a piece from Berkeley ' s East Bay Express, subtitled " In our qu est for th e authentic ex perience, are we destroying th e paradise we seek?" A fter describing a harrowing boa t j ourney in Indonesia w here nati ves and tourists vomited in joint travel nausea, th e author formulates her motivation for travel : " The trav el er in me lives for these kinds of conquests. It 's part of a romantic vision of myself as a rugged pioneer, an explorer

C OL D S H U D D E R S 1:-; \I E I R I :-; (; E " Brochure courtesy of the Swiss National Tourist Office, A vi,it to the II orld\ fir,t authentiL' replica of hi, front rool11 at 22 1b. Baker Street i, a hair raiser. Hu\c a nice du~ I New York, N.Y. 67 through untalll ed roads" (emphas is add ed).R Sh e juxta­ TRAVELERS, SCHOLARS, AND TOURISTS poses th e traveler's moti va tions with travel's impact on Far into th e 19th century, travel constituted a holistic th ose visited, and fully ackn owledges th e cultural dilemmas ideal which combined ed ucati on with se lf-discovery. th at remain hidden from th e temporary visitor. But th en However, with th e emergence of disciplines concerned with she suggests th at despite her recognition of the tourism the study of cu ltures, we can observe an increasing dif­ problem, her desires would ultimately overcome such ferentiation between travel for resea rch purposes and self­ qualms. Tourism is ultimately an egoisti c end eavor, she serving travel. A s ea rl y as 1869, Wilhelm Heinrich Riehl, argues, and one cannot expect that th e tourist con tributes th e first Germ an to wri te something akin to a fieldwork to th e so lution of thi s very compl ex problem by stayi ng manu al, described th e fieldworker as a " lonesome hiker at home.9 trai ned in his art ," implying th e difference between the " Authentic" comes from th e Greek, and literally means mere tourist gaze and meth odically founded research .16 " made by one's own hand" and original; in medieval usage As et hn ograph ic professionalization proceeded, the urge for th e term was monopolized by the law and by the church. 1O semi-sacred experi ences of authenticity in the encounter With th e onset of Enlightenment thought, sacred authentic w ith th e fo lk or th e Other was increasi ngly suppressed. communion increasi ngly made way for efforts to find and Reaching for recognition as a scientific endeavor, scholars delimit an individual, self-determined authenticity.11 With sought a material representation of authenticity, be this in meanings such as genuine, reliable, or tru stworthy, the term tex ts or in artifacts. The greater the need grew to emphasize was used to probe the sincerity of civilized interaction. th e special statu s of scientific fieldwork, the more the Such probing occurred not out of th e blue: the colonial traveling tourist was fashioned into a dilettante-even an encoun ter with exoti c Others who appeared to live in bliss, obstruction-inasmuch as intrepid tourists were increas­ unencumbered by th e trappings of W es tern upper-class ingly considered as agents spoiling the authenticity of culture, offered a desirable contrast; they seemed to live pristine primitive cultures. This does not mean th at the in a stage where the natural and the self were in tune with craving for authentic encou nter and flight from self-alien­ each oth er, not jarred by w hat Jean-J acques Rousseau had ation did not exist anymore for scholars, but it was rarely called " the wound of reflection." Travel reports, whether articul ated in w riting until the big turnabout in fieldwork fictional or real , were th en intimately linked to th e early reporting of the late 1970s which suddenly permitted the discourse on au th enticity, and consequently tourism, like experiential component to gain the upper hand. au th enticity, is an essential key to understanding moder­ In touristic travel, however, th e search for authenticity, nity. often laced with religious overtones, rem ai ned unabashedly Folklorists working to document and preserve expres­ manifest. There is, for instance, the testimony of one Alfred sive culture have intersected wi th this preoccupation in Miell who in 1863 booked a trip to Switzerland with many ways. The political philosopher M arsh all Berman ha Thomas Cook. Upon encountering M ont Blanc, Miell wrote called aut hentici ty, and the ideal of unal ienated selfuood in his diary: "Completely overwhelmed by the grandeur it sta nds for, "a leitmotif in W estern culture si nce ea rly and majesty of the king of mountai ns, the thought passed in th e eight eenth century."12 Seeking to attain this ideal through my head: ' ... Is it possible to face ... Montblanc can be a mere men tal or spiritu al effort, such as in the and not feel that one is an immortal being?' The powerful Romantic poets' celebration and imitation of folk song and mountain glances with an eye and speaks with a voice that poetry, but often it entails physical travel in an attempt seems to awaken the sou l from a deep slumber."17 to recover th e true se lf in al ien surroundings. Thus the The turn-of-the-century traveler Felix Speiser sought German poet Johan n Wolfgang Goethe wrote enthusiasti­ such experience not in nature, but in the encounter with cally from Rome in 1787: " I am doing very well, I find the foreign cultural-but the vocabulary of authenticity is my way back into myself and begin to differentiate what remarkably similar in its invocation of religiously tinted is au th enticall y me and what is alien to me."13 imagery: " No one with a taste for such things will be able At heart, auth en ti ci ty is a way of experiencing or being. 14 not to feel the sacredness of the moment when he encoun­ However, it is hard for us humans to grasp something ters for the first time the unadulterated natural human. Like merely mental or experiential as a value, and thus we a hiker enters the depth of the primeval forest with pious search for symbols or objecti fications of the authenticY shudder, so we stand . .. at the [gate] of a sanctuary ... But as soon as we create material representations of au­ when for the first time a dark, naked human appears in thenticity, they are subject to the principles of the market, front of US ."18 demanding sca les of lesser and higher va lue. The disci­ But the "authentic" adventure of a loner like Speiser plines of folklore and folklife have been intimately linked attracted imitation, for travel, too, was and is, of course, to both th e cu ltural obj ec tification of authenticity and its subject to market constraints, and a hierarchy of touris­ tOUrIs tIC applicati on, and I want to provide now some tically reachable authenticity experiences emerged in the excerpts of this complex historical interrelationship. 19th century. Travel guides became a means to teach more

68 and more traveler where to find the real thing. Thl legal dlmen Ion 0 the authenllCII) problem In theIr effort profusion logically reduced the authenticity of th at \ hich to narro\\ the deflnttlon of \\ hat I authentic. Deirdre was described in uch guide, and, by the 1 60s guide­ an -Prttchard13 ha documented thl for the ati\ e book were considered the emblem of a touri st, re ealing mertcan je\\ elr) mar et In anta Fe, aren Duffe and him to be th e opposite of everything native, authenllc, and other for the onh\\ e t oa tY spontaneous. To combat this "bad kind of touri t," John hi Ie tudent of foil-.. art at fir t deplored the "deg­ Ru skin, for example, devised an alternative guide, in an radation' of \ hat to th em had been trea ure of authen­ effort to direct the "better" touri t to the " more authentic" ticit , \ e ha e begun to under tand the far more comple cu ltural value .19 Only a few contemporarie recognized tran cultural alue and alue di crepancie that go ern that the pre cribed authenticity experi ence-whether thi \ hat el on Graburn ha pia) full) called " the art of the be by Ru skin or Baedeker- turned into an imitation. fourth world."2S uthenticit here i determined quite dif­ ferently from the kind of criteria applied in the cia ical art market where, until recentl, alue \\ a determ ined on TO RISM AS A FIELD OF CULT RAL T DY th e ba i of documentable proof of a ingle arti t' author- It is not an accident that touri m became an acceptable hip of a given piece (i.e., u ing the old meaning of topic for social cientific study o nl y about thirty year ago, au th enticity-"made b one' own hand"). uthenticit In nor is it surprising that this coincide with the beginning th e tou ri t-art market can be deri ed from a ariet of of the fakelore and folklorismus di scus ions respectively contex tu al clue: bought in a particular place, made b a in American and European folkl ori sti cs. In th e endl e s person from that culture, remini cent of a particular hi - efforts to circumscribe th e bounda ries of folklore, th e to ri cal tradition, and reminding one of an experi ence. dichotomy genuine versus spurious runs like a red thread Susan Stewart argued, au th enticity doe not re ide in th e through the hi story of the field. What was not realized was object, as much a in the narrati e th at th e new 0 ner that what was--often arbi trarily- labeled " most authentic" can wea e arou nd i l. 26 would automatically be subject to greater market pres ures Thi brings u back to th e larger i ue of touri ti c which in turn would endanger its authenticity.20 Corre­ experi ence. Tourism continu es to be one way in which spondingly, folklorists, like anthropologists, at best en­ people from all walks of life att empt to regain a ver ion gaged in tourism critique; it took major paradigm changes of th e believed-to-be-Iost authenticity-be thi s in the en­ in the social sciences all through the 1960s and 1970s, to counter with new culture , or in testing the limits of th e recognize that tourism itself was an intrinsic part of the elf in all kinds of sports and adventure tourism. Dean modern human condition that warranted understanding. MacCannel1 has characterized the touri t's ever more refined As folklore and folklife scho lars have become increas­ efforts to penetrate the proscenium a futile: the tour o f ingly aware of the authenticity dilemma, two areas in the kitchen in Paris is ultimately a inauthentic as eating in study of touri m have begun to bear fruit. The first con­ the restaurant. The back alleys have been prepared for cerns "touristic goods" or souvenirs, the second concerns touristic consumption as much as the Champ Elysee. the nature of touristic experience. To authenticate that Hence to MacCannell, the quest for authenticity i doomed. experience, travelers need trophies, and what used to be Less philosophical and less devastating i Erik Cohen' called souvenirs and is now referred to as "tourist art" is insight which to me is also closer to the "truth" or to the arguably one of the most powerful arenas for the study realitie of social interactionY To Cohen, authenticity i of cultural commodification. What we label "folk art" used a socially constructed concept, and hence its ocial con­ to be one of the primary souvenirs. Often cheap on the notations are negotiable. Authenticity is then 1I0t all ab­ local value scale but treasured by the buyer for its ability solute entity, but emergent. Furthermore, different kinds to represent regional provenience, mass-produced copies of of tourists are going to look for different levels of authen­ folk art easily turned into a prime example of what Walter ticity with which they will be satisfied. In Cohen's scheme Benjamin termed "the work of art in the age of mechanical of authenticity seeker, the more alienated from modernity reproduction. " an individual i , the more intensive will be the search for The commodification of native art i so rampant that authenticity. The most extreme category, the existential the Austral ian government, for example, appointed a tourist-and Cohen counts cultural researchers in that parliamentary research commission to delineate rules and group--has relatively few member . There are less extreme regulations for the production and sale of aboriginal art. 21 seekers who willingly engage in the game of authenticity And the United Nations Educational, Scientific, and Cul­ production along with their hosts, and there are scores of tural Organization has truggled for nearly twenty years recreational tourists for whom authenticity is not an issue to articulate international policies on cultural owner hip,22 at all. The purist quest for authenticity must then be although such efforts would seem to lag behind interna­ recognized a an endeavor ultimately re erved for the tional realities. Furthermore, they are adding fuel to the privileged.

69 CONCLUSIONS to recognize the negoti abl e quality of authenticity in the rea lm of material representation, there are no easy so lutions What I have tried to outline are parallels or points of to quench th e thirst for finding authentic experience. There convergence in th e study of culture, th e rise of tourism, is a mix of spiritual and individualistic desire for unme­ and th e critique of and increasing reflexivity of both diated authenticity (perhaps only W estern) humans carry ent erprises. The two have not onl y arisen out of th e sa me around with th em, and so me attempt to sa tiate it with Enlightenmen t ideals, but th ey have also jointly fostered travel. The German travel journalist Aurel Schmidt pro­ and sharpened what we have come to understand as posed th e invention of a new kind of travel, which he called authentici ty. Some of the puzzles folklorists have come to " trips to on-th e- road"; endeavors which would avoid th e face with regard to th e authenticity qu es ti on may be ab le deflating ex perience of reaching a long-desi red destination. to be addressed fruitfully through a twin examination of To counteract th e doubts and th e pain th at th e reflexive field and the touristic enterprise-as has happened in so me recognition of one 's inability to truly reach the authentic of th e work of B arbara Kirshenblatt -G imblett ,2R Barbara bring about, one has to construct a new technique of travel : Babcock,29 and Deirdre Evans-Pritchard .30 " The goa l of [a journey] ca n th en only consist in avoiding One has to add, however, th at while we may be ab le [reaching] it. "31

ENDNOTES " Felix Speiser, Siidsee, Urwald, Kann ibalen. Reise-Eindriicke aus den NeLl en Hebriden (Leipzig, 1913), p. 25. 'This paper was prepared fo r the conference " Issues in Cultural 19James M. Bu za rd , " Forster's Trespasses: Tourism and Cultural Poli­ Tourism," Johnstown, Pennsy lvania , April 17, 1993. All translations from ti cs," Twentieth Celllury Literature, 34, p. 5. the Germ an are my own. zo Hermann Bausi nger, " Zur Kritik der Folklori smuskritik," ed. H. '''Authentique, fascinant, et inoubliable" from Animan (a European Bausinger et aI. , Populus Revisus, Volksleben vol. 14. pp. 61 -72 (TUbingen, bi-monthl y publica tion comparable in scope to Narural History in the 1966); a translatio n appeared in J. Dow and H. Lixfeld, German Volkskunde United States), Ma y-June 1992, p. 46. (Bl oomington, (986). ' Brochure from Meiringen, Switzerland, summer 199 1. 21 1989. The Aboriginal Arts and Crafts Industry, Department of 'Advertisement from February, 1992; emphasis in the ad. Aboriginal Affairs, Report of the Review Committee (Canberra, 1989). 5Quoted after Dea n Ma cCa nnell , The Tourist: A New Th eory of the " "The Effects of Touri sm on Socio-Cultural Values," Annals of Leisure Class (New York , 1976), p. 96. Tourism Research (U ESCO, 1976), 4, pp. 74-105. · New York Tim es, Sunday, Nov. 8, 1992, p. xxl5. 23 Deirdre Eva ns- Pritchard, "The Port al Case: Authenticity, Tourism, ' Stephen Fenichell , "Uluru- Gem of the Australian Northern Terri­ Traditi on, and the Law," l ournal of American Folklore, (1987), 100:287- tories," Hemispheres (October, 1992), p. 92. 296. ' Jody Weverka, " Wish You Weren't Here," Express: East Bay's Free "' Karen Duffek, "'Authenticit y' and the Contemporary orthwest Weekly, vol. 24, no. 28 (April 24, 1992), p. 16. Coast Indian Art Market ," BC [British Columbia] Studies (1983), no. 57, 9Jbid., p. 20. pp. 99-111. 'O For an excellent study on authenti city in the sacred commodities' 25 elson H. H. Graburn, " Introduction: Arts of the Fourth World ," market see Patrick Geary, " Sacred Commodities: The Circulation of in Ethnic and Tourist Arts, ed. N.H.H. Graburn (Berkeley, 1976), pp. Medieval Relics," in Arjun Appadurai, Hrsg., Th e Social Life of Things 1- 3. (Phila., 1986). 26Susa n Stewart , On Longing: Narratives of the Min ia ture, the Gi­ II See Richard Handler, "Authenticity," Anthropology Today 2 (1), gantic, the Souvenir, th e Collection (Baltimore, 1984) pp. 134, 136. 1986; and Lionel Trilling, Sincerity and Authenticity (London, 1974). 2l MacCannell , op. cit. " Mars hall Berman, The Politics of Authenticity (New York, 1972) llI Erik Cohen, " Authenticity and Commoditi zati on in Tourism," Annals p. ix. of Tourism Research (1988), 15: 371-386. \3Johann WOlfgang Goethe, Reisen. Goethes Werke in 10 Banden, vol. " Barbara Kirschenblatt-Gimblett , "Authentici ty and Authority in the 9, Hrsg. Peter Boerner (Zurich, 1962), p. 445. Representation of Culture," in Kulturkontala-KulturkonJlikt. Notizen, eds. "The philosophica l discourse on au th ent ici ty in the 20th century, wi th I. -M. Greveru et al. (Frankfurt, 1988), vol. 28, pp. 59-70; Barbara central protagonists such as Martin Heidegger and John Paul Same, Kirschenblatt-Gimblett, " Mistaken Dichotomies," lournal of American received its sharpest rejection in Theodor Adorno's, The largon of Folklore ( 1988), 101 : 140- 155. Authenticity, trans. by Kurt Tarnowski and Frederic Will (Evanston, 30 Barbara Babcock, " Mu dwomen and Whitemen: A Meditation on 1973); the present discussion sides with Adorn o's scepti cism. Pueblo Pott eri es and the Polit ics of Representatio n, " in Material Culture 15 See Richard Handler, Na tionalism and the Politics of Culture in of Gender/The Gender of Material Culture, ed. Katharine Martinez and Quebec (Madison, 1988), for a discussion of "cultural objectificati ons." Kennet h Ames ( ew York, 1991 ). I· Wilhelm Heinrich Ri ehl , Wa nderbuch (Stuttga rt , 1869), p. 6. l'Evans- Pritchard, pp. 2 7-296. " Georg Lu ck, f ine Schweizer Reise. Das Tagebuch des Alfred Mie// 32 Aurel Schmidt, Wege nach ulllerwegs: Das Ende des ReisellS (ZUrich, aus Salisbury (Bern , (982), p. 76. 1992), p. 14.

70 TOURlSMAND THE OLD ORDER AMISH

by Mindy Brandt and Thoma E. Galla h r

A rare attempt to capitalize on th e sizeable Amish commullity ill th e Dover, Dela ware, area.

