Search

Back to top

Search Constraints

Start Over You searched for: Subjects Slavery and the church. Remove constraint Subjects: Slavery and the church.
Number of results to display per page
View results as:

Search Results

Collection

Corydon E. Fuller journals, 1856-1859

416 pages (2 volumes)

Corydon Fuller's journals document the travels of a young bookseller (from the Northern Midwest) in Arkansas, bordering areas in Louisiana, and in Mississippi in the years preceding the Civil War.

Corydon Fuller's intriguing journals (marked "Vol. 6th" and "Vol. 7") follow the path of the young itinerant bookseller in a fascinating series of situations and places. A college graduate, Fuller wrote both well and copiously, recording the events and his impressions with impressive clarity and depth.

As a man prone to some reflection on the political and social issues of his day, Fuller's journals are a valuable resource for study of the hardening sectional lines in the Trans-Mississippi South. By 1857, Fuller believed that an impasse had been reached, reflected both in his reporting of adamant Southern views on slavery and states' rights, and in his own hot-tempered opinions on moral right versus wrong.

Collection

Harriet DeGarmo Fuller papers, 1852-1857

4 volumes

Online
The Harriet DeGarmo Fuller papers consist of four bound volumes of records and eight miscellaneous receipts of the Michigan Anti-Slavery Society, kept between 1852 and 1856, when Harriet DeGarmo Fuller was a member of the executive committee of the Society.

The Fuller papers consist of four bound volumes of records and eight miscellaneous receipts of the Michigan Anti-Slavery Society, kept between 1852 and 1856, when Harriet DeGarmo Fuller was a member of the executive committee of the Society. Together, these books form an important and detailed picture of the formation and early activity of the Society, with a record of their official resolutions, activities and expenditures. The Fuller Papers provide a unique insight into the inner workings of one of the most important state-level Garrisonian antislavery societies.

Volume 1 (26 pp.) contains the resolutions of the Michigan State Anti-Slavery Convention at Adrian, held on October 16th, 1852 (recording the formation of the State Central Committee), along with minutes from the State Central Committee meetings through September 23, 1853. The volume appears to be entirely in the hand of recording secretary, Jacob Walton of Adrian. The Central Committee appears to have served as a springboard to membership in the Michigan Anti-Slavery Society, as each of the members of the Central Committee assumed prominent roles in the M.A.S.S.

Volumes 2 and 3 are daybooks of the Michigan Anti-Slavery Society, 1853-1856. Volume 2 (115 pp., many blank) contains the general accounts of the Society during this period, while Vol. 3 (33 pp.) contains detailed, itemized records of donations, pledges, and expenditures at antislavery fairs held at Adrian, Fairfield, Battle Creek, Livonia and other cities, as well as pledges made to antislavery agents between these events. These volumes provide an intricate depiction of the fundraising activities of a state-level Garrisonian organization, its resources, contributors and participants.

Volume 4 is a ledger (77 pp.) including the Constitution and bye-laws of the Michigan Anti-Slavery Society, minutes of the monthly meetings of its executive committee, and the minutes and resolutions of its annual meetings from October 22, 1853-January 5, 1857. The ledger is a remarkable record of a radical antislavery group founded to act upon deeply-held moral beliefs, and includes records of the convention at which the Society was founded, as well as its first three annual meetings. These brief entries provide insight into the minds of self-professed social radicals and glimpse into the inner workings and debates of the Society.

The Recording Secretaries of the Michigan Anti-Slavery Society included: Ann Hayball (1853 October-1854 October); Eliphalet Jones (1854 October-1855 October; Ann Hayball often acted as Secretary pro tem.); Jacob Walton (1855 October-1856 October); and Harriet DeGarmo Fuller (1856 October-?). Each contributed to the records in this collection.

Collection

Parrish Family Photograph Album, 1860s-1890s

110 photographs in 1 album

The Parrish family photograph album contains 110 photographs assembled by the Parrish family of Philadelphia, Pennsylvania, including images of family and friends, political figures, celebrities, and popular illustrations as well as photographs related to Union efforts to educate freed slaves during the Civil War in the Port Royal Experiment.

The album (15.5 x 24 cm) has embossed brown leather covers and two metal clasps. 63 loose photographs are stored in Mylar sleeves and many appear to have been separated from the album over time. In some cases, it is possible to match loose images with a specific page slot through pairing inscriptions on the photograph with annotations present in the album. However, many loose images do not contain any identifying information, so it is unclear where some may have been located within the album or if they were ever associated with the album in the first place. It is possible that a small portion of the loose images were never originally included in the album since there are more photographs present in the collection than there are available photo slots in the album. At least two portraits from the 1890s do not appear to have belonged to the original family collection.

