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Luting in index, tn order m which it appenri

-aption under profile

39V 40V 45V 5ir SSr S8r 6ir 71V 79 r 80V

36r 36V

37V

39r 63r 66v

72V

68r

74V

784 784 784 784 784

*Mr. Behagen "Mrs V. Braun *Mr. Berisford 'Mrs. (Berisford) *Mr Brown Jac: *(Mr] Bredemeyer *[Mr] Boos [Mr] Bencke [Mr 1 Boden *Mr: Brown Jos. Mr. Braun •Mr; Bcekman

'Ms Caroline *Mr Chion 'Mr Chion Jun:

Mr Deslandes Ms Deslandes Mr Deslandes [Mr.] Delius [Mr] Deslandes Mrs: V Doren *Mr Dreyton 'Mr Davis

Mr Enieroth 'Mr Edwards

Mrs Fohrmann Ms Fohrmann [Mr] Fohrmann [Mr] Fohrmann '[Mr] Fohrmann Mr. Fiihrer

'Ms Frj.scr Polv

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS

784

783

Mr Behagen trom Coppenhagen in Charleston

M-. van Braun trom Amsterdam in Chadeston

Mr Berestord of Charleston

M'^ Birisford. trom Charleston

Mr Charles Brown of Charleston

Mr: Bredemeyer.

Mr: Boos.

Mr: Bencke de Hambourg, en Phyladelphie

Mr: Boden de Hambourg en Phyladelphie.

Mr: Joseph Brown at Charleston

Folio 7? " mining from the album.

Mr Charles Beekman at Charleston

C.

Caroline chez Mr. Deslandes

Mr. Chion from Amsterdam in Charleston

Mr Chion Jun: trom Amsterdam m Charleston

D.

Mr Deslandes, de Bruxelle.

Mad^ Deslandes

Mr Deslandes, jun.

Mr Delius

Mr Deslandes juvin:

Mad: van Doren de Philadelphie

Mr. Jacob Dreyton at Charleston

MR: W"n Davis, at Charleston

E.

Mr Emeroth de Hombourg en Philadelphie

Mr Edwards Major at Charleston

I6r

1783

Mad°". Fohrmann.

I7r

1783

Mad'^ Fohrmann.

I9r

178,

Mr. Fohrmann

27r

1783

Mr Ferd: Fohrmann

28r

178,

Mr Franc: Fohrmann

40r

178

Major Ftihrer ton den amerikans: Trouppen in Phyladelphia.

4.'v

178.

Ms Eraser trom Charleston.

SUMMER 199 s

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Listing in index, in order in which it appears

caption under silhouette

*Mr Fraser

51V

1784

*Mrs [Fraser]

52V

1784

*Mr [Fraser] Alexand

53^

1784

*Ms [Fraser] Poly

S4V

1784

*Ms [Fraser] Betsi

55V

1784

*Ms [Fraser] Judy

56V

1784

*Ms [Fraser] Nancy

57V

1784

*Ms [Fraser] Suky

58V

1784

*Mr [Fraser] James

60V

1784

*Mrs Garden

29V

1784

*Mr [Garden]

30V

1784

Mr Gotze

45r

1783

Mrs Gross

Syr

1783

'Mr; Gaer

74r

1784

•Mr: Hall John i6v 1784

'Mr. Heubert 17V 1784

'Mr. [Heubert] Daniel 2iv 1784

Ms. Hess

49r

1783

Ms. Holden

6or

1783

'Ms Hayn

61V

1784

Mrs Hxxx

62r

1783

Mr. Herlitz

64r

1783

Mr: Hasenldeber

69r

1783

'Ms. Huger

69V

1784

Mr Hubley

7ir

1783

•Mr Hall

7V

1784

•Ms. [Hall] Betsy

8v

1784

•Ms. [Hall] Sara

9V

1784

•Ms. [Hall] Mariane

lov

1784

Mr. Heidinger

iir

1783

'Ms. Hall Louise

IIV

1784

•Ms. [Hall] juillette

12

1784

'Ms. [Hall] Henriette

13

1784

'Ms. [Hall] Caroline

14

1784

Mr Fraser at Charleston Mrs: Fraser. at Charleston Mr Alex: Fraser at Charleston. Ms. Poly Fraser at Charleston Ms Betsi Fraser at Charleston Ms Judy Fraser at Charleston Ms. Nancy Fraser at Charleston Ms Suky Fraser at Charleston Mr. James Fraser at Charleston.

G.

Mrs Garden, from Charleston.

Mr Garden from Charleston

Mr Gotze Danoi en Phyladclphie

Mistris Gross de Philadelphie

Mr. Gaer from Landkaster in Charleston

H.