In Lancaster County, one of the major tourist areas in broad-brimmed hat, and u pender , but hi hirt i a bright th e United States, the scenery i exquisit e. Fro m numero us red, which i clearl y not an Ami h color. Other th an th i vantage points along the hills that eparate the wide valleys one re taurant , however, the onl y indication th at th ere are below, you can look down on the many well-kept fa rm Ami h in Delaware are a few ign warn ing of carriage spreading in a continuous patchwork a fa r as th e eye can traffic, and hitching po t at ome of th e to re where the ee. In addition to being beautiful, the co unt y is al so Amis h hop. conveniently located within a day's jo urney of Washington, A can be seen in th e curiosity generated by the re­ Baltimore, Philadelphia, New York, and a number of smaller enactment of Civil War battl e, and in the popularity of urban areas. This makes it possible for sightseers to enjoy hi stori c re toration uch a Coloni al Wi lliam burg, there the slower pace of this largely agrari an community- a is a igni ficant intere t in the past in the United State . peaceful contrast to the bustling urban and suburban life It i not surprising, therefore, th at American would be that many come from- without returning home exhausted. attracted to living hi torical communitie uch a tho e of But neither its well-kept farms nor its location is the major the Ami h, altho ugh such intere t has not always been reason for Lancaster County's popularity. Without a doubt, positive. Indeed, fo r much of this century the Ami h were what attracts most people to it are the Old Order Amish, een as an eccentric group, rather th an a a community whose traditional lifestyle the visitors have heard about and to be admired. In 1910, fo r in tance, a pamphlet, "Seeing want to see for themselves. Lancaster County from a T ro ll ey Window,"1 wa o ld by Although the Amish and their traditional li festyle are the Conestoga Tracti on Company of Lancaster County. The the primary interest of tourists, they are only part of the pamphlet provided informati on on one c i1 y and eight county equation: without the promotion of the tourist industry, tours which sight eer co uld follow o n their own. The idea they may not have become as popular a group as they now was to encourage travel on th e tro ll ey lines of Lancaster, are. That the Lancaster County Amish have been selected and the tour info rmati o n empha ized th e wonderful cenery by the tourist industry to capitalize on is evident, for and the beautiful farms. The Ami h were mentioned, but although they are not the only Plain group in the county, almost a an afterthought. Sightseers were told that on one they are the primary group that is promoted. Occasionally of the county tours they would pass " through the borders there is mention of the Old Order Mennonites, the Old of the Amish section with its quaint characteristic customs, Order River Brethren, or the Plain members of the Church dress, and colors on buildings." And if the traveler was of the Brethren, but, overall, not much press coverage i interested, "at the Amish chool house near Soudersburg given to these groups. Then, too, many Amish settlements one may see the children o f these primitive people in their in other parts of the United States are virtually unto uched unique uniforms! "2 The Amish clearly were not the high­ by tourism. In Dover, Delaware, for instance, there is one light of the tour, but merely an oddity. restaurant which uses a Pennsylvania-German theme to By the 1950s, tourism in Lancaster County focusing on atiract business. In front of the building is a twelve-foot­ the Amish was beginning to blossom. In 1954 there was tall statue of an Amish-looking man. He has a beard, a a public celebration of the 200th anniversary of the found-

71 rt i I.

~ (J t') The People's Place 11111 nHUt", 1' \

, , th ey would rath er be left alo ne. Because they are traditional in appearance, it is easy to promote them as a society that Many tourists may not realize that "hex" signs-widely lives in the present but which maintains a connection to associated with the Pennsylvania Germans--/tave no part bygone centuries. And because it is their traditionalism that ill the life or culture of Lancaster County's Plain religious attracts tourists, thi s is the aspect of the Amish that the sects. tourist industry emphasizes. For our research into the operations of the Lancaster ing of the town of Intercourse, a village in the heart of County tourist industry we visited a variety of attractions, the Amish settlement. Press coverage, something the Amish including a house th at had been the home of an Amish eschew, played a significant part in the packaging of the family before it was purchased for conversion into a tourist Amish as a group to see.) si te several decades ago. We visited this house twice, the Tourism concentrating on the Amish and their unique first time onl y as observers, but during the second visit lifestyle was little more than an idea in the early ]950s. asking a variety of questi ons throughout the tour, while As is true with many ideas, it might have died as quickly at the same time being careful not to be disruptive. As as it was conceived. Predicting which enterprises will seize we entered the building we were greeted by a cashier who the imaginati on of the American public and which will asked us if we were interested in the tour. We told her wither is an impossible task, but the rel ationship between that we were, purchased our tickets, and were told that touri sm and th e Amish of Lancaster County was an en­ there would be a forty-five minute wait. Even so, one of trepreneuri al inspiration that did not merely work, but the advantages of taking the tour in the middle of the winter flourished. By 1965, two million tourists were descending was that when we did begin, our group was mall. on Lancaster County each year.4 By 1974, the numbers We soon found that since the tour house has been had increased to over three million,s and by 1993 had maintained just as it was when its last Amish owners exploded to over five million.6 moved away, it reflects Amish life as it was lived in the Each tourist-industry ent erpri se in Lancaster County is 1950s, even though there have been many changes in the unique, yet a ll of th ese establi s hments can arguably be Amish lifestyle since then. We also found that the guides divided in to one of two major types: secul ar or religious. follow a fairly predictable script, although they do alter Arguably, the secular bu inesses are primarily interested their prepared statements and are capable of briefly digress­ in earning a profit, wherea th e religious establishments ing from their program in order to answer questions from promote th e Amish as wonderful models of good Christian the customers. The tour began in the parlor. A very simple li vi ng. If, however, you ask those working in the industry room with white walls, it had a number of gray benches why th ey are selling th e Amish they would present a placed neatly around it. The plainness of our surroundings different story. They would tell you that they want to was intensified by the dreariness of the gray, overcast day, inform tourists about these wonderful people and provide which provided only weak illumination for the room. We a brief insight into th ei r lives. These two purposes are not had been instructed to enter the room quickly, to sit on necessarily contradictory. The people we spoke to all seem the benches and to wait while the guide checked to be to be genuinely interested in the Amish, reasonably knowl­ sure that everyone who had paid for the tour was present. edgeable, and happy to be employed doing a job they Only then did she start her presentation. Once she began, enjoy. we were quickly overwhelmed with information. Fir t, he The Amish are an easy group to market even though provided us with background information on the hOll e

72 CALENDAR OF EVE TS

ORGANlZATI N

A c D

CHADDS FORD ill TORI AL D ' IEL BOO ' E AFRO-AMERICAN SOCIETY Box 27, Chadd Ford HO 1E TE D HISTORI CAL AND (215/388-7376). John Chads R.D 2, BIrd boro (215 /5 2- CULTURAL MUSEUM 701 House, Barns-Brinton House, and 4900). harter Da , March 13 , Arch St., Philadelphia (215/574- The Bam open weekends, 12-6 12-5 p.m. Open hou e, tour , 0381). Exhibition, "Bridges and p.m., May through Sept. Guided living history; free Boundaries: African Americans tours of the 18th-century and American Jews," Jan. 7-March restorations; domestic arts DEMUTH FOUNDATIO 114 13, 1994. demonstrations; special display at E. King St., Lancaster (717/392- The Bam. 6766). Demuth Garden Tour, June II, 10 a.m.-5 p.m., June 12, AMERICAN SWEDISH CHAMBERSBURG AREA II a.m.-6 p.m., $10, good for both mSTORICAL MUSEUM 1900 COUNCIL FOR THE ARTS days. Covers eight private Pattison Ave., Phila. (215/389- 427 E. Queen St., Chambersburg Lancaster city and county gardens (717/264-6883). First Annual 1776). Royal Artists of Sweden, plus Cone toga House and the Cumberland Valley ArtIFilm March 13 ,2 p.m.-4 p.m. Demuth Foundation; self-guided. Festival, May 1, 11 a.m.-6 p.m., Kerrstown Square & The Capitol Theatre, juried art and craft E B vendors coupled with a day long film festival of Laurel and Hardy ECKLEY MINERS' VILLAGE classics. R.D. 2, Weatherly (717/636- BERMAN MUSEUM OF ART 2070). Charter Day, March 13 , Ursinus College, Main Street, 12-5 p.m. State-wide activities to Collegeville (610/489-4111, ext. CHESTER COUNTY celebrate the granting of the 2354). 125th Anniversary mSTORICAL SOCIETY 225 charter of Penna. to William Penn, Celebration of the Founding of N. High St., West Chester admission to all state historic sites Ursinus College, May 25-Sept. 11, (215/692-4800). Exhibition is free. Tour guides will show the Tues.-Fri., 10 a.m.-4 p.m., Sat. through May, "Presenting Your village to the public. and Sun. 12-4:30 p.m. Artifacts, Past: A Centennial Celebration," photographs, and illustrations celebrates 100 years of collecting EPHRATA CLOISTER 632 W. focusing on the college's 125-year by the Society and records the Main St., Ephrata (717/733-4811). history. interests of the past. 12th Annual Charter Day, March 13,12-5 p.m., Antiques Show, March 19, 11 free. Craft demonstratIOns, tours a.m.-8 p.m., March 20, 11 a.m.-5 of 18th century dwellings, Cloister BUCKS COUNTY p.m., at Hollinger Field House, Chorus in Meetinghouse at 1:30, HISTORICAL SOCIETY, West Chester University, $8. 2:30, and 3:30. MERCER MUSEUM 84 South "The Evolution and Classification Pine St., Doylestown (2 15/345- of the Pennsylvania Bam," illustrated lecture by author­ 0210). 21st Annual Folk Fest of F Authentic Early American Crafts, scholar Dr. Robert Ensminger, May 14, 10 a.m.-6 p.m., May 15, April 13,7:30 p.m. Admission $3 FORT HUNTER MANSION 10 a.m.-5 p.m. (rain or shine). (members free). Tour of Anselma Mill, May 22,2 p.m. Tour (of an AND PARK 5300 N. Front St., One hundred skilled arti sans, 18th-century mill that is nearly the Harrisburg (717/599-5751). May special demonstrations, folk music. last of a kind designed by inventor Day, May I, 1-4 p.m. Spring Adults $7, . 9-17 $5 , under 8 free Oliver Evans) is led by mill expert celebration of opening of the 1994 (admission includes entrance to Stephen Kindig. Free--call season. Plant sale--Harrisburg Mercer Museum). Society for directions. Civic Garden Center. FORT NECESSITY HISTORIC L NATIONAL BATTLEFIELD WA YNESBOROUGH 2049 Farmington (4 12/329-5512). Old Waynesborough Rd., Paoli LANDIS VALLEY MUSEUM Pike Days, May 21,22, 10 :30 a.m. (2 15/647-1779). Spring Opening, Rt. 272/0regon Pike, Lancaster - 5:00 p.m. Craftspeople and March 20, 1 p.m.-4 p.m. Tour of (717/569-0401). Landis Valley costtuned guides will celebrate historic house and wine and Fair, June 4, 5, non-commercial, America's ftrst federally built cheese reception, $7.50 per person. old-fashioned event with hands-on road, the National R6ad. Fort acttvltles : animals, craft Necessity Memorial Monday, July HISTORICAL SOCIETY OF demonstrations, hearty country 3, 3:00 p.m. Special program to BERKS COUNTY 940 Centre food, music, entertairlment, major remember those who fought and Ave., Reading (215/375-4375). Pennsylvania-Dutch complex. died here on July 3, 1754. Local history classes, May 4, 1 1, Adults $7 , 60+ $6, 6-17 $5 , under 18, 25; call for information. 5 free. Institute of Pennsylvania Rural Life and Culture, June 21- G HISTORICAL SOCIETY OF 24, over 18 workshopslseminars THE BLAIRSVILLE AREA on early Penna. arts and crafts. 116 E. Campbell St., Blairsville $190 (members $171) plus GENERAL JOHN BURROWS (4 12 /459-0580). Monthly materials fees; pre-registration and mSTORICAL SOCIETY OF meetings first Wed. of each pre-payment required, call for MONTOURSVILLE month, 7 p.m., Blairsville catalogue. Montoursville. 5th Annual Community Center Building, N. Antiques Show, March 5, 10 a.m.- Stewart St., open to the public. M 6 p.m., March 6, 12-5 p.m., at the Annual celebration each May McCall Middle School, Willow during National Historic MIDDLETOWN AREA St. , Montoursville; refreshments Preservation Week, call for mSTORICAL SOCIETY 20 N. served. Admission $2.25. information. Catherine St., Middletown (717/944-3420). 19th Annual HISTORICAL SOCIETY OF Colonial Arts & Crafts Fair, June H PENNSYLVANIA 1300 Locust 11 , 10 a.m.-6 p.m., June 12, 12-6 St. , Phila. (2151732-6200). p.m., at Hoffer Park, 120 juried Ongoing exhibition: "Finding craftspersons, colonial-type foods, HARMONIE ASSOCIA TES, Philadelphia's Past: Visions and entertairlment, prizes. OLD ECONOMY VILLAGE Revisions"; "Cros roads: Center 14th & Church Sts., Ambridge City Philadelphia," Jan. 21-July MOORE COLLEGE OF ART (412/266-1803). Visiting hour 23, 1994. Open Tuesdays, AND DESIGN 20th St. & The Tues.-Sun. 12-5 p.m. Call for Thursdays, Fridays & Saturdays Parkway, Philadelphia (215/568- information about special events or 10 a.m.-5 p.m., Wednesdays 1 4515). "Elijah Pierce, daily tours. p.m.-9 p.m. Admission-adults Woodcarver," Goldie Paley $2.50, seni ors & ages 6-18 $1.50, Gallery, Jan. 14-March 27, 1994, under 6 free. Admission to exhibition of the work of an HECKLER PLAINS museum and historical research African American barber (1892- FOLKLIFE SOCIETY 474 center is $5 for adults, $2 for 1984) known as the "preacher in Main St., Harleysville (215/822- students with valid 1.0. wood." 7422). Herb Festival at the Heckler Plams Farmstead, 237 N Landis Rd., Lower Salford HISTORICAL SOCIETY OF YORK COUNTY MUSEUM Township, May 13, 10 a.m.-2 p.m. NATIONAL MUSEUM OF 250 E. Market St., York Sale of herb plants, annuals and AMERICAN JEWISH (717/848-1587). Exhibits through perennials, garden tours, herbal mSTORY 55 North Fifth St., March 31,1994: "Street of crafts and beverages. Philadelphia (215 /923-3812). Shops"; "York 250 Years: A "Face to Face: Photographs by Retrospective"; "Grandfather's Don Camp and Lawrence Clock" ; "An Exhibition of HISTORIC HARMONY Main Salzmann," Jan. 7-March 13 , the Fraktur"; "Transportation Gallery"; & Mercer Sts., Harmony artistic visions of two Philadelphia "On Paper Canvas and Wood: (412/452-7341). Harmony photographers--one black and one York County Artists 1800-1945." Museum visiting hours: Sun., Jewish--that features per onal Mon.-Sat. 9 a.m.-5 p.m., Sun. 1 Mon., Wed., Fri. , 1-4 p.m., group photographic documentaries of p.m.-4 p.m. Admission fee. tours by appointment. Black-Jewi h relationships. p RE iFREW i\ ' , 1& P RK w IOlO E Mam PE SYL A IA D T II (717 762-4723 ). pnngfest \VA R R ;-.; FOLK ULTURE SO IETY Weekend, Apnl 23, 24, 10 am -4 III TRIAL Lenhartsville (215 /867-6705). p.m useum open for the Fourth Ave , Warren ( 147_3- Museum open beginning April 9 eason WIth fe h Itle featunng 1795 ). Annual Meetmg at the (10 a.m.-4 p.m.), April 10 (1-4 craft demon tratlons, mUSIcal \\'arren ount) ourthouse, March p.m.), weekends only, April and entertainment, and specIal 15, at 7 p.m, Brent Gla -_, May, May 30-Sept. 5, open daily activities. cherenschruttmg Executive DIrector of Penna Mon.-Sat. lO a.m.-5 p.m., Sun. 1-5 Workshop, Ma 21, 9 a.m.-12 HI torlcal and Mu eum p.m., school tours available on noon, fee to co er matenal . OmmJ lon, peaker request April-May, Sept.-October. Pennsylvania German ympo ium, June 5, lO a.m.-4 p.m., fee, call \ RRIOR R -FORT for information. FREELA D HERIT E PENNSYLVANIA FOLKLIFE o IETY Turbotville (717 649- SOCIETY 461 V ine Lane, 5363). trawberry Festi al , June Kutztown (610/683-8707). s 12, at the Hi toric Warrior Run Kutztown Folk Festival, July 2-10, Church, no admi ion charge. 9 a.m.-7 p.m., rain or shine, adults $8, children under 12 $4, parking SALTSB RG AREA WESTMORELAND OUNTY on grounds, $2 per car. Folk arts HISTORICAL SOCIETY HISTORI AL SO IETY 951 and crafts, antiques, fanners Saltsburg (412/639-9826). Canal Old Salem Rd., Green burg market, food and drink, music and Days, June 4, 9 a.m.-4 p.m., June (412/836-1800). Old Harma's entertainment, quilt contest and 5, 12-3 p.m., at the Rebecca B. Town (3 miles north of Greensburg, between Rts. 1 19 and sale. Call or write for brochure. Hadden Stone House Museum; 819), reconstructed courthouse, artifacts of canal era plus many jail, fort and storage building, items of local interest from the Klingensmith House, and PHILADELPIllA MUSEUM OF early 1800s. archaeological site, open Memorial ART 26th St. & Benjamin Day-Labor Day, daily except Franklin Parkway (215/684-7860). Monday. Flea-tique at Old Ten African-American Quilters, SOMERSET HISTORICAL Harma's Town, May I , June 12, February-March, 1994, Tuesday­ CENTER RD. 2 (4 miles north Aug. 14, Sept. 11,9 a.m.-S p.m., Sunday 10 a.m.-5 p.m. , Wed. until of Somerset on Rt. 985), Somerset $1 parking fee. "Lamb to Loom 8:45 p.m. Adults $6, seniors, (814/445-6077). "Sugarin' Off," Spin-In" at Old Harma's Town, students with I.D. and children $3 . April 24, 1-4:30 p.m. Celebrates May IS, story of wool with Free admission Sundays until I the close of the maple season in demonstrations and displays. p.m. Community Fabric: African southwestern Perma., lore of maple American QUilts and Folk Art, syrup and sugar making. Fiber WESTMORELAND MUSEUM Feb. J3-April 10. Drawing Day, June 5, 12-5 p.m. Exhibit of OF ART 221 N. Main St., Albums & Print Portfolios: Early regional antique quilts, seminar on Greensburg (412 /837-1S00). Collectors in Philadelphia, April how to document old quilts, and "Valley of Work: Scenes of 24-June 19. Crucible of Good demonstrations of historic methods Industry," March 19-May 8, Intentions: The Eastern State of processing plant and animal paintings, drawings, and prints of Penitentiary at Fairmount, July fibers. the Industrial Revolution. Tues.­ 17-Sept. 11. Sat., lO a.m.-S p.m., Sun. I p.m.-S p.m., no admission charge. u R UNIVERSITY MUSEUM, WYOMING COUNTY RACHEL CARSON INDIANA UNIV. OF PENNA. HISTORICAL SOCIETY HOMESTEAD 613 Marion Sutton Hall, Indiana (412/3 S7- Tunkharmock (717/836-S303). Ave., Springdale (412/274-5459). 2S00). "Dolls of the 1900s," 17th Annual Arts and Crafts Fair, Birthplace and childhood home of March IS-April 10; "Nancy Crow: June 9, 10 a.m.-5 p.m., at renowned author and naturalist, Work in Transition-Contemporary Wyoming County Fairgrounds on open for tours Saturdays and Quilts," April 12-May 14. Tues.­ Rt. 6, 1 mile west of Meshoppen. Sundays, 10 a.m.-4 p.m. through Fri. 11 a.m.-4 p.m., Thurs. 7 p.m.- Demonstrations, entertainment, November, adults $2.50, students 9 p.m. also, weekends I p.m.-4 over 100 craftspersons, free $1. p.m. parking. INDEX