Compilation of the album may have first begun in the 1860s, but it was most likely completed during in the 1870s with photographs that the Parrish family had acquired over time. Sarah H. Parrish, née Wilson (1836-1892), the wife of Joseph Parrish’s grandson John Cox Parrish (1836-1921), may have been one of the primary creators of the album. She and John had a daughter named Caroline L. Parrish (1863-1915), who may be the “Carrie” whose name is written on the back of some of the photographs. Overall, there appear to be three different styles of handwriting present in the album. Captions for several of the album’s portraits were made in pencil in a flowing cursive while other names appear in a more juvenile-looking cursive hand, and a distinctive third hand also appears sporadically. The two cursive hands may well have been Sarah’s and Carrie’s as mother and daughter worked on the album together in the mid to late-1870s, with an occasional contribution (the third hand) possibly made by one of Carrie’s three younger brothers. One other detail supports this hypothesis: a portrait labelled “Fred” with “Mrs. Parrish, with love of Fred” inscribed on the verso. The individual photographed here was most likely Sarah’s cousin, Frederick Cleveland Homes (1844-1915). Additionally, the portrait on the page next to Fred’s portrait is of a young child identified as “Charlie Homes,” and it is likely that this is Fred’s son Charles Ives Homes (1872-1939).

Parrish family members are well represented in this album, while other unidentified family members may also be portrayed in some of the loose photographs without captions. Likely family friends or acquaintances of the Parrishes whose portraits are present include George and Catherine Truman, James and Lucretia Mott, the Rev. Richard Newton, and Phillip Brooks, all of whom were active in the same abolitionist organizations as the Parrishes. The album also contains many images of admired religious, political, and cultural figures, including Quaker heroes George Fox and Elizabeth Fry; Civil War leaders Abraham Lincoln and Ulysses Grant; George and Martha Washington; social reformers Dorothea Dix and Anna E. Dickinson; actor Edwin Booth; and Queen Victoria and Prince Albert. A number of these images are photographic reproductions of painted, engraved, or lithographic portraits. Also present are four hand-colored photographs of Dutch women in traditional dress as well as photographic reproductions of popular sentimental genre scenes such as “The Unconvanience of Single Life.”

Of particular note are a series of photographs related to the Port Royal Experiment, an ambitious effort to provide education for freed slaves following the capture of islands off the coast of South Carolina by Union troops in 1861. Relief committees in the North raised money and sent volunteers to set up schools and other institutions. Among the most successful was the Penn School, established by Laura Matilda Towne with support from the Philadelphia Freedmen’s organization in which the Parrish family was actively involved. People and places are identified with ink captions on the photographs themselves in a hand that differs from other inscriptions in the album. Towne may possibly have compiled these images herself and sent them to supporters back home. This series of photographs includes seven images of Beaufort, South Carolina, (four of which were produced by Sam A. Cooley, photographer to the Tenth Army Corps) captioned “Beaufort Soldiers’ Chapel and Reading Room,” “Path to the river of Smith’s Plantation,” “Beaufort House / Where we Stopped, showing the Beaufort Hotel and nextdoor office of the Adams Express Company,” “Soldiers’ Graves,” “Gen. Saxton’s Headquarters,” “Father French’s House,” and “Our House.” Three cartes de visite produced by Hubbard & Mix show instructors Towne, Ellen Murray, and Harriet Murray respectively posing with freed black children. The photograph with Ellen Murray bears inscriptions identifying her students as “Peg Aiken” and “Little Gracie Chapin (one of Miss Murray’s brightest pupils).” A fourth Hubbard & Mix image captioned “I’m a freeman” shows an African-American man dressed in clothing made from rags and includes an album page inscription that reads: “Young Roslin says, ‘Now I’m free, I go to bed/ when I please I’se gits up/ when I please. In olden times/ I’se help gits de breakfast/ but no’se time to eats it myself/ Ha-ha-I’se happy boy now.” Also present are three cartes de visite produced by photographers based in Nashville, Tennessee, including one portrait by T. M. Schleier of an African-American woman with two children (one of whom has a much lighter complexion than the other) with the recto caption “Lights & Shadows of Southern Life” and verso caption “Aunt Martha and children/ Slaves/ Nashville, Tenn.,” as well as two other images by Morse’s Gallery of the Cumberland that show the same young African-American boy looking sad “Before the Proclamation” and then grinning broadly “After the Proclamation.”