Master John Hall, from Charleston

Judge Heyward

Mr. Daniel ["Heubert" crossed out] Heyward

from Charleston

Mis Petzi Hess de Phyladelphie

MisCath: Hooldendesquackersin Phyladephie

Ms Hayn at Charleston.

de Philadelphia

Mr Herlitz de Neujork.

Mr Hasenkleber de Philadelphie

Ms: Mary Huger at Charleston

Mr. Hubley Collonel Americain en

Philadelphie

Mr George Hall of Charleston

Miss Betsy Hall of Charleston

Miss Sarah Hall, of Charleston

Miss Maria Hall ot Charleston

Mr. Heydinger.

Miss Louisa Hall ot Charleston

Mi.ss Juliett Hall of Charleston.

Miss Henrietta Hall of Charleston.

Miss Carolina Hall, from Charleston.

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JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS

SUMMER I ^) 9 5 V GLUME XXI. NUMBER I

THE MUSEUM OF EARLY SOUTHERN DECORATIVE ARTS

EDITORIAL BOARD

Henr\' Parrott Bacot, Louisiaiui State Uiiivcfsity Mnseiou of Art, Baton Rouge

John A. Burrison, Georgia State University', At/anta

Colleen Callahan, \'a/entiiie Mitseioii, Richnio)iel. I'irgiiiia

Barbara Carson, College of William and Mary, Williamsburg, Virginia

Bernard D. Cotton, Buekitighamshire College. United Kingdom

Donald L. Fennimore, Jr., Winterthur Museum, Winterthur, Delaware

Leland Ferguson, University of South Carolina, Columbia

Edward G. Hill, M.D., Winston-Salem, North Carolina

Ronald L. Hurst, Colonial Willia))isburg Foundation, WilLunsburg, X'irgiuia

Theodore Landsmark, Mayor's Office, City of Boston, Massachusetts

Carl R. Lounsbury, Colonial Williantsburg Foundation, Willamsburg, Virginia

Susan H. Mvers, National Museum of A>ner/ca?i History, Smithsonian Institution. Washington, D.C.

J. Garrison Stradling, New York, New York

Carolyn J. Weekley, Abby Aldrich Rockefeller Folk Art Center, Colonial Williamsburg Foundation,

Willamsburg, \ 'irginia

GENERAL EDITOR: Bradford L. Rauschenberg

MANAGING EDITOR: Cornelia B. Wright

MEMBERSHIP IN M E S D A

Members ot MESDA receive the louriial of F.arly Southern Decorative Arts, published in summer and \vm- ter, and the MESDA newsletter, Ihc Limiiiiary. published in sprint; and fall. Other privileges include notifi- cation ot the classes, programs, and lectures offered b\ the Museum; participation in Membets' Weekend, with a symposium on collecting and decotative arts research; a lO"" discount on purchases from the MESDA Bookstore and Old Salem stotes; and tree admission to general tours ot MESDA and Old Salem.

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Coxcr Illustration: B,-n,,„yJ Moll. Ms, \.in Rlicin Ironi AnistcrJ.im in t;hjrlston. From „>l ,lthum of illhouertfi by Moll. Royal Ontaru Mmcin,,. Inromn. Canada Aca-.iwn ttQS4A^- l Cufl of John .■\ndre-

THE JOURNAL

OF EARLY SOUTHERN

DECORATIVE ARTS

SUMMER 1995 VOLUME XXI, NUMBER I

The Journal of Early Southern Decorative Arts is published rwice

a vcar by the Museum of Early Southern Decorative Arts (MESDA).

It presents research on decorative arts made in the South prior to 1820.

with an emphasis on object studies m a material culture context.

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should be directed to the Coordinator of Membership Services,

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Articles from the Journal of Early Southern Decorative Am are abstracted in the Bibliography of the History of Art and America: History and Life.

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ISSN 0098-92(16

Copyright © 199s by Old Salem, Inc.

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Contents

Charleston's Drawing Master Bernard Albrecht Moll and the South Carolina Expedition oi Emperor Joseph ii of Austria

HELENE M. KASTINGER RILEY

Research Notes

New Discoveries in a Piedmont North Carolina Chest-on-Frame Group

BRADFORD L. RAUSCHENBERG

Book Reviews

James Horn, Adapting to a New World: English Society in the Seventeenth-Century Chesapeake

BARBARA CARSON 95

Stanley South, Pioneers in Historical Archaeology: Breaking Neiv Ground.