African American Exhibits Lectures Afro-American Historical & American Swedish Historical Chester County Historic! Cultural Museum Museum Society Moore College of Art and Berman Museum of Art Warren County Historical Design Chadds Ford Historical Society National Museum of American Society Jewish History Historical Society of Philadelphia Museum of Art Pennsylvania Meetings Historical Society of York Historical Society of the Antiques County Museum Blairsville Area Chester County Historical Moore College of Art and Society Design General John Burrows National Museum of American Music Historical Society of Jewish History Landis Valley Museum Montoursville Pennsylvania Dutch Folk Culture Society Art & Craft Show Philadelphia Museum of Art Plant sale Bucks County Historical Saltsburg Area Historical Fort Hunter Mansion and Park Society, Mercer Museum Society Heckler Plains F olklife Society Chambersburg Area Council Somerset Historical Center for the Arts University Museum, Indiana Univ. of Penna. Swedish Crafts American Swedish Historical Chadds Ford Historical Museum Society Festivals Ephrata Cloister Heckler Plains F olklife Society Tours Fort Necessity National Pennsylvania Folklife Society Chester County Historical Battlefield Warrior Run-Fort Freeland Society Heckler Plains F olklife Society Heritage Society Daniel Boone Homestead Landis Valley Museum Demuth Foundation Middletown Area Historical Eckley Miners' Village Society Film Festival Harmonie Associates, Old Renfrew Museum & Park Chambersburg Area Council Economy Village for the Arts Heckler Plains Folklife Society Education Historic Harmony Fort Necessity National Historic Waynesborough Battlefield Pennsylvania Dutch Folk Historical Society of Berks Jewish Culture Society County Afro-American Historical & Rachel Carson Homestead Landis VAlley Museum Cultural Museum Renfrew Museum & Park National Museum of American Ursinus College Somerset Historical Center Jewish History Berman Museum of Art WCO\ crtown Ont Room School

itself, followed by a brief and perfunctory explication of ink, and told th e mi h ha e \ ater coming into their th e hi story of th e Amish, followed by a quick look at their hou e either through gra ity-feed or a hand pump. lifestyle. he ex pl ained how, in th e 17th cen tury, under On th e way to our next de tination, the econd-floor th e leadership of a M ennonite bi hop, Jacob Amman a bedroom, \ e were a ked to top momentarily at the small group of M ennonites broke away, forming the Ami h. bottom of th e stair 0 that our guide could ho\ u that hortly after this division, during th e 1 th century, th ey th e steps were hinged, and could be lifted to expo email bega n leavi ng Eu rope and moving to America in search storage areas. At the top of the tair \ e en tered th e girl ' of religious freedom. The complexity of th e ac tu al event bedroom . The decor \ a very au tere. The wall were leadi ng to th e division were glossed over; noneth eless, white, ju t a th ey were in th e parlor, and the furni hings everyone seemed quite sa tisfied with her brief overview. were limited to a bed, a dre er, and a wa h ba in. While After th ese introductory remarks we were encouraged common in our bedroo m , closet are generally not found to look at th e room in which we were sitting. W e were in Amish bedroom , although this fact wa never men­ told th at th e Amish hold th eir ch urch services in th ei r tioned by our guide. ot having clo ets, the Ami h gen­ home rath er than in meetinghouses, and that the bench es erally hang their clothing on wall hooks, and this house we were sitting on were intended for use during th e church does have such hooks, although they were not being used. service. We received no eXJ:lanation about why th ey worship Rather, the dre ses of Amish women were mounted on the in their homes, but we did learn th at because they do, th ey walls much like pictures, thu s permitting our guide to must have a large pace since the congregation can number discuss change such as fa tening garment with buttons 250 people or more. This space is needed on ly once or as very young girl do, to u ing straight pin for fastening twice a year, so they have designed thei r homes with walls from adole cence on. The di pl ay al 0 permitted a discu - th at can be removed. Thus th e roo m we were sitting in sion of th e change in the color of a young woman' Kapp was usually two rooms-the parlor and the master bed­ (from black to white) th at take place when he marries, room. The walls had been taken down, large pieces of and changes in th e style and color of her apron (from white furniture moved upstairs, and benches put in place. to th e sa me color as her dres ) . ext, we were led out of th e parl or and into th e kitchen, The boys' room was equa lly au tere and a bi t darker, a large room with a massive wooden tab le in the center havi ng onl y one window, whereas the girls' room had two. and a wood-burning stove for heating and cooking along Our guide moved over near the bed, noting that it i one of the walls. There was a couch in one of th e corners different th an th e beds we are familiar with. W ith th at she of the room, the only piece of upholstered furniture in the picked up the mattress to expose interlacing ropes ben ea th entire house. The kitchen, we were told, i th e center of it, ex pl ai ning that these, rather than spri ngs, are used for the Amish home and if you are lucky enough to be invited support. Before that bit of information was dige ted , she to visit an Amish family, this is where you will be en­ shifted to cl othing. Ju st as with women' cl othing men's tertained. The kitchen is the only room that is hea ted in clothing styles remain very si milar throughout life. Y oung th e winter, and it is the only room th at has a light over boys do sti ll wear dre es as infants, but th en adopt trousers the table, so all homework is done at the kitchen tab le. similar to those worn by the adult male. Similar to navy The kitchen is also where cl othes are sewn and where some trousers, the e have a flap in th e front which buttons on of the canning takes place, although orn e of th at is done th e side. The trousers are held up by suspenders since in the summer kitchen as well. It w as pointed ou t that the Amish never use belts, an d from the earliest years, boys food-especially the sharing of food-is extremely impor­ wear a broad-brimmed hat when they are outside. When tant to the Amish. The family sits down together, says boys turn sixteen they are able to begin courting, and grace together before the meal, and afterward as well, receive th eir first courting buggy, one without a top. The before anyone can leave the table. We were shown the guide also noted th at th e Amish practice adult baptism and

73 ( . r I THiS is (~MIS H VILLAGE'

do not have to be baptized until th ey want to get married. which is located in a shed att ach ed to the main house M any of th e youn g men who have not been baptized, behind th e kitchen. The summer kitchen w as used for th erefore, may drive cars, turn up th e brims of their hats, ca nning and cooking during hot w eath er in order to keep and do oth er things th at a bapt ized member would not do, th e hea t out of th e main house. Going to th e summer although such behavior is cert ainly not encouraged. kitchen was a change in th e tour since we had not been The las t room was se t up as th e parents' bedroom. W e taken th ere during our first trip, and it seemed we were had been told ea rlier th at th e parents generally have a taken th ere on thi s second trip onl y as a response to our bed room on th e first floor and we were told this aga in , qu es ti on. W e w ere told that " Here th ey do a lot with but since th e parent s' bedroom downstairs was se t up for running water. Spring w ater keeps things quite cool. " Sh e chu rch services, this room too k its pl ace . T he fireplace in added th at th e Amish do use a lot of propane. " I asked thi s roo m was boa rd ed up since th e amount of energy [an Amishman] why they are allow ed to use th at and not wasted out of th e chimn ey is not worth th e amount of hea t electricity, [and] . . . he said, ' It isn' t th at we object to generated in th e room. things, we're just ch oosy what w e sel ect. Bottled gas does It was obvious from th e tour w e took th at th e infor­ nothing more than make it easier for th e women, but if mation presented by the guide w as accurate if her intention we put electricity in our homes .. . our w hole lifes tyle wa to describe the Amish as th ey w ere fort y years ago. will change .... '" If, on th e oth er hand, her goa l w as to inform us about In th e girls' bedroom, w e looked at th e dress hanging th e lifes tyle of the Amish today, th en her data was incor­ on th e wall, co mmenting th at th e fa bric looked like poly­ rect. A s a result of th e tour we wanted to discover whether ester and as king if th ey w ere permitted to use manmade th e old information was the result of our guide's ignorance fi bers. ·' Y es," th e guide replied, " it is polyes ter. They love or was simply a case of presenting what she th ought th e th at because th ey used to have all organdy and I don' t tourists want ed to hear. W e suspected th at she kn ew more think any of you are old en ough to know how hard it is current in fo rmation, and w e decided to explore this idea to keep organdy from wrinkling. Now they have polyester, by asking a few qu es tions about th e Amish during a second th ey wash it, hang it up and it looks lovely." tour. D etermined not to be disruptive, we limited ourse lves When we arrived in th e parents' bedroom, someone el se to asking onl y one qu es tion per room, and we did not on th e tour noticed th at th e parents' bed w as different. The pursue any of our qu es tions beyond the initial answer w e beds in th e children's rooms had bee n rope beds, and thi s were given. Our suspicion was th at th e guides w ould be bed had a box spring instea d. The guide responded, "This kn owledgea ble about how the Amish live today, but prob­ was a rope [bed] and w as changed to show th at th e Amish abl y would be less informed about w hat their lifestyle do use mattre ses . Y oung Amish [today ] w ould not pay means to th em. th e price for a rope bed . ... " The guide w as suggesting Our second tour confirmed our suspicions . Today, in th at th e Ami h are practical in thi w ay, and th at th ey th e kitchen of a typical Amish home, you will not find recognize this practicality in themselves. This is also one a wood-burning cook stove. Instead, you will find a wood­ of th e main explanations one can find for changes that burning stove fo r heating during the w inter, and a gas stove occur in Amish life. It is important to understand that this fo r cooking w hich is used yea r round and which run s on is only one of the explanations for changes that take place, propane. Y ou wi II also fi nd a refrigerator which, because but it is an important issue. electricity is not permitted, also uses propane as its energy We received a very different response when we asked so urce. Since th ere w as no refrigerator in this kitchen, w e a question th at required an insight into meaning. When we asked wheth er th e Amish use refrigerators today. " In th eir were sitting in th e parlor listening to the overview of Amish su mmer kitchen," th e guide replied, " I ' ll show you." life and w ere told th at th e Amish hold their church services W e were immediately led into th e summer kitchen in th eir homes, we asked the guide why the Amish do this. 74 Sh e re ponded somewhat equivocally, "Their home i their the) are unprepared or eelng be) ond their 0\\ n precon­ church, th ei r religion i in thei r home, they teach that and ception .. a re ult, de pile the \er) different goal of th ei r home is th ei r religion." the ecular-onented and the religlOu -oriented allracti n , Our initia l suspicions were confi rmed: To our question the re ult tend to be \Irtuall) Identical. i Ilor leave concern ing visible behavior, ou r guide' re pon e were Lancaster ount with an e\ en tronger belief that the co rrect, even th ough she tried to spend a litt le time a mi h are not onl) a traditional, but an unchanging, ciet, poss ible on iss ue of change, and return ed a quickly a no matter \ hat their e perience ha been. poss ible to her traditional program. For ou r que tion about In the ca e of the mi h the e di tortion are probabl the meaning th at church ervice in th e home have fo r the helpful. The mi h a a communit) would prefer to be Ami h, her response made no ense whatsoever, suggesting left alone, and in one en e touri t mi conception about th at she could not answer th at qu es tion. It wa clear tha t them afford them orne eparation and i olation. The she kn ows how Amis h life i di fferent today th an it wa sociologist Ro Buck ha argued that b ha ing the touri t in th e pa t, and in respo nse to que tions abo ut these indu tr concentrated in a few location the mi h are left ch anges she expl ained th at her inform ation co me from alone more than they \ ould be if people earched the visiting Amish fa milies she kn ows. On one occa ion, he coun try ide for real mi h. 7 There rna be orne truth in even spoke about att ending an Amish wedding, and de­ thi argumen t, bu t i n communi tie here there i no tou ri t scribed so me of the events she sa w . W e would not have industry, th ere is often litt le intere t in the mi h. nd questioned her assert ion about visiting Amish families we agree w ith Donald K raybill th at touri m "rna ac tua ll un der any ci rcum tance, but her recounting of her vi it help to bol ter th eir cultural ident ity.' But e en if th i made it quite obvious th at she did, in fact, have th e is th e ca e, if tourism does keep many tourist from i n­ experiences she claimed. What is important to consider, undating th e Ami h th em elves, and even if tou ri m ha however, is why she would ignore th e present in order to bol tered th eir cultural identity, it till ex pl oit th em agai n t describe w hat th e A mish were like so me time ago, allowing their will. visitors to assume th at th e tour describes the A mish as they The Amish experi ence present an intere ting dilemma are today. for cultural tourism. In any type of tourism there are th ree At leas t one of th e rea ons she did th is was quite clear. main element s: th e attraction, th e presenters, and th e touri ts. Sh e seemed to be giving th e tourists th e info rm ation th at The att racti on ca n be a site such as a histori c building she-and th ose w ho ran th e attraction- thought th e ma­ a mu seum, or a natural wond er; a reenac tm ent such a a j ority of visitors wanted to hea r. And they may be right. Civil W ar battle; a traditional event such as an Oktoberfe t Those w ho spea k about th e Amish frequently run into or a Christmas display; or a group of peopl e uch as the disgruntled listeners w hen they talk about these Plain people. Amish. T he presenters may be en trepreneurs intending to Listen ers are often horrified by th e ch anges discussed. So make money, or int eres ted people who wish to share thei r many are di sappointed. What th ey woul d like is th at th e own en thu ia m w ith oth ers. The tourists may want to Amish would conform to th eir preco nceived notions about learn , or they may on ly want to be en tertained. Everyone th em. enters th is three-way transaction wi th preconception and Clea rl y, neither all of th ose involved in th e tou rist personal interes ts. I f th e tourists are not happy with the indu stry in Lancas ter County, nor all of the tourists who information they are given, th ey will not come back. visit there, fit into a single mold. Each tourist and each The dilemma seems to be th at th ose invo lved in tourism attraction is different , but still th ere are so me generaliza­ in gen eral, and in cultural tourism in parti cul ar, must tions that can be made. T he tourist industry ranges from understand that they are in the bu siness not only to educate, th e secular, which seems to be primarily concern ed with but to entertain as well. Are these compatible ends? making money, to th e religious, w hich wants visitors to recognize in th e Amish a Christian group w ho are living ENDNOTES according to th e tenets of th e New T es tament. T hose who 'H.W. Kriebel, " Seein g Lancaster Count y from a Troll ey Window," 1910. operate th e secular attrac ti ons are more likely to dwell on ' Roy Buck, "Btoodl ess Thea tre: Images of the Old Order Amish in th e Amish as a traditional peo pl e, whereas those att ractions Touri sm Lileralure." Pennsylvania Menn onite Heritage 2(Jul y) 1979:2- with a religious emphas is w ill make a stronger effort to 11 . ' Donald Kra ybill, Th e Riddle oj Amish Culture, Baltimore, MD: Johns portray the Amish as th ey are today. Tourists also vary Hopk ins Uni versil y Press, 1989:228. widely, from those w ho have a rea l interes t but are not ' Donald Kraybill, Th e Riddle oj Amish CullUre, Balt imore, MD: Johns dedicated to understanding who th e Am!sh truly are, to Hopkins Uni versity Press, 1989:228. ' Roy Buck, " Boundary Mai ntenance Revis iled: Tourist Ex perience in those who are really seeking a better understanding of an Old Order Amish Community. " Rural Sociology 43(Summer) 1978:222. Amish beliefs and practices. 6John A. Hosleller, Amish Society, fourth edilion, Baltimore, MD: Along with these wide variations are some si gnificant Johns Hopkins Universi ty Press, 1993:315. ' Roy Buck, "Boundary Mai nlenance Revisiled: Tourisl Experience in constants. Judging from the tourists w e have spoken to, an Old Orde r Amish Community." Rural Sociology, 43(summcr)1978. it seems clear that the majority are truly interested in seeing "Donald Kraybill, The Riddle oj Amish Cultu re, Balt imore, MD: Johns the Amish and learning about them. The problem is that Hopk ins Uni versity Press, 1989:227.

75 THE LOG CABIN: Notes on its Structure and Dissemination

by Patricia Irvin Cooper

Fig. 1. A cabin in eastern North Carolina, from Frederick Law Olmstead, A Journey in the Seaboard Slave States (New York: Dix & Edwards, 1856), p. 349. While the dogtrot plan is rare for a cabin, the construction is typical.

