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Artistry and Industr NOTE TO USERS Copyrighted materials in this document have not been scanned at the request of the author. They are available for consultation in the author's university library. Figure pgs 74-118 This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ARTISTRY AND INDUSTRY IN CAST IRON BATSTO FURNACE, 1766-1840 by Megan Michelle Giordano A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Early American Culture Spring 2005 © 2005 Megan Michelle Giordano All rights reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1428756 Copyright 2005 by Giordano, Megan Michelle All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 1428756 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ARTISTRY AND INDUSTRY IN CAST IRON BATSTO FURNACE, 1766-1840 Megan Michelle Giordano Approved: DonaldL.F enrtimore. Professor in charge of thesis on behalf of the Advisory Committee f Approved: J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in Early American Culture Approved: Conrado M. Gempesaw'fiy'Ph.D. Interim Dean of the College of Arts and Sciences Approved: Conrado M. Gempesaw'-ff; Ph.D. Vice-Provost for Academic and International Programs Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS First I would like to thank Donald L. Fennimore, M.A., for his patience and guidance throughout this project. His affection for iron is contagious. Thanks also to Gretchen Buggeln, Ph.D., who graciously offered insightful comments and advice, proving that distance is no obstacle. To John Fea, Ph.D., Joseph Huffman, Ph.D., James LaGrand, Ph.D., and my friends from Messiah College: I am ever grateful for their unfailing support and encouragement in all things. Thank you to the staff of Wharton State Forest, particularly at Batsto and Atsion. I am especially indebted to Patricia Martinelli and John Morsa from Batsto for their enthusiastic support for this project, generosity with their time and their willingness to go beyond the call of duty for the sake of scholarship. I have also been fortunate to work with the staff of George Washington’s Mount Vernon, especially Carol Borchert Cadou, who demonstrated amazing generosity, openness and kindness. I must thank the Burlington County Historical Society and the Gloucester County Historical Society for their kind research accommodations. On a personal note, I owe Patrick Giordano a huge debt. His technical assistance was desperately needed and much appreciated. Also Domenic and Patricia Giordano: to thank them for their eager participation in this process is grossly understating their contributions to the cause. Thanks also to my roommate, Emily C. Cline, who has blessed me beyond measure with her indefatigable support, humor and compassion. And lastly, to Arthur Pierce, for his pioneering work and unfailing devotion to Batsto. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This manuscript is dedicated to: My parents, for their endless enthusiasm, encouragement and love; for always appearing interested; and for helping me to never give up. iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ABSTRACT.............................................................................................................................xi Chapter 1 BACKGROUND FOR BATSTO: WHO, WHAT, WHERE, WHEN, WHY AND HOW.............................................. 1 The Furnace that Charles Read Built..............................................................2 Who Says those Pines are Barren? ..................................................................4 Town and Country: Urban Capital and Rural Resources.............................7 Ironworks Unlimited, or, What is that Thing? and How does it Work? 9 Laborious Industry and Industrious Labor: How the Ironworks Works... 12 Working the Far Jobs.........................................................................13 Working at the Stack..........................................................................16 Life at the Works ...............................................................................19 From Colonial Pig to Continental Shot: The Revolution Comes to the Pines............................... 22 2 A NEW ERA BEGINS: THE RICHARDS ARRIVE.............................................26 William Richards: Ironmaster Extraordinaire ..............................................26 Mr. Pettit Writes to Washington: National Identity, National Iron ...........29 Keeping it in the Family: The Richards’ Dreams of Empire ......................36 The Richards’ Boys Come of Age: Manifest Destiny in the Pines ............39 3 ARTISTRY AND INDUSTRY: HOW TO MAKE A GOOD FIRST IMPRESSION................................................44 The Mold and the Marvelous, or, The Art of Casting Iron.........................44 Artistic Aspirations and Inspirations, or, the Art of Cast Iron ................... 47 The Fabled Side Plates of Batsto .....................................................49 Share and Share Alike, or How to Make the Most of Your Assets...........55 Democratic Decoration: Patterns Designed for Mass Production............ 58 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Authority and Power, or Illusions and Delusions about Who’s Really in Charge .............................................................................................................60 They Mold and They’re Bold, or They got Away with WHAT? ..............65 For Example: The McAnniny Family ......................................................... 68 Breaking the Mold: Changes at Batsto ........................................................ 70 Post Script.......................................................................................................72 APPENDIX..............................................................................................................................74 REFERENCES......................................................................................................................119 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES Figure 1 Map of the coast of New Jersey from Bamegat Inlet to Cape May ............74 Figure 2 Map of New Jersey.........................................................................................75 Figure 3 Map of the Waterways................................................................................... 76 Figure 4 Excavation of Batsto Furnace........................................................................77 Figure 5 Ore raisers harvesting bog iron......................................................................78 Figure 6 Ore Boat...........................................................................................................78 Figure 7 Colliers at the Jobs ..........................................................................................79 Figure 8 Hopewell Furnace, Pennsylvania...................................................................80 Figure 9 Diagram of a furnace......................................................................................81 Figure 10 Sketch of Batsto..............................................................................................82 Figure 11 Pig Iron.............................................................................................................82 Figure 12 Moulders..........................................................................................................83 Figure 13 The Forge.........................................................................................................83 Figure 14 William Richards, 1738-1823........................................................................84 Figure 15 William Richards by Rembrandt Peale ......................................................... 84 Figure 16 Samuel Richards by Thomas Sully................................................................85 Figure 17 Jesse Richards.................................................................................................85 Figure 18 Photograph of the Richards Mansion at Batsto Ironworks ........................
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