J . NED WOODALL 98

rr^ ^-r— ■♦—

ART'- of D"R AWTNG- Ber nard Moil f la tei y from Vienn a^

nEQlTESrS leaYsto Infornl rhe Ladiea and Gentle- ^ men of this Citj?, thatiie has undertaken to teacfe

ib'.at nl^Ci.ll'iry arc6m'plifhnie.nt,

'The kri of Dr awing ^ ,,'...

\' In -.^0 its branches. . ., .%4.\ ., He \H\\tn hirnrdf'ilflom'tJVe attention vvjilcb.he Ijialf obfervi) to' thofe vv'hpin lie Uas the honour of in- ltfu6V;ng,- that vvr^h'ap'plic'afioti they will in a fhort tirne->hecOTlieiproiiorai!t8.— Profiles dose in the aaoft ex:).^ manner, ol^ all Tizes, No- 3?, Btoad ftteet; ■• '

I. Bernard MoU'i first Charleston advertisement offering his services as drawing master and profile cutter. South Carolina State Gazette and General Advertiser November 25, 1784. i-^.

Charleston's Drawing Master

Bernhard Albrecht Moll and the

South Carolina Expedition of

Emperor Joseph II of Austria

HELENE M. KASTINGER RILEY

ON NOVEMBER 12, 1788, The City Gazette or The Daily Advertiser of Charleston, South Carolina, carried a notice that the remaining effects of the late Mr. Bernard Moll were to be sold at public auction, including "a tame milch cow used to the town," a number of pictures, "a variety ot water colours, and sundry instruments proper for a drawing master."' The inventory of Moll's possessions made some months later by Serjeant & Cam- bridge shows the deceased to be a man of culture and some modest means to indulge his favorite pastimes: he played chess, loved and collected books, smoked a pipe, enjoyed an occasional bottle ol wine, and perhaps went hunting to put meat on his table.- He had carpenter's tools and the frames, pencils, paints, and brushes used in his trade. Beyond this, little is known about this man who had a most interesting and adventurous life before becoming "Drawing Master" in Charleston.'

The only tangible evidence of his art in Charleston is an album of exquisitely cut profiles that has its own remarkable history. Eight

days after Moll arrived in Philadelphia as the artist of an Austrian scientific expedition he wrote a letter to his friend. Count Ignaz von Born in Vienna, describing his transatlantic voyage. After discussing a number ot illustrations he had made of marine fauna in his official capacity, Moll mentions that he "could also make a good bit of mon- ey with silhouettes" and that he already had "a collection of civilized American faces."' This letter, dated September 17, 1783, and dis- cussed in greater detail below, contains the first reference to the more than two dozen Philadelphia profiles in the album and serves to confirm Moll's authorship. His use of the word "silhouette" — a term not commonly applied in English prior to 1796 — and his com- ment that "there are few artists here and none in my field" are inter- esting in light of the popularity of the medium.' If his assessment is correct — and MESDA research files show no other Charleston artist cutting profiles before 1804 — it may explain his popularity and im- mediate acceptance as an artist, both in the Northeast and later in Charleston.

The more than seventy silhouettes oi Charleston personalities re- produced here for the first time are clearly the most important in the album. They were cut after Moll moved to Charleston in December 1783, and portray members ot the city's most eminent families. This confirms Moll's claim in his advertisement in the City Gitzetteoi No- vember 19, 1787, that his skill was supported by well-known patrons. Today, few silhouettes from Charleston remain and even fewer are attributable to specific artists, which makes the survival of Moll's profiles even more significant."

The odyssey of this little album is in itself noteworthy. Credit for having saved Moll's work is due the Canadian John Andre, who in the mid-1960s was researching the painter William Berczy for a cen- tennial project of the Borough of York, Ontario. Berczy was co- founder of the city of Toronto and, as Andre discovered, christened Johann Albrecht Ulrich Moll; he was the younger brother of Bern- hard Albrecht Moll. The result of Andre's research was his "Sketch"

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

of William Berczy, published in 1967, in which he also mentions Bernhard Moll's profiles:

1 have just found his picuirial diary, an album of silhouettes containing 150 profiles which include the Emperor, Born, various friends and his mother and three sisters. The remainder are American personalities be- tween 1783-1785. His whereabouts, probably under an assumed name, from 1786 until his death, perhaps near Boston, remains a mystery."

Andre purchased the album at a Mr. Howe's antique shop in Ware, Massachusetts, and presented it to the Canadiana Collection oi the Royal Ontario Museum in Toronto where it is now located. In an article published ten years later, Andre was able to provide addition- al information on the album's travels: Mr. Howe had bought it from a Mr. Coffin, dealer in old books and antiques, "who in turn had bought it a long time ago' in Boston from another antiquarian. Mr. Howe rebound the disintegrating book, which had meanwhile lost a few pages containing at least six silhouettes from Charleston.""