Much has been written about the log cabin. This paper the "hewed-log house" with rafters.2 The distinction is focuses on the structural features that made it the best first e sential, although the hewn-log aspect does ·not apply to shelter in the forest; on its ource and early adoption by the lowlands, that is to the southern Coastal Plain and much non-log builders as shown by records and implied by the of the Gulf Coast region, where seasoned round logs, the cabin's distribution; and on the effect of some early ends trimmed, were used for houses. migrations on its distribution. The rough, hopefully temporary cabin of the forest frontier and fir t settlement was defined by its saddle­ CABIN AND HOUSE notched, green, round logs and its low-pitched, purlin roof Nineteenth-century writers from log-building regions of Figs. 1, 2). It was usually a single pen, windowless, with the United States differentiated between the round-log cabin at most a half loft. There was sometimes a hearth on the and the hewn-log house.) Srygley, recording the recollec­ dirt floor and smoke holes near the ridge, but more often tions of T.W. Caskey of central Tennessee, writes of round­ a cribwork chimney (a chimney made of logs or sticks laid log "houses" and "cabins," but distinguished these from up as in the cabin and well-c\ayed), even in rock-strewn

76 Fig. 2. Cabin in east Georgia, from Basil Hall, Forty Etchings from Sketches Made with the Camera Lucida in North America in 1827 and 1828 (Edinburgh, 1829), Plate XXII. Courtesy of the Hargrett Rare Book and Manuscript Library, University of Georgia Libraries. country. Though such a chimney can be destroyed in a overhanging (cantilevered) roof. heavy storm, there was no roof overhang to protect it. With The log cabin's simple log work and nailless purlin roof wooden hinge and latch, the whole dwelling could be built made it perfect for the frontier. Logs of diminishing length without nails or hardware. were laid up to the ridge at the gables; a ridgepole and Log houses were built of seasoned logs and were set pole purlins were laid from end-to-end of the structure. off the ground on rocks or, on the rock less southern Coastal An end log cut longer than the rest extended beyond the Plain, on trunk sections or wedges of heart pine. They were long sides at eave height on each corner in order to support floored (if only with split-log puncheons), had studded, the "butting pole" that lay parallel to the eaves. This pole, weatherboarded upper gables and rafter roofs as in framed along with purlins and ridgepole, supplied the framework houses; and had chimneys of stone or brick, or, on the for a low-pitched roof on which rived roof boards or southern Coastal Plain, of heavily clayed log or stick shingles could be laid, weighted against the wind by poles cribwork. These were neater than the log cabin's chimney, lying from top to bottom on the roof, jammed against the and were also usually sheltered against heavy rains by an butting pole, and by rocks; or by horizontal poles spaced

77 Fig. 3. A cabin-house from Anderson Co., Tenn., combining a cabin's hallmark purlin roof, typical dirt floor and low, one-story form with hewn logs (here V-notched), as in log houses. Now at the Museum of Appalachia, Norris, Tenfl. (PIC, 1990). apart by " knees."3 Prospering and fortunate families, replacing the cabin The whole edifice could be built by two men (provided within a decade with a log house, relegated the former to they could handle the weight of the log) with only axes kitchen or shed. For many families, however, the progres­ and , if possible, a froe for riving roof boards. A cabin sion was never possible. Our perception of rural poverty required no hewn logs, no hewn or sawn joists and rafters, is hopelessly skewed toward optimism by the cabin's no sawn and pl aned boards for floors, stairs, or upper disappearance from the landscape. Set directly on the ground gables, and no iron for hardware or nails. Log houses were or close to it, cabins could not last. Slave cabins have far more labor-intensive, and more expensive because of likewise vanished; it appear that in many parts of the their iron. Some early houses had cabin features such as South, inland of the coastal zone, they were of log. ladders to the loft, and hybrid forms-for example, hewn­ SOURCE AND DISTRIBUTION log cabin-houses with purlin roofs that eliminated hand­ or mill-sawn rafters-were built well into the 19th century, The cabin came from New Sweden." (The log house especially in the mountains (Figs. 3, 4). has a more complicated history involving stronger Anglo,

78 Fig. 4. The cabill-house from Anderson Co., Tenn., showing its chimney with stone base alld stick-alld-clay shaft. Willdows alld all overhanging roof, atypical of cabins, are used in this combined form. Museum of Appalachia, Norris Tenll. (PIC, 1990).

German, and Swiss influences. S) New Sweden was founded iou Iy during the everal years before the first Finns arrived after a Dutchman (the Dutch based their new world claims In ew Sweden. on Henry Hudson 's 1609 voyage of exploration) received The cabin, with its saddle-notched round logs, purlin a charter which allowed him to et up a company headed roof, and cribwork chimney, was essentially the arne by Swedes and Dutchmen. Then, sai ling up the Delaware, everywhere, th ough some were large and had improve­ fifty Swedes established the new colony in 1638, on the ments such as a puncheon floor. Descriptions and drawings site of present-day Wilmington. Later, Finns joined the hardly varied, whether given for western Pennsylvania, settlement, and one ancestor of the cabin was undoubt edly Ohio, bluegras Tennessee, Mi ouri, the eastern Carolina the Finni h pirlli, with its gable entrance, unmortared stone, pi ne fo rest; or wiregrass Georgia.7 A po sible regi onal chimneyless corner firepl ace, and smoke hole. 6 Although variation is th at the graziers of the sparsely settled southern the Swedes came from a more settled and better-housed Coastal Pl ain (particularly the sandy outer pl ai n, inland of life than did the Finns, the cabin may owe something to the non-log building coastal zone), appear to have used the Swedes as well, for they managed to build expedit- small er logs in both cabin and house than did settlers 79 elsewhere. Although cultural causes cannot be dismissed, by New Castl e County, Delaware; Cecil County, Maryl and; one reason may have been th at less neighborly help and and Delaware, C hester, and Mo ntgomery Counties in horsepower were avai lable th ere th an in th e more densely Pennsy lva ni a. ') It cannot be doubted th at English and Welsh settl ed regions. Such help is often menti oned by early moving from th e region carried cabin and log house building writers.R practices with them in mi grati on. T he universal distribution of th e cabin on frontiers west (It w ill be noted that the majorit y of th ese log meet­ and south of Penn sy lvani a, and to a lesser extent north ing houses and churches were built before any appreciable of it, implies that it became known very early to colonists influence of German-language log builders entered the both on th e Delaware littoral and farther inland. It was picture, as th e fi rst small band of Swiss Menn onites did carried on all the mi grati on routes: southward on the Coastal not arri ve in Lancaster County (Pequea) until 1710. For Plain from th e Delaware settlements; southwestward from its first thirty years, Germantown was a village of Dutch th e Delaware and especially from interior southeast Penn ­ Menn onites and Quakers.'4) sylvani a to the interior South via the Great Valley route; There is no physical evidence of th e early log structures and westward to western Pennsylvania and the Ohio Valley in the Chesapeake area, no r of their earth-fast and framed states. It appears that by ca. 1730, when migration on the contemporari es, but they provided to the English in Maryland Great Valley (Valley of Virginia) route began, the cabin and Virgi ni a some exposure to log building, an exposure had penetrated to the farthest reaches of Pennsylvania that also occurred through trade with New Sweden. The settl ement. The Scotch-Irish, who were directed to th e existence of log houses is, in fact, documented in records colony's western frontier, were apparentl y there able to of Charles County, in southern Maryland, in the 1660s.15 pick up some skills in log building before moving out to There was a general movement of people southward on the southwest and west. Rhineland Germans also acquired the Coastal Plain beginning in the 1650s; in addition to log-building s kills. Swedes and Finns leaving New Sweden, Virginians moved The further implication is that instead of fading from to the Albemarle Sound area of North Carolina in search th e scene in the face of massive English immigration of fresh land, a migrati on soon joined by Marylanders.'6 beginning in 1681, New Sweden's log-building techniques Thus Chesapeake log building, remounting to New Swe­ ent ered into the newcomers' range of vernacular building. den, is probably linked to the log houses (cabins?) Byrd The cabin's dispersal from New Sweden began very early, reported in Albemarle in 1728.'1 about ] 654, when the first Swedes and Finns made their Migration on the Coastal Plain undoubtedly carried way to Maryland. They established settlements on the south Anglicized Swede-Finn log building even farther south. In side of Elk River at the head of the bay, and on Sassafras the 1730s and 1740s, Pennsylvanians and Welsh Baptists River o n the Eastern Shore, subsequently moving into other from New Castle County, Delaware, came down to South counties.9 Thus log building was established in the upper Carolina's Queensboro Township and to Welsh Neck on Che apeake. Forty years later, Elk Ri ver sti ll had a Swedish­ the PeeDee River, respectively.'s (Queensboro was also a speaking settl ement. 1O destination o f direct immigration by the Scotch-Irish.) It has been proposed that Finns and Swede-Finns scat­ SWEDES AND FINNS tered to a ll the frontiers, carrying the cabin with them." oneth eless, it is clear that colonists from non-log building A fo r the Swedes and Finns whose legacy is a major cultures, when exposed to log building on the Delaware, element in our log-building heritage, if there was at all early learned to use and adapt it for both cabin and house. a Finnis h majority in New Sweden as has been proposed,'9 This is hardly s urprising, given the cabin 's simplicity of it was very slender. In 1655, the Dutch took New Sweden concept and technique. The cabin was Anglicized, for by force, but th ey controlled it for less than a decade. The example, in chi mney and door pl acemen t. English, unhappy with another power owning territory What has been overl ooked or misunderstood is th e between their New England and Southern colonies, seized British coloni sts' willingness to use th e new concept. Quaker a ll th e land between the Connecticut and Delaware Rivers records, however, establish th at th ey began to use log from the Dutch in 1664. The Swedes who left after the buildings (very probably both round- and hewn-log) in the Dutch conquest numbered only thirty-seven officers and 1680s, the first decade of settlement in Penn 's colony. They officials; the soldiers stayed.20 Farmers and women also probably first hired Swede-Finns (like the Swede Lasse remained, and families increased. More Swedes and Finns Cock who built a log jail for the English in Philadelphia came in 1663, and finally, 140 Finns came via Holland before 1685' 2), th en British carpenters mastered th e skills in 1664, after the English conquest.21 Peter Stubbins Craig th emselves. From published records alone, we know of at estimates that at the end of Swedish rule in 1655-56, the least ten log meetinghouses and churches built between population of New Sweden was forty-five percent Swedish, 1686 and 1724: for Dutch Quakers in G ermantown (1686); forty-five percent Finnish, and ten percent other-Frisian, for English Quakers (1687, 1708, 1711, 1715, 171 8, 1724); north German, Dutch.22 and for Welsh Quakers (1700), Baptists (1703), and Enough work ha now been done 0 that we have a Episcopali an (1708). These were in th e region embraced very close idea of the ethnic make-up of the settlements

80 of I ew weden. 'I hrough wedish embarkation and Jlher PatrlCI~ Ir In Cooper," me \me n_ n Log- no _ pp records, ralg has traced the families of the t~ 0 v.edish BUilding ludiC ," In 1/ t rwl eultllr , 61 churches, attended by both wedes and F-inn, as recorded 'Jordan and '3UP, pp In the corrected church census of 1693 the (log) v Icaco J rdan .. nd !\.auf¥.>, P 1 I, Hut lar, laLIn church In Ph iladelphia which served hester and Philadel­ PP 127-11 , Ho" ard \\ Ight lar<>hall, 101 \r lut (Columbia. m~er.iIl of \II oun Pre , 1'1 1), P phia ountles In Pennsyl anla, and Glouce ter and Olmsted, A loumc,) In the. eaboard Im< tu/< ( Burlington Counties In ew Jer.,ey; and the (log) Cranehoo 34'1, Ba II Hall, fort,\ Etc/lings from ':Ic/"::S mach 1<1111 Ih< (amcra !.uclda 1/1 Vorth Aawrtca, III I 27 alld I 2 (Edinburgh I :!QJ, PI II chu rch, located between Wilmington and ew astle, \~hlch Cf. Hutslar, pp. J' 36, nglc), pp. t:!7-I.'t ngle, re( rd 1 served ew astle County In Delaware and the settlement \\. Cas 'e)' recollectIon, from \Iaut) Co., Tenn .. of nelghoor<> not onl) at Elk Ri ver, M aryland (Cecil oun ty), and Penn' ec, "or Ing together but al 0 u ing huge log that endangered the alet) and ew Jersey (alem ounty). Thus wed ish and Finnl h well-being of all the men 'George EI) Rus ell, "The \\edl.h clllcmcnt in \tan land, 16:4," families th at had moved acros th e Delaware to ew Jerse in 'hc Americall GCllealoglSt. vol. 54 (19 ) no. -I . pr. 20:<-:!10; Peter were nonethel ess recordedY ( few had moved too far Stebbtns Cratg, personal communI 'lIion, Dec tQQO. away, for example to M au ri ce River, ew Jer ey, and "The Rev Jehu CurtI. CIa), Allllais of tlte 5\\ cdc., all Ihc IJdalwrc (Philadelphia t 35), pp. 57, 63-64 assafras Ri ver, M aryland, to be erved by these churche .) Jordan and Kaups. pp. 23'-246. raig's resea rch shows th at in Pennsylvania north of '-John F. \ alSon, Annals of Plllladelphia alld Pellmy/! all/a :!' 01 . the Ches ter reek (form erl y Upland Creek), the \ edi h (PhiladelphIa 1 30, I 57), 01 I, pp. 300-30 I 'Cooper, pp 0-53. The date of the log Fnend mecl/nghou~c in and Finnish populati on ca. 1693 wa more than ninety Cecil Co., Maryland (pp. 50-51) hould read I 0 The referen e IS percent Swedish; pl and (Chester) itself wa wedi h. on p. 19 of Quaker Roots (Kennell Square, Pa 1934 : \ e tern Quartcrl) outh of Upland there was a tronger Finn ish element: Meeting, P.O. Box 693, 19 0). The entry for the publlcal/on by Blrmlng' ham Friends (p. 56) should read 1990, publt hed in \ est Che tcr, Pa . Finland and Marcus Hook were Finnish, and ew Castle "c. Henry Smith, The Mennollite Imrll/gralioll to PClIlIsyll'OII/a IfI thc Cou nty had a Finn ish majority. Gloucester and Burlington Elghteellth Ce","ry ( OITI sto' n, Pa ' Pennsylvanta German OClct), Counties were predominately Swedish, while Penn 's eck 1929), pp. 123-129, 149-151, William I. Hull, William Penll and thc DlIIch Quaker Imrll/gralloll to Penlls)lvall/o (S\\arthmorc, Pcnns)lvanla. (Churchtown) in Salem County, was Finnish, and Raccoon Swarthmore College, 1935), pp. 17 I (Swedesboro) in th e sa me county was mixed but with ISArc/llves of Maryland, vol. 53: Charles COli"') COllrt Proceedlflgs. wedes predominating, as they did in nearby Repaupo. By 1658-1666 (Baltimo re: Maryla nd Hi sto ri cal Society, 1936), pp. 232,357, 3 I, 3 2. I am indebted to Dell Upl on and to Garr) \ heeler tone for th e earl y 18th century, the two groups had melded with thi reference. many intermarriages. 25 In 1790, Swede-Finns still consti­ " Lewis Cecil Gray, History of Agricultllre in the outh em UII/ted tuted ten to fourteen percent of the population in ew States to 1860. 2 vols. (WaShington, D.C.: Ca rnegie Instit ution of Washington, 1933; ew York: Peter Smith, 1941 ), vol. I, pp. 42, 44- Jersey's Glouces ter, Salem, and Cumberland Count ies; and 45, 88. eight percent in Burlington and Cape May Counties. 26 17 William Byrd , The Prose Works of William Byre of Westover, cd. The cabin 's incomparab le su itabi lity fo r the wildern ess Louis B. Wright (Ca mbridge: Belknap Press, Harvard University, 1966), p. 206. II cannol be shown whether the structures were cabins o r houses; brought it from th e shores of N ew Sweden to successive the former is more likely. That they were of horizo ntal notched logs is A merica n frontiers, and, finally, to its present role as a shown by Byrd's reference to log wharves at orfolk "bound fast together sy mbol of our past. by cross pieces notches into them, according to the architecture of the log ho uses of onh Carolina (p. 174). The buildings were covered with large shingles hung upon pegs. I. Robert L. Meriwether, The Expansion of South Ca rolilla 1729-1765 ( Kingspo rt , Tennessee: Sou thern Publishers, Inc., 1940), pp. 9-93. " Jo rdan and Kaups, p. 56. ENDNOTES lO Amandus Johnson, Th e Swedish Set/lemems on the Delaware, 2 ols. IGeorge R. Gil mer, Sketches of Some of the First Settlers of Upper (1911 ; Ballimo re: Genealogical Publishing Company, 1969), vol. II , p. Georgia, of the Cherokees and the Author ( ew York: 1855; Ballimo re: 615; John Romeyn Brodhead, comp., Documents Relative to the Colonial Genealogical Reprinl Company, 1970), pp. 65, 101, 125, 181 ; Donatd History of tlte State of ew York; procured in Hollalld, England and A. HUlslar, The Log Architecture of Ohio (Columbus: Ohio Hislorica l France. (Albany: 1853-1887), vol. Ill, p. 343. Society, 1972, 1977), pp. 32-34. " Johnson, vol. II , p. 652, n. 17; p. 670. IF. D. Srygley, Seventy Years in Dixie. Recollections and Sayings of 21 Peter Stebbins Craig, personal communication, May 1993. T. W. Caskey and Others. ( ashville: Gospel Advocale Publishing Co., 2J Peter Stebbins Craig, "The 1693 Census of Ihe Swedes on Ihe 1893), pp. 133-143. Srygley is also quoled, in pari, in Eugene M. Wilson, Delaware," published in installments in Swedish American Genealogist, Alabama Folk Houses (Monlgomery: Alabama Historical Commission, vol. IX (1989), no. 1, no. 3; vol. X (1990), no. I , no. 3; vol. XI (1991), 1975), pp. 5, 9. no. 1. Informatio n on the original census, stored in Swedish archives, 3Srygley, pp. 133-135; W ilson, pp. 5, 8, 9; HUlslar, facing p. i. and on Ihe area served by the churches is found in vol. IX, no. \. ' Harold D. Shurlleff, The Log Cabin Myth (1939; Gloucesler, Mass.: "'Craig, personal communication, June, 1991. Peler Smith, 1967), pp. 163-185; Terry G. Jordan, American Log Build­ 1SCraig, personal communication, June, 199\. ings (Chapel Hill: Universily of Norlh Carolina Press, 1985), p. 148; Terry :.6 peter O . Wacker, Lalld alld People, a Cultural Geography of G. Jord an and Mall i Kaups, The American Backwoods Fromier (Balli­ Preindustrial New 1 ersey: Origills alld Serrlemelll Patterns ( ew Brunswick, more: The Jo hns Hopkins Universiy Press, 19 9), pp. 135-178. ew Jersey: Rutgers University Press, 1975), pp. 170-171.

