University. Microfilms International 300 N

INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “ target” for pages apparently lacking from the document photographed is “Missing Page(s)” . If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University. Microfilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1326415 Kraybill, Nancy Calvin THE PICTORIAL ARTS OF THE HARMONY SOCIETY, 1805-1834 University of Delaware (Winterthur Program) M.A. 1983 University Microfilms International 300 N. Zeeb Road, Ann Arbor, Ml 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check markV . 1. Glossy photographs or pages 1/ 2 . Colored illustrations, paper or print______ 3. Photographs with dark background 4. Illustrations are poor copy_______ 5. Pages with black marks, not original copy_______ 6. Print shows through as there is text on both sides of page______ 7. Indistinct, broken or small print on several pages______ 8. Print exceeds margin requirements______ 9. Tightly bound copy with print lost in spine_______ 10. Computer printout pages with indistinct print____ 11. Page(s)____________ lacking when material received, and not available from school or author. 12 . Page(s)____________ seem to be missing in numbering only as text follows. 13. Two pages n u mbered____________ . Text fol lows. 14. Curling and wrinkled pages_______ 15. Other___________________________________________________________________________ University Microfilms International Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE PICTORIAL ARTS OF THE HARMONY SOCIETY, 1805-1834 BY Nancy C. Kraybill 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. August, 1983 Copyright Nancy C. Kraybill 1983 All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE PICTORIAL ARTS OF THE HARMONY SOCIETY, 1805-1834- BY Nancy C. Kraybill Approved: V r S v ^ J L - ____________ Scott T. Swank, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved Q y , LjL)q-QJ<^________________ Stephande G. Wolf^ Ph.D. / Coordinator of the Early American Culture Program Approved University Coordinator for Graduate Studies Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS After four years of hard and not so hard work on this thesis, I would like to thank those who helped, ca joled, waited, and understood. A special thanks goes to Paula Martinac, who was there at the beginning and stayed until the end. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Page ACKNOWLEDGEMENTS......................... iii 1. INTRODUCTION ............................................ 1 1.1 Survey of the Literature..................... 1 1 .2 Methodology ................................ 4 2. BRIEF HISTORY OF THE HARMONY SOCIETY .............. 16 3. DESCRIPTIVE ANALYSIS OF THE PICTORIAL ARTS OF THE HARMONY SOCIETY, 1805-1834 27 3.1 Architectural Drawings and M a p s ......... 27 3.2 Natural History Drawings .................. 40 3.3 Decorative Drawings ....................... 48 4. ROLE AND FUNCTION OF THE PICTORIAL ARTS IN HARMONIST LIFE, 1805-1834 .............................. 66 4.1 Pictorial Arts and R e l i g i o n .............. 67 4.2 Pictorial Arts and Education.............. 75 4.3 Pictorial Arts and M u s i c ................... 82 5. DECLINE OF ARTISTIC PRODUCTION IN THE HARMONY SOCIETY AFTER 1834 92 ILLUSTRATIONS ............................................. 104 SELECTED BIBLIOGRAPHY ................................... 126 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1 . INTRODUCTION 1.1 Survey of the Literature The Harmony Society was one of the longest surviving and most economically successful American communitarian ex- 1 periments of the nineteenth century. Much has been pub lished on the Society, from contemporary travelers' accounts 2 to recent documentary histories. Many of these sources sim- \ •* ‘ ply restate previously published information or misinterpret 3 heresay as fact. Aside from these derivative or erroneous treatments, however, a core body of scholarly research exists, mostly examining the Society's historical development, relationship to other communal sects, religious doctrines, and musical heritage. The study of the material culture of the Harmony Society as a key to understanding the group's complex and refined social and cultural structure has garnered little attention. Harmonist pictorial arts, as a subset of material culture, have been largely ignored. Karl J.R. Arndt, Professor Emeritus at Clark Uni versity, has devoted nearly fifty years to unraveling the story of the Harmony Society by carefully translating thou sands of original Harmonist documents from German. He relies heavily on this wealth of primary material in his two-volume 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. chronological history of the Society, George Rapp’s Harmony Society, 1785-184-7^ and George Rapp’s Successors and Material Heirs, 184-7-1916. He has augmented this narrative with a series of annotated compilations of Harmonist documents; each volume focuses on a separate phase of the group's develop- £ ment. The type of document that Arndt selects for inclusion in his histories belies his main interests in theology, busi ness, and political history. He rarely treats questions of social or cultural expression or material culture. Arndt’s work, however, provides the basic contextual framework nec essary to explore these specialized areas of study. Although the Harmony Society formally disbanded in 7 1905, a rich legacy of artifacts survives. Harmonist build ings, furniture, ceramics, textiles, costumes, tools, books, manuscripts, decorative accessories, and artworks give testi mony to the one-hundred-year existence of this association of g German communitarians. Only a few authors have tapped the extensive resource of objects made and used by the Harmonists. John Ramsey, in a brief article called "Economy and 10 its Crafts," first addressed this topic. He used photo graphs of Harmonist artifacts to illustrate his summation of the history of the Society and identified these objects as creations of members of the Society. Charles M. Stotz, in "Threshold of the Golden Kingdom: The Village of Economy and its Restoration," discussed the architecture of the final Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 3 Harmonist settlement with some reference to cultural influ- 11 ences and stylistic characteristics. As the restoration architect for Old Economy Village from 1937 to 1965, Stotz primarily investigated the Harmonist built environment as it related to procedures and problems of building restora tion. Donald E. Pitzer's article, "The Harmonist Heritage of Three Towns," superficially reviewed various

Load more