Yet the album held still another secret of which Andre was un- aware: although there is no doubt that Moll produced the profiles, including among them members oi his tamily and the expedition, the album itself most likely did not belong to him but to the expedi- tion's leader Franz Joseph Marter. The individual silhouettes were collected between 1783 and 1785, subjects identified, pages num- bered, and a three-page index added. All these details are in Matter's handwriting, as a comparison with his travel journals shows. Marter also provided the captions to the silhouettes, spelling names phonet- ically in the manner oi one whose English is flawed: Betsy becomes Petsi, Beresford '\s spelled Birisford, etc. Marter's idiosyncratic spelling is also evident in the alternation between Philadelphia and Phyladel- phia, between s and f — a habit also retained in his journal — and in the abbreviations for Miss and Mrs., sometimes misspelled, some- times variously rendered in French as Mm-, Mad—, or Md'. A very few profiles are labeled in a handwriting different from Marter's (Mr.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

George Hall, Mr. Charles Brown, Mr. Daniel Wilson, Mr. Beach); the writer is unknown. The untitled profile on page 83 verso with the characteristic Moll nose and chin that Andre identifies as Bern- hard Moll might also be Moll's brother Albrecht, whom Matter did not know.'"

Many problems and misconceptions remain despite Andres pio- neering work. Some of them are based on Andre's incomplete knowledge of Moll's life and his relationship to other expedition members, especially Marter; others are of Andre's own making." Also, the lack of illustrations diminishes the usefulness of Andre's descriptions of Moll's art. Given the importance oi Charleston as a center for the arts in the eighteenth century, coupled with the sur- prising dearth of extant profiles from the era, the publication of Moll's Charleston silhouettes becomes highly desirable. The differ- ent aspects of Moll's life and work are presented here in three dis- tinct sections. A discussion oi Moll's European background, his training, participation in the expedition, and final settlement in Charleston where he worked and taught until his death in 1788 forms the basic introduction to this virtually unknown artist. It is followed by a concise description oi the album and its artistic signifi- cance as the major source of his work, including a discussion of sub- jects and style of the profiles. The reproduction of Moll's hitherto unpublished Charleston silhouettes. Matter's index, and an accurate transcription of the index to the album, conclude the presentation of this Charleston artist.

MOLL S EARLY YEARS

Bernardus Albrechtus de Moll was baptized on November 25, 1743, at St. Albans in Wallerstein, Germany, as the oldest son of Al- brecht Theodor von Moll (1713-1772),'- a descendant of four genera- tions of Lutheran pastors and civil servants in communities around Nordlingen, Germany (Bavaria). The elder Moll broke with family

JOURNAL OF E.'\RLY SOUTHERN DECORATIVE ARTS SUMMER 1995

tradition when he married Johanna Haftel (1719-1792), Catholic daughter oi the vice-prefect of Ottingen, on January 8, 1742." At the time Moll was aulic councillor, or legal adviser, at the Ottingen- Wallerstein court after having served the counts of Ottingen-Waller- stein first as secretary of state, then as cabinet secretary. Shortly be- fore Christmas 1745, Count Philipp Cad of Ottingen-Wallerstein accredited him as his representative (Reichshofraths-Agent) to the Imperial Aulic Council" in Vienna, and Albrecht Theodor moved his family from Wallerstein to Vienna. There, in accordance with the practice oi the time, he became an agent for additional small territo- ries. Between 1742 and 1759 the couple had twelve children, of whom at least four sons were baptized Lutheran and all the daughters Cath- olic. Although he was dismissed in 1755 as the agent of Count Ottin- gen-Wallerstein," the family cominued to live in ambassadorial style.'"

In Germany and Austria, the Age ot Reason was at hand: religious tolerance had become a virtue, the educated elite succeeded in dent- ing rigid class barriers, the desire to explore the unknown and the exotic gave rise to numerous expeditions to foreign continents, and the wish to appear learned resulted in the establishment of exhibit "cabinets" — from modest bourgeois collections to princely musums. Albrecht Theodor Moll's Naturalienkabinett, an eight-thousand- item collection oi mineral curiosities, was internationally re- nowned,'" as was his brother Bernhard Pauls monumental collection of thirteen thousand geographical maps called "Atlas Austriacus," now in the library of the University at Brno in the Czech Republic.

Surrounded by this atmosphere of intellectual competition and social upward mobility, Bernhard Albrecht Moll (1743-1788) grew up in the cultural capital of Europe, Empress Maria Theresa's Vien- na. In 1762 Bernhard and his brother Johann Albrecht (1744-1813) commenced studying at the Vienna Academy of Fine Arts and then completed their education in Germany, registering on October 9, 1766, at the Friedrich Schiller University in Jena.'"