81 ON THE MAKING OF DIE UNION CHORAL HA RMONIE (1833): Evidence from H enry C. Eyer's Working Papers

by John I. Schwarz, Jr.

,. ~il' tt tt t 0 tt [f)oraI 11 ( r, cnth'11trt1~

-----.------.------~~------T II

OO:;S!:-.!': J~ 0:" ,. ~

Fig. J. TitLe page of Henry C. Eyer's Die Union Choral Harmonie (1833)

The Pennsylvania-German bilingual tunebook Die Unioll Eyer's 1833 edition of Die Ullion ChoraL Harmonie ChoraL Harmonie was published in three different editions, (Fig. 1), the principal subject of this study, took its place the first bearing the copyright date 1833, the second 1836, among a large number of tunebooks which were published and the third 1839. The collections were compiled by for German-Americans through the first half of the nine­ Henry C. Eyer (1797-1879), a gentleman-farmer, business­ teenth century. Indeed, even a select list of titles-naming man, public servant, and organist/choirmaster who resided only those books which, like Eyer's, were actually printed in Selinsgrove, Union County, Pennsylvania.1 All three in Pennsylvania, which employed the German language (or collections enjoyed a number of printings. Those bearing were bilingual), and used the shaped-note ystemJ- proves the 1833 and 1836 copyright dates were made by Francis to be imposing. It includes, by short title, Johannes Wyeth of Harrisburg; the 1839 edition was stereotyped by Rothbaust's Geistliche TOIl-Kullst, which was printed in John Fagan of Philadelphia and th en printed by John Hanover in 1807; Joseph Doll's Der leichte Ullterricht, VOII Vancourt and later the Schaefer and Koradi firm of that del' VocaL Music, out of Harrisburg in 1810, and then 1 14 city, so that Henry's last collection was available to the and 1821 , and with a second volume in 1815; Isaac Gerhart public through at least 1853.2 and Johann F. Eyer's Choral Harmollie, Harrisburg, 181

82 and 1 22; Johanne Rothbaust's Die Frallkltll lIarmOllle, h) mnal and the chorale b 0 combmed The) ffered th Harrisburg, 1821, and its reprint under the ng" h IItle The the word alld mU.lc of faVOrite and tradlllOnal chorale Frallklill lIarmollY alld £a5Y IlIstruclOr, hambersburg, and h) mn under one.. 0\ er, and, while the mu IC \\ a 1830; and ichael Bentz's Die eue lIarlllollle, Gell) sburg, t) picall) laid out a. a choral ~core, each melod) \\ a 1 27. Bearing dates later th an Henry yer' 1 6 and 1 39 printed directl) abo\ C It ba .. "ne 0 that the organl thad edillons, which certainly belong to th l group, and rather at his dispo . .II e. '>entlall) the . ame dire tl\e notation a signaling the end of th i Pennsylvania epoch. \ ere Thomas \\ as gl\ en In a chorak boo R. Weber's Th e PellllsyLvallla horal lIarmollY, lIen­ -Third, the e tunehoo . hared the common Intention of town, 1844, and .M. Mus elman' D,e eue Choral offering acred mU.lc \\hlch \\ould appeal to all Prate tant Ilarmollie, Harri sburg, 1 44. German congregallon , "u'>eable b) all re"glous denomi­ These tunebook , having a common pl ace of o ri gin, nation" wa the boat that appeared on the litle-page mo t language, and notatio nal system, were imilar in other way often. s II turned out,ome mdl Idual book \\ ere le_ a well. First, th ey were s imilar in their general layout. repre entatl e than their author claimed, and mo t a\ e Havi ng been modeled after tunebooks created earlier for greate t attentIOn to th e need of the Lutheran and Re­ use in nglis h- peaking churc hes, they contained three formed tradi tion. e erthele . the collecti\e content of basic secti ons. The opening section included theoreti cal the tunebook In th e elect " t abO\ e mcluded repre en­ material dealing with reading pitches and rhythm ; th e tati e \ ork from e er) recognized re"glou mo\ ement second secti on consi ted of imple sett ing of chorale and and poetic t) Ie in th e uropean hi tor) of Prote tant hymns-in th e earlier, English-language model th is ec­ German hymnody; \\ hich i to a) th at th e compiler, a tion would have contained P alms a nd hym ns--th ese ar­ a group, had a good gra p o n th ei r heritage. ranged generally for three or four voice parts; and th e third Favorite text b artin Luther, Johann Heerman, Johann section contained more complicated mu ical forms (fuging Ri t, icolau Herman, Ba rtholomau Ring\ al dt, and a tunes and a nt hems, fo r example) which would have been ho t o f oth er Lutheran poet \ e re printed, ith th ei r of parti cul ar interest to the singers in choir a nd singing traditional tune , in great number. H mn b Joachim school.· eand er, th e greate t of th e Reformed \ riter, and \ ork Second, w hile the layout just de cribed sugge t a bias by Friederi c h Ado lphe Lampe and oth er were offered. The toward th e use of the book by choir and tudent s in Pi eti st traditi on wa represented b ugu t Herman Franc ke, singi ng schools, a ll the tunebook cited contained music Gerhard Ter teegen and oth er , and Paul Gerhardt and (th e c horales and hymns I j ust me nt ioned) w hich could be Johann Franck a re but t\ 0 o f th e poet o f the My ti c bent sung by congregati ons in services of wor hip;5 th is was which were present. The Ra ti o na li t poetic tyle \ a made clear in th e full ti tl e of each coll ectio n by uch repre ent ed by Ch ri tian Furchtego tt Gellert and Balt ha ar expressions as "vornehmsten Kirchen-Melodien," or "Church Munter, among others. On occa ion, hymn texts by Adam Mus ic," or "Sacred Music." Significantl y, endorsements Reissner of the Schwenkfelder deno mination Heinrich offered by knowledgeable and recognized individuals­ George euss of the Brethren, Paul Eber of the Moravians, organists, pastors, and synod officials, for example--were and F. Ulr Erhard of the Mennonites appeared.~ included in each book to praise the compiler's c hoice of Fourth, and finally, the e tunebooks generally contained sacred music selecti ons. By examining th e endorsers' cre­ some mu ical etting (fuging tune , anthem, hymns and dentials or c hurch affil iati ons it was genera ll y po ible to once in a while a Psalm) which were lifted, along with ascert ain whic h denominati ons were served best by the their English texts w hen a bilingual tunebook was in the music in the co ll ecti on. Michael Bentz's D ie Neue Harmonie, making, from the AnglO-American repertory. The mu ic for example, printed in Gett ysburg, cont ai ned endorsements wa composed by Engli hmen such a Martin Madan and from the organi sts o f both the Lutheran and th e Reformed William Knapp, and by American composers such a churches in nearby York, and from officials represent ing William Billings, Daniel Read, and Timothy Swan. The the Evangelical Luthera n Synod of West Penn ylvania and English texts were written by I aac Watts, Charles We ley, the Zion Classis o f the Evangelical Reformed Church. and other of near-equal stature. Mo t of these borrowed Actually, compilers were moving against the tide in AnglO-American pieces were popular selections which had offering this congregational mus ic for, as hi story tells us, appeared in tunebooks printed to support the ew England through roughly ] 850 congregati ons were singing from singing school movement w hich began in th e 1720s, was hymllals (word books) which, except in rare instances, wonderfully vital through the century, and was on the wane contained no music. Accompanime nts for th e congrega­ in 1820--just as si ngi ng schools were attracting th e int erest tional singing, certainly those heard in a typical Lutheran of th e German in Pe nnsylvania. Still others had appeared or Moravian service, were provided by an organist reading in tunebooks pri nted farther down the coast: in ew York from a chorale book, th at is, a mus ic book w hic h contai ned City, Philadelphia, and Ba lt imore, for example. traditional chorale a nd hymn melodies w ith bass lines, to T he task of electing a nd arrangi ng th e materi als for which the trained organi st would add the notes necessary these tunebooks was imposing; some o f th e collecti o ns to fill out the harmonies. These tunebooks, on the other contai ned more tha n two hundred composition . The work hand, offered the advantage of having the features of the chall enged each compiler's knowledge of 1) his own sacred

83 • " .. - i,.''' "-"_(._. __ 0 __ ._"'_. __ ._.-'.. _ .,_._ . _,_.-.-~-.-.-.-.- ._. _._._ ._ .. __ ._. _._._.• _._.-__ ._. ,\,

: · Q: 11 t I) (\ I t C II D · I st i rd) cn ~ rot C( 0 bi C11,

~I~ l'ClI ,'II ~n :,),climl)Il" ~~llMrlll](Wl (lCrv.iurbllCb, l1ufIJlC! (?tIIl'mm g~fnt,I.I,l 11 ,1( (1l11 .CI! ~jtiftflllilcl' ~ .7'i.ctrn I ,bli 1Il1tcll'Id': IlOld'\ll, dllQcwl ret ~lIt lt cblllhllcr 1II<1CI Il UIli:' \11111 (II, 'I lie!) lC:; l'ttCi1!ildIC I ('!L'ltC"ll Illc" \~~I(,'Cl; ohllc I liD mit 1:(1 ('loci t.'1l11 9 bl'\lUCl,t 11 CI CIi, 1\111111 CIII .L 1'01'111)1 ~ • l • t mqldl1 a )}!uflf bcob,\, ltC! .1 ~ i

J ,.., " c (~) C I' h" It. 'ct". ·t r~ , I l I) h " II II ;--. Q' II C I \.. I!~ ,11 I ., ... » , .. , (

~ "." ,., ,. I' r' I ,. J r,.,. , , ,.,.,. , r" , , ,.,. t ( _. ____ ...... _riI __ , ~ ~ t I ,n "u! t' r (1- I;' lC- ) f ~ .. ~ _ ~~.~o(

Fig. 2. Title page of Isaac Gerh art's and Johann F. Eyer'S C horal Harmonie (1822)

music tradi tio ns and heritage, and those 0 1' oth ers; 2) the Harmonie, emerged from the recesses of a private coll ec­ existent repertory in both the German and Anglo-Ameri can tion;8 and, while th ey are neither complete9 nor free of categories; and 3) th e general principles an" practi ces of occasional errors or changes of heart , they are nevertheless music. (Given the fact th at th e typical Penn sylvania-Gcr­ bo th enl ight ening and engaging. T hey substant iate th at a man compi ler was nei ther a th eologian nor a professional large number of works from th e 1822 edition of Choral musician, we must marvel at even th e parti al successes.) Harmonie, the German-language tunebook by the Reverend Moreover, in th ose cases where th e compilers elected to Isaac Gerhart (1788-1865) and Henry's fa ther Johann produce a bilingual tunebook,7 th e labor of th e venture Frederick (1770-1827), provided Henry wi th th e core o f more than doubled fo r, to cite but one specific problem, his coll ecti on. Moreover, they identify still other publica­ the rh yth m of th e Eng lis h tex ts (o ri gi nals and tran latio ns) ti ons Henry fe lt to be popul ar, and therefore worthy, sources did not easily confo rm to melodies composed to th e rhythm o f materi al; they reveal how he organized and controlled of th e Germ an language; conversely, German texts did not the array o f materi als he mustered for inclusion in his own easi ly confo rm to th e melodies fo und in selecti o ns bor· coll ecti o n; and, perh aps most interestingly, they occasion­ rowed fro m th e Ang lO- Ameri can repert ory. Adjustments all y all ow us to participate, even now, in Henry Eyer's were requi red in almost every case. A ll th ese chall enges very personal deliberati ons as he came upon and then no twithstand ing, it was the ca e th at by using some newl y worked around particular problems. composed selections, and borrowing oth ers fro m a vari ety The "working papers" consist of six separate items: of sources and traditio ns-some they took intact, some they three individual sheets of manuscript music score; one rearranged, still oth ers th ey created by pairing melody fro m small sheet cont aining a German rendering of the four here wi th a text fro m th ere-each compiler produ ced a stanzas o f Regin ald Heber' s FROM GR EE NLAND 'S Icy tunebook coll ecti on w hi ch he hoped would enjoy health y MOUNTA INS; Eyer's preliminary " register," this being one sales. large sheet of pencil -lined paper, fo lded, co ntaining the Un til recentl y little evidence existed to document how titles and sources (by author and page number) of selec­ compilers handled this organi zati o nal process. Then, in tio ns Eyer wi shed to include in his first (1 833) collection; 1991, work ing papers created and gathered by Henry C. and, fin all y, a working copy of th at 1822 edition of Gerhart Eyer while preparing hi s 1833 edi tio n of Die Union Choral and Eyer's Choral Harmonie (see title page in Fig. 2), this

84 1111 1De I. \ I I R, I ... ' ":. It.; ;, ~" ",("" ..( ,'',,, /. " ' / ,.~ ",~ ,/'",/ ,. t' • I\(1 '

" ~ 1 - -Itt , /Il,. I . 'f' \' ~ '.("4,-, ., I~ - 2 " "". .. 1, , . , "\ I N , ; . , . , ( ~ ' / 18 ( - =

i J: ( ' I- t

Fig, 3. Page 54 of Henry Eyer's working copy of Choral Harmonie (1822)

with many paste-ins containing mostly the English texts with many new pieces which have never before appeared which the printer was to lay in under the German texts in print." of those selections Henry intended to carry into his own Henry, of course, u ed the working-copy book in a very bilingual collection. interesting way. Since he evidently decided early on to u e a large number of selections from this collection, which THE 1822 WORKING-COPY BOOK offered only German texts for 172 of the 181 pieces which The presence of a copy of Choral Harmonie among were printed, he found it most expedient to simply pa te these working papers is not surprising since this publica­ English texts into a copy of the book itself. Figure 3 shows tion, undoubtedly, was the inspiration for Henry's efforts two examples which appear on page 54 of Henry's working in the tunebook production business. In fact, Henry pub­ copy: a pa te-in containing the English text "Life i the licly acknowledged hi s debt to this collection, saying in time to serve the Lord" is attached in the right margin and the preface of his own first book that falls atop BRIDGEWATER and another, containing the text " In thy great name, 0 lord, we come," falls atop STA DISH. 1O The "Choral Harmony" published by Eyer and Gerhart, Visible too, is Henry Eyer'S addition of the composer's has been used by him [Henry] several years while name (Edson) and the meter (L.M.) to the BRIDGEWATER engaged in teaching Sacred Music, and has become a score, and the meter (C.M.) to STA DISH. Henry added the standard work in the German language, wherever it has meter information to almost every borrowed score, and also been introduced. The high estimation in which the work a tune title when it was absent, and the composer's name is held ... has induced th e editor to make an attempt whenever it was known to him. to improve upon it, by making arrangements for the Henry recorded in this working-copy book adjustments publication of the present work. of other types as well. On a few occasions he changed just one or two German words, meticulously pasting the To make the connection between his book and his father's tiny replacement(s) here and there over the printed text even stronger, Henry went on to say that his Die Union (Fig. 4). Several other pages show pitch changes made in ChoraL Harmonie "contai ns a Selection of all the choice pencil, and a canon melody (page 33) was completely pieces from the 'Choral Harmo ny ' ... to which is added eliminated from consideration by an " X" which was pen­ a great number of melodies copied from the best authors, ciled in over the full score. In the case of "Ach Gott erhor

85 • < 4. .. l

, .. ~~.~- - ..

: ....'"-' 1. ::.-~~ ------.", •• , -.- ~-.... ~~- to ~ ",-'

Fig. 4. Page 37 of Henry Eyer's working copy of Choral Harmonie (1 822) mei n Feufze n" (page 116), Eyer inked in th e titl e LAM­ on Henry's own book. At thi s moment there is no reason E TATIO , pasted in hi s Engli sh text, crossed out th e printed to believe th e work ing-copy book was not' used in precisely Germ an text with pencil , and added the directi on "Germ an thi s way. words from th is Book page 43" to th e paste-in. The printer fo ll owed all these alterati ons/directi ons when th e 1833 EYER'S PRELIMINARY "REGISTER" book was prepared. A very di ffere nt and, in orn e respects, more import ant At th e same time, decision made in thi s working-copy perspective on Eyer's intenti ons and wo rk methods emerges book were not always fin al. In a few cases Henry pasted from th e manu script "register" in th e e working papers. in words-indeed, sometimes both Englis h and Germ an­ Thi s is a relati vely large sheet , 39.5 x 30.2 cm ., which and then di d not use th e selecti on at all. Thi s was th e case it seems Eyer folded so as to create two leaves, i.e., four wit h KREUZ- LIED (page 127), FEVERS HAM (46), HANOVER page surfaces. Fi gure 5 shows page 1. This page, and pages (85), NEW JAHR'S LIED (86), BATH (98), BLESSED SAVIOUR 2 and 4 as well , cont ains two li sts, each in a three-column (101), and SEATON (11 8). In two rare instances, AYLESB URY layo ut. Each list offers, in Eyer' mostl y ink script, in­ (95) and NEWTON (1 17), Henry pasted in Englis h tex ts fo rmati on related to th e selecti ons he initiall y intended to which were th en repl aced in th e fin al stages of setting the inclu de in hi s coll ecti on. The titl e of th e selecti on i given type. In the case of AYLESBURY, th e pasted-i n tex t of "The in th e fir t column; th e source of th at sel ection, identi fied lord my shepherd is," by Isaac Watts, was replaced by th e most often by th e init ia l of th e author's las t name, appears same poet's "0 blessed soul s are th ey." In NEWTON , th e in th e second co lumn ; and th e page num ber in th at source text " Let differing nati ons join " was repl aced by "Come in whi ch th e selecti on could be found is writt en in the thi rd sound his praise abroad" (Watts). col umn. Henry worked neatl y in the firs t stage of thi s More remai ns to be said about th e specific works Henry register'S development ; later, when second th oug ht s took from Choral Harmonie, but what should be sa id now prompted an addition or del eti on, his script became care­ is that he used the work ing copy itself in a very efficient less, and hi s em endati ons were made in pencil as well as man ner. Henry alt ered in one way or anoth er 130 of th e ink . 18 1 scores in th e book, and each was executed with Henry grouped th e titles by meter. The Long Meter title sufficient clarit y of detail and intenti on so as to all ow th e list and Comm on Meter list, running side by side, begin altered score to serve as a guid e when typesetting began on page 1 and ext end approximately halfway down through

86 /" ~ /' / (>'':'rJ'-'~-I1 ) '1.:..... 7" ((/" r , t' /

L ~~..J'i ?- <:I/"~ •• /.., r" ••

N

~~

~ /r ' II_A'~/ _"JI Jr. ' I~ ~

t'L;_ ~. 'W ",, '¥l tfL) 'II /, ' .) j k~r ;':£-' 11 /; /u,/ (SIr; 1f;.u",{ /f./I) '11'

(t r "" k~;trt~_ < {"6 'Y6-a#,' '. .• ./ );L<.~,,~ /r1j /1. ,:

tk-:" , •. tI:...... '?'. I u:. ,~/.;""~ Y;;rH~ ':!Y, b,", ~ .I' ~.-/

~/< ;- ' ~ -' /<7 If:.:~ - . ) f

Fig. 5, Page 1 of Henry Eyer's manuscript "register.)J

page 2; page 3 is blank for th e most part;!! and page 4 be crossed out and Ii ted again In the correct place. For contains th e Particular Meter and Short Meter lists-they example, Eyer had at first included the Billings work , also run side by side-and the anthems as well. A total DAVID 'S LAM ENTATIO , in the Particular Meter list; it was of ] 57 titles are li sted on the three pages, all but seven later crossed out and rem oved to the Anthem section. In written in ink. However, ten titles, specifically MI LES LAN E, an other, unusu al situation, two different titles came to WALSAL, CLIFFORD, CARR'S LAN E, TRANSPORT, HA NOVER, represent the same composition: a manuscript that will be PICKER ING , DAMASCUS, SI LENT D EVOTION and DAVID'S LAM­ discussed later makes it clear that Eyer changed the name ENTATION appear twice. The first three of these were initially of one of his own creations and, of course, both titles made jotted down in the lower-left corner of page 2 in pencil, their way ont o the work sheet. ISLE OF loVE was listed rather as a reminder that they were available and worthy first, but it was crossed out sometime later and the new of consideration, and then they were written again, in a title, HARMITAGE , was squeezed into the list immediately formal manner, in ink, in the appropriate metrical group below. Summarily, only 146 really different compositions and with source and page citations. In the case of TRANS­ are represented by th e titles on this working paper.! 2 PORT, Eyer inadvertently entered it a second time in the It is important to note that on this work sheet Eyer gives Long Meter list, and crossed it out after recognizing hi s very little attention to selections from th e chorale repertory; error. The remaining six works were simply assigned to it contains on ly six works, EVE I G HYM ,FUNERAL TH OUGHT, the wrong meter group to begin with, requiring that they MEAR, NASHVILLE, OLD Hu DRED, and WEIMAR, which Eyer,

87 by hi s own index in g, viewed as legit imate chorales. That th ese circumstances into account, th e number of selecti ons is, hi s co mpl eted book came to include an index which other than chorales which Henry carri ed over from his drew attention to seventy-five chorales and all th ese se­ fa th er's book was determined to be fifty -o ne. ' 7 lections-in cluding th e six titl es I just cited-were li sted, Eyer drew from three other Pennsy lva ni a-German col­ by firs t-lin e in cipits, in German, in th e rear of the book lecti ons as well (a nd all three were menti oned in the select und er th e head ing Regis/er VOIl Choral-Melodiell .') Seventy li st I offered at th e outset of thi s study) . Eighteen selecti ons of th e chorales li sted were carried from his father's 1822 named on th e work sheet were to be taken from th e Die compilati on and th e rem aining five, specificall y NASHVILLE, Neue Harmonie ... von Michael Bentz, York, Penn. This ZI ON CHURCH, FREEBURG, DIAN NA and SCHI NDEL, were fou nd now-scarce, bi lingual book was printed by Hen ry C. elsewhere. '4 The hi stori ca l/traditional importance of most Nein stedt in Gettysburg in 1827 and was th e onl y coll ec­ of th e chorales Henry Eyer selected is reinforced by th eir ti on Bentz released. Nin eteen selecti ons were cl early marked appearance earlier in two oth er signi fica nt American to be ex tracted from John Rothbaust's very popular, bi­ publica ti ons: in th e Erbauliche Lieder Sam lung zum lin gual compilation of 1830, The Franklin Harmony and gOllesdiell sllichell Cebrauch ill dell vereilliglell evall gelisch Easy In structor ... Second and Improved Editioll. In point lu/herischell Cellleill ell ill Nord-America of 1786 (and that of fact, after working around several attribution errors and of 1 14), which was th e firs t synodical hym nal in America, omitted source citations, a total of twenty-four selections and th e Choral-Buch fur die Erbauliche Lieder-Sammlullg were found to trace to thi s particul ar book which was which , upon its appearance in 1813 , suppli ed the trad iti onal printed by Henry Ruby in Chambersburg. Fin all y, Joseph mu sic for th e tex ts in th at hymnaL'5 Sixty-five of Henry's Doll's Leichter Unterricht in del' Vokal Musik, printed seventy-fi ve choral e texts appeared in th at hymnal and by John Wye th of Harrisburg in 1821, was giv en as th e fifty -eight of his chorale tunes appeared in the chorale source of two pieces (CONFIRMATION and ASHVILLE), though book. Incidentally, this body of works would have been th e second citation proved to be incorrect. of personal as well as commercial importance to Henry Since each of these three Pennsyl vania-German com­ for he was rai sed in the Lutheran traditi on. He was a pil ati ons contained a different assembly of pieces from the member of the Sharon Union Lutheran and Reformed German heritage, they certainly offered Henry the oppor­ Church in Selinsgrove in his early years-his father was tunity to see, examine, and select from an array of pieces. the first organist to serve this congregation-and, from In all probability, though, their more important benefit lay 1843 on, of the Evangelical Lutheran Church in that in showing him which selections from the Anglo-American community. In fact, Henry's tunebooks were probably used repertory were included in each collection-their presence, by the members of these congregations, but no evidence of course, being a signal that the selections had achieved seems to exist to confirm this. popularity among the Germans in the geographic area these On this work sheet, though, Henry was undoubtedly collections represented. thinking in terms of that broad consumer market he wished Five English-language tunebooks were given as sources to tap- those "Christian Churches of every denomination." and, not surprisingly, John Wyeth's works were among As a consequence, he is preoccupied here with genres them . Wyeth 's first (1810) Repository of Sacred Music was (hymns, fuging tunes, anthems, etc.), texts, and tunes which a landmark publication in that it signaled the beginning lay beyo nd the chorale repertory, and he reached out to of the singing school movement in Pennsylvania; and his a variety of Anglo-American and German-American sources Repository of Sacred Music, Part Second, of 1813, was to get them. a landmark publication in respect to its contents-it was In identifying the sources of these selections Henry C. the first English-language tunebook to include Southern Eyer referred to nine collections .'6 The 1822 edition of folk hymns along with standard selections from the New Choral Harmonie, which Henry identified as " Eyer's Book," England repertory. These new folk hymns, which were was cited most often; he ascribed fifty -three titles to this stimulated into existence when the great evangelical very accessible source, most of the time not bothering to movement of the nineteenth century spread across the include the page number. However, once the accuracy of south, were tapped by compilers working in the south, and Eyer's work was challenged the figure fifty-three lost its by Henry Eyer, who was attempting to create a collection integrity, and it proved to be somewhat misleading in of broad appeal for singing schools, choirs, and congre­ respect to the repertory it represented. First of all, the gations in Pennsylvania. On Henry's pecial "register," verification process revealed one title (DAMASCUS) which Wyeth's Repository of Sacred Music .. , Second Edition, was incorrectly ascribed to Choral Harmonie, and another 1811 , was given as the source of eleven pieces, and his (BLOOMSBURG) which should have been credited to that Repository ... Part Second, 1820, was identified as the source. It also came to light that Henry dropped a number source of four others. All the citations but one, L1NGHAM , of th e correctly ascribed pieces so metime before his book were found to be correct. 18 went to print and, as will be discussed further below, that In the case of EVE ING SHADE, Eyer referred to its source he ultimately used compositions from the 1822 compilation with the abbreviation "St. J." The book proved to be The which were not listed on this work sheet. After taking all Americall Ha 1'111 0 11 is/ ... , a compilation which appeared

88 just oncc; it was authored by Stephcn SI. John and printed German l C.'\1 \\ ere 10 be lil en r m lhal cit: lion a il \\ a by William Greer in Harrisburg in 1 21 . The source of prtnted 10 the Bentz boo , and lhe ng I h tc'\! \ a 10 be thrcc other selection, TERLI G, M ORA VIA Hy "'1 ', and laen from \lERIC a It \a prccnluj In \\ ~clh'_ M EDFIELD, was idcntified by the abbreviation " Ha" or Reperror) ccond dillon, 1 11 \RROt TO . '\f\\ H"R to ) , York were issued on an almost annual basis from 1 ] HARRI BL RO, POTTS\ ILLr, 'n\ E R, \\ >\~DERI'G THou(,HT, into the early 1830 . The page numbers attached to the and OlJ'\T IRY (thl en tr given full) In pencil). the.e three elections on Eyer's work sheet match the locations bei ng piece hi fath er compo ed; HER.\IIT·\GF, I'Ll' ORO\ E, of those selections in the eighth, revised edition of Musica and ILE DEVOTIO, Henr) , 0 \\ n piece; and BROTHERt)

Sacra, which was released from the print shop of William LoVE, a el ecti on of undetermined aut hor hip.:!O 0 \\ \\ hlle Williams in Utica in 1829. all th e compo ition j u t named w ere printed In th e I 3 The fifth English-language source Henry cited-he collection, Henry piece are th e onl y worh. repre ent ed referred to it as " D yer" on his work sheet- proved to be in manu cript form am ong lhe \ orking paper no\\ being the mos t interesting verification challenge of this study. di cu sed. On the oth er hand, manu cript are a ailab le for Five titles on the worksheet, specifically L uTO , A NTICI­ two election \ hich \ ere not named on the \ ork heet PATION, CARR'S LA E, PI CKERI G, and D AMASCUS, are as­ but which were printed \ ith the oth er ne\\ Iy compo ed cribed to a Dyer collection, and all have been found on pieces. The fir t gives the text and mu ic for U BUR Y, the precise page Henry specified in the " Third Edition, compo ed by the Reverend Johann Peter chindel (17 7- Improved and En larged" of Samuel Dyer's A New Selection 1853) of unbury, Penn ylvania, and the econd gi e the of Sacred Music ... which was printed by J. Robinson in same for CHARLOTTE, a work of unkno\ n author hip. Both Baltimore in 1825. However, th e music and English text manuscript will be di cussed below. of yet anoth er selection listed on the worksheet, PEBMARSH, The la t observation that must be made about this fo r which Henry named no source at all, has also been important work heet concern its notational feature. That traced to D yer's th ird edition (page 84). A nd beyond that, i , th e majority of titles Ii ted are preceded by accounting two titles w hich appeared twice on th e work sheet show marks which take three fo rm : an " X " , the tandard check so me link to the very same book : M ILES LANE, ascribed mark (/), and th e dot-and all th ese appear to ha e been to Bentz in the Common M eter list, and W ALSAL, hav ing written on the work sheet in th e latter stage of deliberation no source speci fied but employing music th at appeared in abo ut th e collection's contents. The large t number of title , th e Rothbaust book, w ere found in D yer's th ird edition (th e 11 8 to be precise, were preceded by a penciled " X," and former on page 73, the latter on page 114) with exactl y some of these are visible in Figure 5. ow since all but th e same music and English text. 19 Given th ese circum­ one (SWEET HOME) of the works so marked were used in stances, and that CARR 'S L ANE and PI CKERING were even­ the 1833 collection, I bel ieve the marks were made by Eyer tually scratched from this w ork list, Henry Eyer seems to to identify th ose selections which, after considerable thought, have been more casual in his dea lings w ith D yer's col­ remained worthy of inclusion in his collection. This in­ lection th an with the others. terpretation is reinforced by what will now be said about While th e information Eyer provided in th ese ascriptions the dot. was severely abbreviated, it was nevertheless very effective The dot, always in ink, was written in front of twenty­ in making his desires clear. W hen he specified that a five titles and seems to have been Eyer's signal that the selec tion w as to be found in one of the English-language works so marked should be dropped from consideration. sources, the use of th e music and English text given for The dot appeared with seven pieces which, in fact, were th at piece was implied, and Eyer identified, in a smaller not used in 1833; and in all the remaining instances the hand under or behind th e title, w here th e German text to mark was superseded (written over) by a penciled "X" be used with th at sel ection would be found. For example, which brought the selection back into favor and use. under the title A MITY, which w as to be taken in its entirety The common checkmark, being alway in ink, was used from page 94 of W yeth 's Repository . .., Second Edition, only with the anthem titles. It appeared before nine of the 1811 , Eyer wrote " G[erman] W ords from Bentz - 104." eleven titles Eyer listed but, since ome of the pieces On th e oth er hand, when th e se lection was to be taken bearing this mark were used in 1833 and some were not, from a Pennsylvani a-German tunebook oth er th an his fat her's its precise meaning can not be explained. What is clear (where Henry had pasted in th e English texts he desired), in this section of the work sheet, though, is that Henry th en th e musi ~ and German text were to be taken as a Eyer was indecisive about his final selection of anthems. matter of course, and the English text as well unless one In fact, only five of the eleven titles he listed came to from some other source w as speci fied. In th e case of be included in his 1833 col lection; he used on ly D AVID'S A MERI CA, for example, Eyer stipulated th at th e music and LAME TATlON, D E MARK, CLARMO T [sic], EASTER A THEM 89 r/ ,y . ~ ~ " I "1 ,.~ ~ II .~ ,. : ,. • F· .. ~ ~ ~. r.-rr! I ::r- k'" ,. ~ ,. ~:: ... t -.. :t • ... ~ - ,.. ,\...... " " I ~ , • : I r:·~ . ~ -,.:: i r.r ,. """ , 1[ ~ •• 1 ~:Et ~;" I

• • '/" ~ .. .. " . ' " ~ ,. Ct' 1 Y"~ " It '.11 ":~ I !i/' ~ . .. /, .. ,t ... .. '.... / • ~ I I. ~".:JI ~~ .. ,~ •• , ,.I.. ~ .' ~ , 1, (1 /, '1 - ~,.l~ ",. , ~ I",. "" "'/,1 .... 11'"., . I ,.' .or .' u r:::' )- .. /I • • .: . /I .. , . ., - /I ,. .. ~ . , "C: { t! I .. r ;

Fig. 6. Manuscript copy of SUNBURY by the Reverend J.P. Schindel. - and NEW Y ORK from a list which also contai ned FAR EWELL used. Now since Henry's 1833 collecti on came to include A NTH EM, CREATION , PI LGRIM'S FAR EWELL, V ESPER HYM N, only 142 pages of printed music, it would appea r th at he STRIK E TH E CYMBAL, and FROM GREENLAND'S Icy M OUN ­ felt the number 151 to be excessive, and th at he achieved TAl s, th e latt er work havi ng been incorrectly placed there th e lower and more desirable figure by si mply reducing to begin with. the number of anthems he offered to five. Regard ing Eyer's indecisiveness, ca lculat ions fou nd on another of the work sheets suggest th e nature of th e dilemma THE MUSIC MANUSCRIPTS Henry felt he faced and, in turn, help us understand hi s The pages containing music score, and the small sheet solution. On the backside of th e manu script containing bearing the text of Heber's piece too, appear to have been Schindel 's Su BU RY Henry wrote a list which contained wri tten on portions of sheets of th e large 39.5 x 30.2 cm nine an them titles with numbers, first " N York 3 1/2"; then size mentioned earlier, and all are in Eyer's own hand . " Clarm ont 3 1/2; Easter A . 2 1/2; Denmark 2 1/2; Farewell The smallest manu script, seen in Figure 6, measures 10.5 A.3 1/2; Pilgrim F. 2; Greenland 1; Strike the C 3;" and x 33.7 cm. It cont ains th e sco re for SUNBURY, a three-voice " Davids L. 1. " Written below th e numbers, which represent compos ition wi th a si ngle stanza of text in German and th e number of pages required for the printing of each English written between the lower two voice parts. The anth em, is th e sum of twenty-two. Under this sum Eyer attribution " Revd J.P. Shindel" [sic] is given in th e upper th en wrote " 129," thi indicating, apparently, the number ri ght-hand margin of the sheet (a nd one is puzzled by of pages Eyer thought had alrea dy accumulated with th e Eyer's error in spelling for Schindel was a close friend). oth er se lec ti ons. Finally, he tallied the figures 22 and 129 The back side of this sheet contains those important anthem to crea te th e sum " 151." I n these calcu lations Henry ob­ page-figure calculations which were just discussed. viously was att empting to determine th e number of pages The largest manuscript music score, a portion of which of music his collection would have if all nine an th ems were appears in Figure 7, measures 29 x 30.2 cm. It contains,

Fig. 7. Manuscript copy of CHARLOTTE, author unknown.

.,

1",. . .t. ..4 .... '.' ..... _ ._,.."...... I ' ~ " , /r /:. .. 1 . ... ,,- - .,. .. 90 ' ...... ~, .. ,. . I; . . •• ; -: . (

"'H, . _ .... nh ' ...... , ... ..

~ . l A'.~ . , .. • • • ...... , • •

...... ,""t ;# ...... • • = ::1 • ~ -

• II. • • ..... v C. 0 ;:l .... 0- ,') .. ... ~ ..