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

Among Bernhards friends was Count Ignaz von Born (1742- 1791), who considered himself a student of the elder Moll and frequently visited the Moll home and Naturalienkabinett. Von Born was a metallurgist and mineralogist by profession and only a year older than Bernhard. In his published letters of 1770 he writes, "I go zealously to our friend Herrn Reichsagent von Moll. I have spent three days examining his well-chosen collection of miner- als, which is especially rich in petrified objects. The informative re- marks that he makes regarding each object serve me as well as a for- mal lecture and please me greatly."'" Von Born was Hofrat (literally "court counsellor"; an upper-level government official or administra- tor) at the Imperial Chamber for Minting and Mining, as well as the leader of the influential Freemasons of Vienna. He is said to have been the model for Mozart's high priest in the Magic Flute.-" As Bernhard s friend, von Born became a powerful mentor of his career in Vienna and in a position to assure Bernhard of a comfortable ex- istence.

Then a number of setbacks occurred to change the course oi Bernhard's life. His father died on June 14, 1772,'' leaving his mother to provide for four children who were not yet ot age." Many of the territories Albrecht Theodor had represented at the Imperial Aulic Council never paid for his services or were slow in doing so, and the famous Naturalienkabinett and concomitant library turned out to be his chief legacy to his family."' Johanna Moll found herself virtu- ally penniless until Empress Maria Theresa granted her an annual pension of 200 gulden in October 1777, citing her loyalty to the Catholic Church and her great need.-' The older sons were expected to help support the family. Bernhard apparently served for some time as Aulic Councillor-agent, with the title Hofrat, for the Duke of Mecklenburg-Strelitz,-' but then entered the Imperial Military Academy as a cadet in the von Lattermann infantry regiment. How- ever, while still a cadet young Bernhard came down with a "protract- ed illness" and suffered, according to a letter from the Chief Cham-

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

berlain to Emperor Joseph II, a "chest detect, rendering him disabled for further military service."-"

In the spring ol 1780 Bernhard Moll petitioned the Imperial Court for the position ol Kaiserlicher und Koniglicher Kabinett- Maler, or Imperial Cabinet Painter, which was vacated by the recent death of Franz Joseph von Widon. This position carried a stipend and was a valuable endorsement of an artist's skill. On March 30, 1780, Chief Chamberlain Count von Rosenberg informed the Em- press that Moll had appended to his petition several sample draw- ings of natural objects which Rosenberg had forwarded to Ignaz von Born for an expert opinion. Von Born gave Moll an excellent recom- mendation, calling Moll's drawings superior to any already owned by the Imperial Cabinet. With this superb testimonial in hand, Rosenberg wrote to the Empress, "Since not the least fault can be found regarding the supplicant's skill, and since it would be a great support to his poor and distressed mother, burdened with many children, if he were to receive the desired favor, I can only recom- mend in all submissiveness to the superior benevolence of Your Majesty the granting of his most humble petition. "-'Maria Theresa granted the plea, and on April 2, 1780, Johann Michael Edier von Mayr, Imperial purser, was advised by Joseph II to pay Moll as suc- cessor to Widon the annual salary of 800 gulden. On the same date an elaborate decree signed by Rosenberg was sent to Moll, advising him of the positive Imperial response to his petition because of his excellent work "in the art of drawing and painting" and the "re- spectable and virtuous conduct of his life." He was also admonished to go about his work with diligence and conscientiousness, and ad- vised that the decree was offered "to document Her Imperial Majesty's grace toward him, on behalf of which he could and should enjoy the freedoms and prerogatives, rights and justifications of an Imperial-Royal Cabinet Painter."-"

These documents are cited here at some length to show the rigid protocol at the Imperial court of Vienna, the good standing of Bern-

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

hard Moll's family in high society, the great influence of his friends, and the fact that he was perceived as the best artist in his field at the time.-'' The title "K.K. Kabinett-Maler" provided Moll not only with a stable position and income, but also with an influx ot paying pupils and the prestige a court-affiliated painter enjoyed. It is sur- prising, given his status, that only one work by Moll from Vienna can be identified. A drawing he made of a house and courtyard in Vienna's Alserbach district survives in an engraving by H. Amon of 1780, titled "Prospect am Alsterbach hinter den Invaliden in der Al- stergasse in Wien" (View of the Alster brook behind the Invaliden in Alster Lane). The engraving accompanies Moll's advertisement in Vienna's Realzeitung oder Beytrdge und Anzeigen von Gelehrten und Kunstsachoi in which he offers a series of his landscape engravings for sale by subscription."' It depicts a house in a fenced courtyard, beyond which two church steeples can be seen. Two children, a boy and a girl awkwardly reduced in scale, are fighting in the lore- ground. They are placed there almost as an afterthought and season the depicted peacefulness of an idyllic summer day in the country with stark realism. The two church steeples and the fighting children can be interpreted as a symbolic representation ot Moll family ten- sions: dual confessions, split along gender lines.