') ..- .. " c 1, - J ~ '. n

(. .) . ~ - c. ~ •• ~ c

,., • ') t • ., c 0 o o J 0

Fig. 8. Manuscrip t copy oj SELINSGROVE and H ERMITAGE by H enry C. Eyer. on one face only, the score of CHAR LOTrE, a three-voice English-language and oth er Penn yl ania-German collec­ selection wherein the first stanza of English text is writt en tions w hich were identified above. between th e middle and upper voice part , w hile the German The rem aining mu ic manu cript mea ure 20.1 x 30.2 is laid between the middle and lower. Two additional cm . Here Eyer doe give him elf credit for authoring th e stanzas of the German text and two of th e Engl is h fill up music and th e English and German tex ts of th e three th e low er hal f of th e page. While this manuscript is quite election which th e shee t contain. His initial (HCE) clearl y in Eyer 's own hand, he takes no credit for th e music appear to the right of the ti tle ELI SGROVE and of HER­ or th e German text. (The English text is Charles W esley ' MITAGE, two pi eces which were notated on one facing ( ee " Love Divine, All Love Excelling.") In any ca e, CHAR­ Fig. 8), and to the right of SILE T D EVOTIO w hich con­ LOTrE came to appear on page 127 of th e 1833 collection. sumes all the space on the back ide. In th e ca e of his Beyond the mystery attaching to its author hip, CHAR ­ ELI SGROVE, a four-voice pi ece, Eyer laid in two stanza LOTrE is important in being one of sixteen non-chorale of English text between th e alto and tenor parts, and two composition which were not named on Eyer 's work sheet tanzas of German between th e tenor and bas parts. In but which nevertheless came to be included in hi collec­ preparing this core Henry fell into tep with hi father tion. Eight of these compositions were drawn from the who, when notating four-voice work , always set the sopran o 1822 book: Henry borrow ed B RUDERLI EBE-he changed th is part in the C (alto) clef; indeed, Henry held to thi outdated title to BAND OF LoVE-B ER LI , HOTHAM, JOYFUL SOU D, practice until preparation for hi 1 39 book began. MAJ ESTY, Su DAy- he changed this title to SABBATH­ For HERMITAGE, a three-voice piece, one stanza of Engli h THANKSGIVING, AND WHITSUNTIDE. Of course English tex ts tex t wa placed between the middle and upper parts and were found pasted in the 1822 working-copy book atop two sta nzas of German were laid between the middle and these works, just as was the case with th e pieces Eyer did bott om parts. T he man uscript indicates th at the title initially name on his large work sheet. As for th e remaining eight applied to HERMITAG E was ISLE OF loVE ( Figure , bott om). works of the unlisted group, the CH ARLOTrE and SUNBURY T hi was rath er boldly lined out in ink sometime after the pieces discussed earlier account for two, and th en th ere sc;Q [ e. was comoleted and the title HARMiTAGE was added was WEST HANOVER, which came to be identified in the in ink with a much less delicate script. The change from 1833 collection as another original composition by Johann " A " in HARMITAGE to " E" in HERMITAGE w as made in pencil Frederick Eyer. Finally, Henry used FEDUCIA, FROO ME, HOME, at a still later date, th ough certainly before the printer began SAVANNAH, and TOWANDA, which he borrowed from th e his work.

91 With SILENT D EVOTION , another three-voice composition, needs of the various German enclaves in the southeastern Henry placed the first stanza of English text between the quadrant of the Commonwealth. The Wyeth, Hastings­ middle and bott om parts, and th e second stanza of English Warri ner, and Dyer collecti ons, on th e other hand, provided text under the bott om part. In contrast to the other two Eng lish-language materials which offered diversity in style scores, no German text is offered here, although a trans­ (th e folk idiom and the cultivated style) and represented lation of the hymn text that was offered, " As down in th e a rath er wide geographic spectrum of tastes. The Hasting­ sunken retreats of the ocean," did appear over the Eng li sh Warriner collection, it should be recalled, emerged from words when the 1833 coll ecti on was released. In addition, Utica, this situated in a rural porti on of New York State this score s hows a foo tn oted correcti o n: Eyer erred in th e some 225 miles north and east of Selinsgrove. Dyer's work, soprano's third measure of th e second brace; hi s attempt on th e other hand, emerged from more cosmopolitan to repair the damage led only to further damage, and so environs; hi s collections were printed first in New York he wrote out a correct version of the measure in the lower, Cit y, later in Philadelphia, and still later in Baltimore. left-hand corner of the page. Sig ni ficantly, Dyer chose not to let the urbane character of hi s publication go unnoticed, boldly stating in his A New THE HEBER HYMN TEXT Selection title th at th e collection contained nearly all the The last and s ma ll est o f the manuscript working papers popular melodies which were standard "i n the principal measures 21 x 14.6 cm. Under the titl e FROM GREENLAND'S Ci ties in the United States." Ic v Mou TAl s, which is given in English, Eyer has written Other consequences of Eyer's work with these sources in a very neat ink script a translatio n, in German, of are less visible. First, they allowed Henry to muster a large Reginald Heber's hymn text. Interestingly, Eyer specifi ed number of popular pieces of all the genres (hymns, fuging on his large, " register" work sheet that th e German words tunes, anthems, etc.) with relative ease. His collection for this selection were to be taken fro m page 170 of th e certainly stepped beyond the proporti ons of the 1822 core Rothbaust book, and Eyer has surely complied with th at book by his father and Gerhart ; Henry offered 214 pieces direction both on this worki ng paper and in hi s printed while hi s father a nd Gerhart offered 181. Second, the collection of 1833. But he has gone several steps beyond additio nal thirty-three pieces being distributed rather pro­ that: this work sheet, and th e subsequent printed version portionately among the various types, raised the individual too, offer four stanzas of Heber's text w hile Rothbaust's genre totals to levels which made the collection enticing printing contained o nl y stanza 1 and the second half of to a ll the parties--congregations, choirs and si nging schools stanza 2. Even more notable is that, while Eyer took th e -which used tunebooks. An analysis of the selections in full measure of German text Rothbaust offered, he did not both books shows th at while the earlier book contained take th e musical setting that accompanied it; Eyer's 1833 145 works of very plain chorale- or hymn-type settings, compilation shows Heber's text mated wi th a four-part twent y-nine fuging tunes, three set pieces, two anthems, setting of its more tradi ti onal partner, Lowell Mason's and two small canons, Henry's 1833 compilation contained Missio ARY HVM .23 168 selecti ons of the pl ai n type, plus thirty-seven fugi ng The info rmation which emerges from a n examinati on tunes, four set pieces and five anthems. of the minute, explicit details of these working papers is A somewhat startling stati stic emerges as these musical impo rtant in its own special way; at the very least it makes types in Henry's collection are examined more closely. The us aware of th e variety of problems and the minutiae Henry number of musical settings which are of Anglo-American Eyer and every other compiler was obliged to control. At origi n far exceeds (i n fact, is almost double) that number the same time, images and perspectives of larger propor­ of works which have roots in the broad history of German tions can also be developed from this information. First, hymnody. This is an absolute reversal of the circumstance there is no cont esting the fact th at Gerhart's and Johann which prevailed in his father's book and of that we would Frederick Eyer's Choral Harmonie provided Henry with expect to find in a Pennsylvania-German tunebook. Inter­ the core material for hi s own Die Union Choral Harmonie; estingly enough, the shift in emphasis traces not to the 121 of the 214 pieces in hi s collection were borrowed from additional New England fuging tunes and anthems; many the earlier book. And, given the fact that Henry drew upon of those, after all, were already in the 1822 core book. collections which dated as late as 1830 (Rothbaust's The Rath er, it traces to the shorter and simpler types where Franklin Harmony), we can conclude that Henry did not we now fi nd many more hymns, these with musical settings begin serious organizati onal work on hi s first book until which are rooted in English-language church traditions. after Rothbaust's 1830 book reached th e public's hands. The numbers seem to substantiate the fact that Henry Eyer As for th e sources Eyer tapped, the cultural and geo­ was directing his collection at Methodist and Baptist and graphic diversity th ey represent ed all ow one to argue that Presbyterian congregations across the Commonwealth as Henry was a knowledgeable a nd imagi nati ve compiler. The well as at his German kin. Bentz, Rothbaust, and Doll publications, along with his In view of this situation, Henry Eyer's perceptive father's Choral lIa rmoll ie, s urely provided him with th e selection of English-language hymns offer no surprises. important core of selections necessary for meeting the The new pieces and his paste-in as well abound in original

92 tcxl~ by Isaac a tts, harlcs \\eslcy, Jame. ,\llen. enough clean and r~ad. Informall n t cep the t~pc.cttcr Alcxandcr Po pc, Joscph tcnnct, Philip Doddridge, and bus. a E) er. \ r In' \ ith Fran I. \\ dh, made thl.. nal o thers, and In texts which are best labeled as familiar adju. tment. n the olleclliln I"he n.: of the nc\\ I) translations of fa onte traditIOnal German hy mns - \1 )st compo. ed \\ or .. certalnl~ tho ... \; I dc. ribed earlier and of these autho rs and translators had al read won public probably the tlll·mi . . in' item. J \\ ell. \\ en. gencrall) favor in the cw ngland collecti o ns, and the outhern complete And \\hilea \\or Ingpaperll.tingE-)er'. hOI e collections s uch as had been relea ed by 1 0, and they of chorale. IS not no\\ a\ allable and ma) ne\ er ha\ (; been. came to be represented agai n in the Bapti t, angelical, the. core for the e\ ent) chorale \\ hi h \\ ere to be ta en M e thodist, Presbyterian, a nd Re fo rmed hymnal relea ed from the father'. I 22 boo \\ ere a\ allabk complete \\ ith in the 1 40s and 50 . H enry's labonou I) prepared pa. te-In. containing th A particularly s trong signal o f yer' ucce in elect- Engllh te,t" Thi \\ a true for the flit) -one non-chorale ing works o f broad appeal i tha t thirty-four o f the nglo­ electIOn \\ hlch \\ ere to be carned 0\ er a \\ ell. And American works hc incorpo ra ted into hi collection are ftnally, ha\ ing leaned rather hea\ II on the dl. crepancte cited in rawford' Th e 'ore Repertory oj Early American \\ htch appeared In ) r· ... large "regl t r," it eems onl} Psalmody. Then too, thirty-two of the selecti ons he took fatr to o ffer the remtnder that mo. t of the Information gl\ en fro m the German-language heritage a re among the fo rt y o n that w o rking paper wa truly correct. and therefore most po pula r works which were printed in Penn yl a n ia­ ready to guide the ty peetter In their wor . German tunebooks re leased in the fir t ha lf of the nine­ One ah a ho pe that the ml ing paper \\ hich relate teenth century.26 to yer ' work till ur i e and \\ ill one day cmerge to In conclusion, it is possible, and perhap even likely, fill in the gap in our kno \ ledge about the man' effort. tha t the working papers just discussed were u ed by the But even in their pre ent number, the paper no \ a t hand Francis Wyeth firm to cons truc t the first printed edition o ffe r in a luable insights into the challengi ng bu ine of of Die Union Choral Harmonie. Notwithstanding the fact o rganizi ng a tunebook. o reo er, the) offer a \\onderful that decisions to add and delete were made after Eyer kctc h of a Penn I ania citi zen, H e nry er, \ ho, \ e completed the e work heets, and that corrections were find, po se sed both a tute bu ine J...ill and a c r required he re a nd there, the papers c o ntained more than considerable knowledge of the field of h mnody.

END OTE

' In 1855 Ihi s large counl y was divided inlo Iwo smaller count y units, li st: in Joseph Doll's edition of 1810, of course, bu t also those of I 14 Union and Snyder, with Selinsgrove falling in the Snyder County porti on. and 1821, and his second collection of I IS ; in the two editions by Isaac Mo t of Ihe biographical information aboul Henry and the Eyer famil y Gerhart and Johann F. Eyer; and also in Roth bausl's I 21 collection, is now found in collections maintai ned by Ihe Snyder Cou nt y Histori cal and in doing so he crea ted a trend that was continued by OIher printers Society, Middleburg, Pa . in the Bentz, Henry C. Eyer, Weber, and Mu sselman tunebooks. ' A. McElroy's McElroy's Philadelphia Directory ... Containing the 'The first German language tunebook patlerned after thi model wa allies oj the Inhabitants, Th eir Occupations, Places oj Business ... Adam Arnold 's Geistliche Ton-Kullst; it was published in Hagersto\ n, besides other II seJIII inJorlllation (Philadelphia : Isaac Ashmead & Co .) , Maryland, in 1 03. Edward C. Wolf, in his "Lutheran Hymnody and for the yea rs 1849 Ihrou gh I 53 indicale that Ernest Schafer and Rudolph Music Published in America 1700-1 SO, A Descriptive Bibliograph) ," Koradi did not advertise Ihemsel cs as a firm until 1853. Consequently, COli cordia Historical Institute Quarterly, 01. SO, \ inter, 1977, p. 177, their prinlings of Henry Eyer 's la st collection, which were idenlified as tells us that Arnold's tunebook contained man) page~ of tandard German the 12th and 13th, could not have been mad e ea rli er than 1853. chorales and thirt y pages of " ew England·slyle hymnody and fuging 'The parameters given here have been set with several purposes in tunes- the earliest known printed example of such in Ge rman." Arnold' mind . The list which results gives Ihe reader a sense of the publishing general layout was then copied and brought int o Pennsylva ni a by Johannes act ivity which took place in the State in behalf of the Commonwealth's Rothbaust in his own Geistlie/le Ton·Kullst, which wa printed in Hanover German-speaking people. Moreover, it identifies those publications with in I 07. which Eyer competed most directly and introduces some of the collections sIt seems appropriale here to offer the reminder that tun ebooks \ ere from which he borrowed material. Finally, the list shows that there was first created in the earty eighteenth century to improve the quality of considerable interest among the Pennsylvania-Germans, in rural areas in co ngregalional singing. The compilers envisioned that singing·school particular, in the shaped-note system of music notation. part icipa nts would ca rry their new music·reading skills into the service A brief but important historical observation about the shaped-note of worship and lead the congregati on in the correct renditions of the system is called for here. Rothbaust's Geistliche TOIl-Kullst (1807) was music. Records held by the Snyder Count y Historical Society suggest the first German tunebook to use this type of notation but the notes were that the Rev. Isaac Gerhart and Johann F. E er emba rked upon the enlered by hand. Doll's Der leichte Unterricht, von der Vocal Musik publica tion of the first editi on (I 18) of Choral-Harmollie with that very (1810), printed by the John Wyeth firm in Harrisburg, was the first same vision in mind. German tunebook to employ moveable, shaped-note type. II seems that · When dealing with the authorship of the texts and tune which John Wyeth, who compiled several of his own very successful English­ constitute these traditional German h y mn~ , two particular reference tools language, shaped-note tunebooks, two of which playa rather significant inva riably come into play. The first is Johannes Zahn, Die Melodiell dcr role in this study, copied a four-shape note system which was introduced delltschell evallgelischell Kirch en lieder, aus dell Quellell gesch6pJt WId in Albany, New York, in 1798 by William Smith and William Litlle in mitgeleilt, 6 vols. (Giitersloh, I 9·1 93). The second is John Julian, A their The Easy Instructor. More importantly, Wyeth used the system in Dictiollary of Hymnology Selling Forth Ihe Origill s oj Christiall Hymlls quite a number of the publications in my select Pennsylvania-German oj All Ages and ations, an unabridged and unaltered republication of