THE AMERICAN EXPEDITION

Bernhard Moll had been Cabinet painter less than two years when Emperor Joseph II, sole and absolute ruler over the huge Habs- burg Empire since his mother's death in 1780, decided to outfit an expedition to exotic places to enlarge and restock the botanical and zoological gardens at his summer residence of Schonbrunn." The palace, now open to the public, was built to rival Versailles and was surrounded by extensive formal gardens, a large hunting reserve, and technologically sophisticated greenhouses, aviaries, and a zoo. Through a gardener's carelessness, however, a large number of tropi-

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

cal plants that had been collected on an earlier expedition by Nico- laus Joseph Jacquin" froze in one of Schonbrunn's greenhouses. Originally von Born was to organize and lead the expedition, but he withdrew because of ill health. Instead, he and Jacquin were entrust- ed with the selection of the expeditions personnel, reporting directly to Vice Chancellor Count von Cobenzl.

Franz Joseph Marter (fig. 2) was chosen to go west as the leader of the American (West Indies) expedition. He was professor of natural history and economics at the Theresianum," a Freemason, and a man with a difficult personality. Karl Haidinger, Assistant Director at the Imperial Naturalienkabinet and the second team member, was originally selected to go to Asia (India). When Moll heard about the Imperial mission, he again petitioned the Emperor. His undated let- ter, signed "Bernhard Albrecht Moll, former cabinet painter," asks permission to join the expedition as a painter of natural objects in return for "merely the necessary living expenses."" His argument is persuasive. He claims that his varied skills include the portrayal of natural objects, landscapes, and geographical drawings, and that without an accompanying artist, many interesting plants and objects the expedition might encounter would remain undescribed and un- depicted, and "the goals of His Majesty might be achieved more ful- ly if a greater abundance of natural objects became known." Finally, he says, "it had been his great desire since childhood to go on such a journey and he also possessed the requisite health and physical strength for it."''

In view of his earlier dismissal from the Military Academy for rea- sons of health, his last statement seems overly optimistic. Neverthe- less, Ignaz von Born supported his choice. In a memo of June 29, 1782, von Born reports:

Since I know that His Majesty is not averse to the idea that the two sci- entists separate and later unite at the Cape [of Good Hope], I have har- bored the wish that a subject [of His Majesty] trained in drawing and painting be permitted to accompany and assist the one ot these two

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

2. Bt-nidid Moll, Mr. Maerter. Franz Joseph Marter. the leader of Joseph II's American expedition (p. i<)r). 178}. The profiles from Moll's album are reproduced with permission from the Royal Ontario Museum. Toronto, Canada. Accession 1)984. 1'^J.i. Gift of John Andre.

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS

SUMMER 199'i

[Marter] who is not skilled in drawing. Bernard Moll, previously em- ployed in the Imperial Naturalienkabinet with no equal in the field, an unmarried, healthy man ot about 30 years, wishes nothing more fervently than to be permitted to travel along on this voyage. He demands nothing but the most essential support during the trip. I leave it to your Excellen- cy's gracious insight to advise me about the participation of this painter who could already work during the voyage on those items destined to be engraved for the future edition of the travelogue.'"

It seems reasonable to assume that von Born was not entirely candid in this memo. Surely he knew that Moll was nearly ferry years of age and not robust. It is likely he was also aware that Moll wanted to emigrate, for which subjects of European rulers needed special per- mission; in Moll's case this would not have been granted.''

Against von Horn's advice, Jacquin chose the physician Matthias Leopold Stupicz" to accompany Matter's expedition. This choice, too, seems to have been made for reasons other than the stated ones. Stupicz had attended Jacquin's lectures for several years and suppos- edly spoke seven languages. In actuality he spoke a flawed German, Hungarian, and Croat. 'Von Born objected because Stupicz had "not the least knowledge in any area of the natural sciences, a smattering of botany excepted that he learned from Professor Marter, whose assistant he was." He called on Stupicz "to admit this.""' Never- theless, both Stupicz and Moll were chosen to accompany Marter on his expedition. Richard van der Schot, the Imperial horticultur- ist at Schonbrunn, was given the task to select two gardeners for the journey who would collect specimens and prepare and accompany plant shipments back to Europe. Schot chose his assistant Franz Boos (fig. 3) and gave him Franz Bredemeyer (fig. 4) as helper. '"' Born writes in his memo that "the gardener Bos, who is to make the trip on His Majest)''s order, will receive his instructions from the Imperial horticulturist at Schonbrunn on how he is to go about collecting the plants."" Marter, the leader of the expedition, was apparently unaware of this decision; it later caused much fric-

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

^. Mr. Boos. Franz Boos, the gardener for the Americi expedition (p. SV')- i7S^.

4. Mr. Bredemeyer. Franz Bredemeyer. the assistant gardener for the American expedition (p. ^ir). nS}.

16 JOURNAL OF E.'kRLY SOUTHERN DECORATIVE ARTS SUMMER I99S

tion between him and the gardeners.'' Thus began an expedition that suffered from the outset from a multitude of misunderstand- ings.

After the five members of the westward expedition were selected, considerable time elapsed before they began their journey. A ship was chosen, given the name Le Comte Cobenzl in honor of the Vice Chancellor, and Lt. Col. Bolz'' was entrusted with its command. Plans were made to make the East Indian expedition less expensive by taking a cargo of mercury and selling it in China."" Salaries were determined, reevaluated, and changed. Eventually it was decided that the men should be responsible for their own food and lodging expenses once they had arrived in America, and that their salaries should approximate their remuneration prior to the expedition mi- nus their board during the transatlantic voyage."

While plans and preparations were still being made, lists being drawn up of the type of plants and animals to procure, and letters of credit being arranged through banks and ambassadors, Marter and Moll found themselves in financial difficulties. On December 4, 1782, Ignaz von Born wrote Cobenzl that immediately upon Mat- ter's appointment to the expedition a substitute professor of natural history had been chosen to fill his chair at the Theresianum. "While the substitute had begun teaching and receiving his (Marter's) salary in November, Marter was unable to make ends meet without an in- come, particularly in view of the indefinite date of departure. Born adds:

The painter Moll finds himself in the same predicament. Expecting his departure from week to week, unable to take on work, he had also dis- missed his students, and is now starving miserably after five months with no income. I felt it to be my duty to advise your Excellency of these cir- cumstances and to leave it to Your Grace to arrange for a remedy."'

Finally the day of departure was at hand. Three days before he was to leave "Vienna forever, Bernhard AJbrecht Moll formally relin- quished his share in his father's inheritance, particularly in the all-

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

important collection oi minerals. On April 24, 1783, he signed the following renunciation:

Because I am about to depart from here and will be absent from my fam- ily in such a way that we cannot receive news from each other for some considerable time; I declare herewith solemnly and earnestly, under no duress and irrevocably for all time and circumstances; knowing that I shall never have the right to change my mind or make valid dispositions either by testament, gift, directive or exchange (since all shall be declared for naught and invalid); that 1 earnestly renounce all natural claims on the "Naturalienkabinet" and the concomitant book collection of my blessed father's estate, now in the hands of my dear mother; and that 1 surrender and yield my share to my surviving sisters and to their unhin- dered enjoyment and free disposition as of a perfect possession, as God is my witness! Vienna, 24 April 1783.

[Signed and Sealed] bernhard albrecht moll

A. A'. Niituralieii Kabinet Painter^

Three days later, on April 27, 1783, at 9:4s a.m. the five (Matter, Stupicz, Moll, Boos, and Bredemeyer) began their journey by dili- gence (stagecoach) from Vienna to Brussels. They carried with them multiple passports signed by the Emperor; letters of recommenda- tion; a list of consuls, ambassadors, and ministers; Imperial letters of credit in French, English, and Latin; and lists of desired plants, birds, and animals. Because the physician Matthias Leopold Stupicz kept a daily journal of the trip, we know that they traveled along the same route taken by todays ttains: Vienna, St. Polten, Amstetten, Linz. At Passau they ctossed into German territory and continued to Regensburg, Niirnberg, Wiirzburg, Frankfurt, Mainz, Bonn, Aach- en; then, crossing into todays Belgian territory, Liege, Louvain, and finally Brussels, where they arrived on May 20.'"