93 the seco nd and la st revised edition of Jun e, 1907, 2 vols. (New York: " The full title of the hymnal is Erbauliche Lieder-SamlulIg zum Dover Publi at ions, 1957). This work was first published in 1892. gO llesdiellstlichell Gebrauch ill dem vereilligten evangelisch lutherischen 7These compilers included Rothbau st, Henry C. Eyer, Bentz, Weber, Gellleillen ill Nord-America, gesa mlet, eingericillet und zum Druck beJordert and Musselman, whose tunebooks were printed in 1830 and later. These durch die gesamtell Glieder des hiesigen vereinigten evangelisch men were no doubt responding to the greater use of English they wit­ lutherischell Millisterill fll s. I . Aufl. (Germantown: Liebert und Billmeter, nessed in the public institutions of their own German communities. For 1786). The chorale boo k's full title is Choral-Buch for die Erballliche example, record s maintained by the Snyder Cou nt y Historical Society Lieder-SammlulIg der deUlschell evangelisch-Iutherischen Gemeinen in indica te th at English replaced German in the schoo ls in Selinsgrove (Pa.), Nord Amerika. AuJ Allsuchell des deutschen evangelisch-Iutherischen where compiler Henry C. Eyer made his home, in the yea r 1826. Not Ministeriullls, herausgegebel/ von der Corporation der St. Michaelis-und surprisingly, Eyer's Die Ullioll Choral Harlll ollie of 1833, and also th e Zions-Gemeille ill Philadelphia. (Philadelphia: gedrucht bey Conrad Zentler editions which followed, were bilingual. At the sa me time, we should und Georg Blake, 1813). not forget that by producing bilingual tunebooks the co mpilers were " A list co ntaining a full bibliographic citation for each of these nine pulling people of purely English-s peaking backgrounds into their co n­ tunebooks appears at the end of this stud y as an Appendix. sumer market. " While there ma y be some merit in offering a list of all these titles, ' I am indebted to my friend and Son neck Society co lleague Dr. Walter the thru st of Henry Eyer 's effort s in selecting his repertory is characterized L. Powell who happened upon these materials in 1991 at a public aucti on, more succi nctly by the observation th at twe nt y-one of the se fifty-one recognized their importance, and saw that they made th ei r way safely selections ca n be found in Richard Crawford, Editor, Th e Core Repertory into my hands. oj Ea rly Alll ericall Psallllody, Vols. XI and XII of the Recent Research · At the very least, the manu scripts of several original selections which in American Music Series (M adison, WI: A-R Editions, Inc. 1984), which both Henry and his father co mposed, and which were included in the discusses the 101 AnglO-America n selections most often printed in America 1833 collecti on, are not among the papers now at hand . There is also between 1698 and 1810. Eyer, of course, was rea ching out for selections reas on to believe that a work shee t containing Hen ry's choice of chorales of established popularity. Incid entally, since these twenty-one selections ex isted but is now missing. were being taken from Choral Harmonie, the observation puts Gerhart's "'These pa ste-ins were written in ink in Henry 's own very neat script. and Johann Frederick Eyer's knowledge of the AnglO- American repertory Each was attached with an ora nge-colored sca ling wax, two drops being in a good light as well. pl aced in the margin, either in front of or behind the se lecti on that was '"Lt NGHAM was th e only inco rrect ascription in a group of Anglo­ to receive the text. AJI but a few of the 125 Henry in ert ed remain firml y American pieces which included the generally familiar titles BRooKFtELD, atta ched tOda y. Those w hi ch became deta ched over the years now see m IRISH, ENFIELD, AMH ERST, T RANSPORT, M ORETON, CHINA , COMM UN ION , ASHLEY, to be missing. and AMtTY, from W ye th 's 1811 publication, and Wt LLlAMSTOWN, 148th " Eyer, at so me point , penciled in on two quadrants of this page what - Eyer changed the name to COMPLICATION-FAREWELL A NTHEM, and surely are verso and re cto numbers of leaves of this music book he was PILGR tM 'S FAREWELL, from W ye th 's 1820 book. Eyer was particularly preparing. The numbers, running successively as they do from 133 to perce ptive in this choice of works: the first four listed above appear in 144 in the lower-l eft quadrant, and from 133 to 141 in the upper-right, Cra wford 's Th e Core Repertory oj Early American Psalmody (see endnote suggest that Eyer was making rough calculations about the number of 17), and three of the pieces named above represe nt that more-challenging pages which were accumulating as his work on the collection progressed. genre, the fuging tune. ''This deletion business comes into perspective faster when approached '·Some of these titles appeared in earlier and later editions as well, head-on: sixteen titles listed on this important work sheet were lined out: so metimes on the very same page. However, only the third edition ten by ink strokes and six by pencil. The appearance of DAVID 'S LAM­ co ntained all these works, and on the correct page. ENTAno ,CARR'S LAN E, PtCKERt NG, HANOVER, StLENT DEvono, DAMASCUS, "'This work will float on a sea of confusion until the original manuscript and FROM GREENLAND'S Icy M OUNTA tNS in incorrect metrical groups account surfaces. The title BROTHERLY loVE does not appear in the 1833 collection for seven line-outs (a ll the titles but the last were written again in the but the title BAND OF loVE does, and both titles may very well represent correct group); the repetition of the title TRANSPORT in the Long Meter the same piece. At the same time, BAND OF loVE most assuredly is the list explains another; the penciled remark "not good" behind the lined­ BRUDERLIEDE which Gerhart and Johann Frederick had in their 1822 book. out title BATH sugges ts a reason for the ninth; and Eyer's change of title It is possible that the three titles represent the same selection but, since (ISLE OF loVE to HARMtTAGE) precipitated the tenth instance. As for the BRUDERLIEBE was in print in 1822, we must then say that Henry was rem aining six instances, no explanation other than a si mple change of confused when he wrote the word "Copy" behind BROTHERLY loVE on mind can be offered. his work sheet. 13 1t is the presence of this special register in Eyer's book and the " Actually, one of these selections was listed on Henry 's work sheet general absence of chorale titles on this important work sheet which lead but with a different title. (See note 20 above.) His list included the name me to believe that the chorales were listed on yet another working paper, BROTHERLY loVE - this was given in German (BRUDERLIEBE) in the 1822 one that is now missi ng. book-but then the title BAND OF LOVE appeared when Henry's compi­ " Two important observations beg to be made here. First, seventy­ lation was finally printed. If, in fact, the three titles represent the same two of the chorales Eyer listed in his index were quite legitimate; each selection, then it is more correct to say that fifteen unlisted compositions mated a traditional chorale melody with a traditional chorale text. In the made their way into the book. remaining three instances though, DtANNA, ASHVtLLE and S C~UNDEL, this llThis hymn text has been seen in The Baptist Hymn and Tune Book: was not the case : the traditional chorale texts were mated with melodies Being "The Plymouth Collection" enlarged, and adapted to the use oj of much more modern chara cter. Second, in at least five instances in Baptist Churches (New York: Sheldon, Blakeman & Co., 1858), 206. his completed collecti on Eyer used a single choral text in two different The hymn is credited there to " Moore," allowing us to surmise that the se ttings: in one setting it was paired with the traditional chorale melody German translation that appeared in Eyer's completed 1833 book was and in the oth er it was paired w ith a melody of more modern vintage. by Henry himself. This was the case with the " Du unbegrietlich hochtes gut" text which 23 Lowell M aso n's work first reached the public in 1824 in a selling was set both with the traditional chorale tune FUNERAL THOUGHT and in for so lo voice with accompaniment. His choir version seems to have another se tting with N EW SADDATtt, the music composed by Dr. Edward appea red about 1832. Miller; with " Lobt Gott, ihr Christen , allzugleich," which was mated with " Utica held only village status when the eighth edition of the Music the chorale tunc M EAR, and again with VtRGtNtA, the music of Oliver Sacra was printed; it was not incorporated as a city until 1832. The U.S. Brownso n; with " Wie gross ist des Allmacht 'gen giite," which was set Census Report for the year 1830, one year after the eighth edition was with the chorale tunc NORTHUMDERLAND, and also with BERLIN, composer relea sed, gives Utica's population as 8,323. unidentified; with "Gelobet seist du , Jesu Christ," this paired with the 2.I When the dust sellled on Henry's work with hi first compilation, chorale tune CENTRE, and then with the GERMAN HYMN by Pleyel; and, he had retained the nine English texts which were present in the 1 22 finally, with the "Gott des Himmels und der Erden," which was set with book and added 188 more. Forty-four of all these texts were by Isaac the chorale tun e ANTWERP and also with CONFtRMA'1l0N, a livelier setting WallS and ten were by Charles Wesley. of unknown authorship that Eyer had borrowed from Doll's Leichter 26 Edward C. Wolf, "The 'Top 40' Pennsylvania-German Hymn Tunes," Ulllerricht of 18 10. In his special index, Eyer directed the reader only JOtlfl/al oj the Penl/sylvania German Societ)" 01. 18/1984/ 1. to the settings which used the chorale tune.

94 Aj'PI:.:-'OIX Principal our es or D,e m on !tora l /larmonie (I 3) onlenl

Bent z, Michael Ole 'cue Harmonic, odcr CinC ncue ammlung \on Kirehen-Musl k, enlhallcnd viele l usl 'all. che- lue e und J... Hchcn­ Mclodicn, wclchc noch nic 1m Druc er.,chicncn, und manchc dlc ncullch fu r d,cses erk componiert worden ~lnd; lu~ammengelragen aus den berllhmleSlen AUloren ncucr Zell , ncb I hinlanglichcm nlcrri hI fur Singschulen. York , Penn: Henry C. einsledl, Prinler [I 2 copy nghl] Doll , Joseph. Leichl cr Unlcm chl In der okal Musi ,cnthahcnd, die vomehmslen Kirchen-Melodien, die bey allen RcliglOns- crfa, ungen gebrauchli ch sind, auf drcy Slimmcn gesczl [sic): und mil den vornchm Icn Musi kalischen Slllcken, von verschiedenen Dichtern und Compomslen, sa mml hinrcichcndem Unlerrichl vcrsehen, eingerichici fu r Sing chulen, Drille und verbesserl e Aunage. Harrisburg. gedruckl bey John \ yelh, 1821. Dyer, Samuel. A ew Seleclio n of Sacred MUSIC conslsllng of aboul Two Hundrcd and Sixty Approvcd Psa lm and Hymn Tunes: From Ihe works o f Ihe mOS I eSleemed AUlh ors, Ancienl and Modern, ComprISing ca rl y Ihe Whole of Ihe Popular Melod ies, which have become tanda rd in the principal Cities in Ihe niled Siales, and a large proportion of Tunes Which Have evcr Before Been Pu blished In T hl Counlry: Generally arranged for Four Voices, and adapled 10 all Ihe elres In General Usc amongsl Ihe Various Rcligious Dcnominalions, To Which Are Prefixed An Arranged Index, Exhibiling at one view such Tune as are suitable 10 Ihe various Melres in Dr. Wails" Dr. DWight 's, Dr. Rippon's, and Ihe Melhodist Hymn Book and a conci e Inl rod uctio n 10 Ihe AIl of Singing, With Lessons and Example, Many of wh ich are on a Plan enlirely new. (Third Edilion, Improved and Enla rged). Bahimore. J, Robinson, printer (1825) . Gerhart, Isaac, and Johann F. Eyer. Choral HarmOni e. Enlh ahend Kirchen-Melodien, die bey allen Reli gions- Verfass ungen gebniuchl ich, auf vier Stimmen gesezi [sic] , und mil einigen mu ikalischen Stucken nebst hinreichenden Unterrichl versehen, eingeri chlel zur ebu ng der Jugend und zum Gebruch des ii ffentli chen GOllesdei nsles, welche ohne und mil der Orgel kann gebraucht werden, wann ein Orga nisl die Regeln der Musik beobachlel. Harrisburg: Gedruckl und zu haben bey John Wyelh, 1822. Haslings, Thomas, and Solomon Warriner. Musica Sacra; or Utica and Springfield Colleclions United: consisting of Psalm and Hymn Tunes, Anlhems, and Chanls, Arranged for Two, Three, or Four Voices ... wilh a Figured Bass for Ihe Organ or Piano Forte. Eighlh revised edilion ... with additions and improvements. Utica : Printed and Published by William Will iams, o. 60 Genesee Sireet, 1829. Rothbaust, John. The Franklin Harmony and Easy Instruclor in Vocal Music. Second and Improved edition of English and German Church Tunes. Selecled from Ihe mosl eminent and approved authors in Ihal science, For Ihe use of Christian Churches of every Denomination, Singing Schools and Privale Socielies. Togelher wilh A Copius and Plain Introduction 10 the Grounds of Music, and Ru les for Learners. Cham­ bersburg, PA: Printed by Henry Ruby, [1830). SI. John, Slephen. The American Harmonisl, Containing Easy and Concise Rules of Music, Together with a Colleclion of the Most Approved Psalm and Hym n Tunes; Together with odes, anthems and sel pieces. Harrisburg, PA : William Greer, 1822 (c. 1821). Wyeth, John . Wyelh's Repository of Sacred Music selected from the most eminent and approved Authors in that Science, for the use of Christian Churches of every denomination, Singing Schools, and Private Societies, Together with a plain and concise Introduction to the Grounds of Music, and Rules for Learners. Second Edition. [Harrisburg, PA:1 by John Wyeth, 1811. -:--:-_-:---:-' Wyeth's Repository of Sacred Music. Part Second. Original and selected from the most eminent and approved authors in that science. For the use of Christian Churches, Singing Schools & Private Societies, Together wi th a plain and concise Introduction to the grounds of music, and rules for learners, Harrisburg, Penn: John Wyeth, 1820.

95 If{ unEMORIAM:

CPaul GR. CWieand, ~ crrueArtist

Harry H. Reichard and PauL Wieand (right) in costume as Asseba and Sabina. In hi s eig ht decades, Paul Wieand probabl y fo rgot more th at "Even th ough most peopl e in th e audience will not about th e Pennsylvani a German culture th an most o f us be abl e to notice it, the calendar on the wa ll must be of will ever know! What is more, he made major contributio ns the year in which the play is set." In all o f hi s work perhaps in many di fferent field s, and did a ll of hi s great vari ety th e uppermost considerati on was that it be authentic. Always, of work with outstanding qualit y. He di spl ayed an incred­ at a ll costs, he would resist th e temptati on to commerci ali ze ible amount of energy, and gave us di alect pl ays, fo lkli fe by yielding to the dramatic and th e popul ar at th e ex pense pageants, paintings, ceramics, translati ons, books, bl ock of w hat trul y was the reality o f our background and history. prints, a Pennsylvani a Germ an " Greit zweg Schtor" (the Al so prior to when most o f us sensed it, Paul recognized store at th e village crossroads), a sense o f the importance the need to make hi s present ati ons in a bilingual sett ing. of coll ecting, preserving, and portraying -" roots," and a In hi s many pageants, portrayin g such aspects o f Penn­ great ense of humor to go with a sunny di spositi on. sylvania German fo lk culture as Harvest Home in the My earli est reco ll ecti on of Paul is o f being on stage chu rches, funerals, summer picnics, the observance of wi th hi s Fo lklore " Drupp" (Group), when I was six years Christmas and Easter, and carpet rag parties, he would ask old. I sensed th at my parents and siblings reall y enjoyed one of the members of hi s group to serve as what he called the fo lklore pageants as a major acti vity in th eir li ves. an " interpreter," to explain to non-di alect speaking persons When I was a youngster, th ere was an appearance in w hat was bein g portrayed in the di alect. I was sometimes Madison Square Garden on German Day at th e Wo rld 's priv il eged to be called upon to be one of th ese int erpreters, Fai r. T here were Pennsylvani a Fo lk Festi vals at pl aces such when I was not participating as a "fiddler" for th e square as Buckn e ll Universit y. There were Pennsylvania Dutch dances. In usi ng such " interpreters" long before most of Days at Hers hey Park and the Labor Day " Lattwari ck" us sensed th e need, Paul recogni zed anoth er import ant (apple butter) Parti es at Dorney Park . Often I would hear aspect o f hi s passion for " preserving, co ll ecting, and por­ Paul describe himself to th e large audiences as a " por­ traying" th e story of our roots. trayer" o f th e Pennsylvani a Germ an culture. Much earli er Not the least of his major co ntributions to Pennsylvani a th an most of th e rest o f us, Paul Wi eand recogni zed and Germ an folklife and folklore was his serving as Sabina in acted upo n th e impo rt ance of preservin g, coll ecting, and the popular Allentown radio program entitled Asseba un portraying o ur language, our culture, and our fo lklore. In Sabina. Teaming with Dr. Harry He s Reichard, professor th e mid-1930s he organi zed hi s Paul R. Wi eand Pennsy l­ of German at Muhlenberg College, who portrayed Asseba, vania German Fo lkl ore G ro up, w hi ch is still continu ing, Paul Wieand endeared himself to countless persons whose beli eved to be th e o ldest such continuing organi zati on. Sunday ritual included telling their pastors to preach sermons In th e w riting, producin g and directing o f di alect pl ays short enough that they could hurry home from church "to and pageants, Paul was a sti ckl er fo r deta il and authenticity . catch Asseba and Sabina." Combined with the delightful I recall th at in o ne o f hi s pl ays, fo r in stance, he emphasized scriptwriting of the Rev. Clarence Rahn, the team of Dr.

96 PauL Wieand directing a traditionaL chiLdren's game---.!' Blinda-Mei el " (Blind Mice)­ at the Kutztown FoLk FestivaL.

Harry Hess Reichard and Paul R. Wieand pre en ted a truly hi tory book wa writt en to commemorate the determined cla sic series of entertaining di alect programs. Only now effo rt s of our forefather and to try to leave to ou r children are his radi o programs and dialect plays being given the and children' children a bit of reminder of how we Ii ed scholarly study they deserve, largely through the work of in th e pa t ..., in th e fo rm of a hi tori cal record of Dr. William Fetterman. yesteryea r and today, 0 that th e people of tomorrO\ \ ill Less well known but equally significant were orne of benefit. " the other aspects of Paul 's life and work. [n addition to Paul R. Wi eand thought of himself a an arti t, an arti t hi painting, his block printing, his teaching, his writing who expressed hi "art" with excellence and quality in a and producing of play and folklife pageant , and his being variety of forms. Of hi philo oph y of life he once wrote: half of the team th at presented years of popu lar dialect " [n my life' work I guess [ really wa a true artist. I radio broadcasts, Paul R. Wieand loved flowers, did had a sy tern . In painting, an artist arranges hi s idea on outstanding flower arranging, and gave years of leadership canva , usin g a plan of orga nization. So it wa with my to a garden club. His interest in the herbs used by the life 's work. I al 0 beli eve God put me here on earth fo r Pennsylvania German led him to write a book on this a purpose. You should make good u e of your tim e." subject. [n my experience as an adopted member of the Paul R. Wieand made excellent u e of hi time here Lenni Lenape Wolf Clan, this is a subject of great excite­ on earth. The forms of hi expression of art were diver e, ment for me, especially as it has to do with the relationship entertaining, informative-an exciting way of portraying between the indigenous Americans and the early Pennsyl­ our Pennsylva nia German folklife and roots : vania German settlers. Paul sensed the importance of this Paul, du hoscht so fiel Sache so arrig, arrig gut subject and did some writing in this field. Some of you geduh. may remember his u e of blue balsam tea at the Jordan Nau iss es ullser Zeit fer so Sache seiwert zu duh. Groundhog Lodge of which he was an organizer and officer (Paul, yo u have done so many things so very, very well. for many year. Now it i our time to do such thing our elves.) Another of Paul ' major works was the editing of South Whitehall Theil alld Now, the 1976 Bicentennial History Willard Wetzel, of his native township. [n the introduction of this book Pastor, Zion 's Stone United Church of Chri t dedicated to his wife, Mabel (Schraden) Wieand, Paul orthampton, Pennsylvania Wieand tells us something of his feeling about the impor­ Managing Editor and Secretary, The Pen/lsyLva nia tance of history and of the driving force of his life: "This German Society July 2 - July 10 1994

The Festival and its Sponsorship The Kutztown Folk Festival is sponsored by the Pennsylvania Folklife Society, a nonprofit educational corporation affiliated with URSINUS COLLEGE, College­ ville, Pennsylvania. The Society's purposes are threefold: First, the demonstrating and displaying of the lore and folkways of the Pennsylvania Dutch through the annual Kutztown Folk Festival; second, the collecting, studying, archiving and publishing the lore of the Dutch Country and Pennsylvania through the publi­ cation of PENNSYLVANIA FOLKLI FE Magazine; and third, using the proceeds for scholarships and general educational purposes at URSINUS COLLEGE.

FOR THE FOLK FESTIVAL BROCHURE WRITE TO: Pennsylvania folklife Society College Blvd. & Vine, Kutztown, Th. 19530