Once there, a change of plans ordered them to Paris, then to Le Fiavre. Much time was wasted, much money had to be spent on tolls and customs duties along the way. A new map of North America was acquired and two specialty maps of Virginia and Carolina.'" In

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS

August they finally left Le Havre for Philadelphia. Matter's journal records the memorable event:

After waiting s days for favorable winds, August i, 1783, was finally the wished-for day on which we were able to depart Europe. The oppor- tunity arose for passage on the American frigate General Washington, the best sailship then owned by the American Navy. During the last war she had been captured off the coast of Delaware from the English, who called her General Mong.'''' Our Captain was the conqueror, a young but coura- geous man, an expert in naval matters who had made several trips to Europe on Congressional business. The last crossing to France took him 16'/; days.^'

It was probably the only time the captain enjoyed such a brief transatlantic voyage. Matter and his four companions arrived in Philadelphia on September 9 at 11 a.m. local time (4 p.m. by Mat- ter's watch, which he had left on European time) after 40 days at sea, during which they experienced three terrible storms, nearly ran out of drinking water, and were seasick much of the time. Arriving in Delaware Bay and sailing up the river toward Philadelphia, Marter was overcome with emotion.

All afternoon we had before our eyes the most romantic scene imagin- able: the white beaches of the river, disappearing into dark woods farther inland; softly rising hills dotted here and there with pristine farm houses of the first European settlers in America; small canoes crossing every- where— these gave us the happiest thoughts about the new world that lay before us.^^

Their captain briefly left the ship and brought back fresh watermel- ons, apples, and peaches, which tasted heavenly after the long depri- vation at sea. River islands, overgrown with reeds, were teeming with ducks and other wildlife, and the sky was darkened with suddenly rising flocks of blackbirds. They saw nothing but "the most convinc- ing proof of the natural bounty of this land."" Marter decided to re- main in the area for two months, then go farther south with ap- proaching winter.

CHARLESTONS DRAWING MASTER BERNARD ALBRECHT MOLL

However, it now appeared that Bernhard Moll had different plans. Shortly after their arrival he wrote to Ignaz von Born that he liked America and had decided to remain in the New World. The letter was sent trom Philadelphia, dated September 17, 1783, and the style shows that Moll and von Born were friends who trusted each other. After reporting on their stormy passage, Moll continues:

I would have had a merry trip, had I had healthy companions. Mr. Marter spoke nary a word the entire journey, Stuppitz whined and prayed, and nothing much could be done with the gardeners. Besides, I found few items that I could draw to pass the time. There was nothing for me besides a flying fish, a medusan, and a small grouper — these three pieces I drew in my cabin during calm. Here in Philadelphia I have al- ready completed the Exocoetus volam which Catesby drew completely wrong and illuminated it in his work. I will be able to send already much of my work with the first transport. How glorious it is in this free city! We've been here tor 8 days and not a soul bothers us. We live as freely as it we were American-born. I like it so much that I would settle here if I were permitted, I would certainly not starve since there are tew artists here and none in my field. The States really permit a naturalist to travel freely to the innermost parts of the country, hence I would make a good living because the gentlemen pay handsomely. I could also make a good bit of money with silhouettes until I've gotten around to all the provinces. Alread\' I have a collection ot civilized American faces. ^^

The phrase "I would settle here it I were permitted " is an indirect appeal to von Born to make discreet inquiries in the matter, and he discussed it with Cobenzl." The individual members ot the expedi- tion were never very compatible. Since they were responsible for their own food and lodging, had separate instructions for their mis- sion, and worked independently, team work never had a chance to develop. Besides, Marter was ten years younger than Moll, a com- moner, and a Catholic; rather than fill a leadership role, he tended to emphasize personal dissimilarities.'" Ultimately, the differences in salary and social class were a never-ending source of discontent in the land ot freedom and equality."

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I99S

While Marter worked chiefly alone trom a home base in Philadel- phia, Moll and Bredemeyer formed a team that worked separately in the provinces. Moll drew cryptogamous plants, tortoises and birds, ^^ but he also produced a considerable number of silhouettes for his own benefit, as the album demonstrates. The profiles of Miss Schall of Bethlehem and numerous others from the Philadelphia, New York, and New Jersey area document his travels inland and along the coast (for a listing of Moll's subjects, see the Appendix). While the silhouettes oi his family and the emperors Joseph II and Maximilian were not prepared for profit, those of German merchants, military personnel, and ship captains in New York and Philadelphia were most certainly remunerated and provided Moll with an income in addition to his salary.

After two months in the Northeast, Stupicz and Boos left Phila- delphia by boat for Charleston. Marter gave Stupicz instructions and eight hundred thaJers in paper money, and on November 4, 1783, they began their journey southward. Stupicz's daily journal informs about their slow progress, the cold, the storms, and life on board. On November 9 he wrote: "During the night I was baptized 5 times in my bed by the waves. At daybreak the storm subsided, everyone was sick, I made some hot chocolate, cooked meat for dinner, and at noon we were 270 miles from Philadelphia.""' Doing their own cooking was one of the time-consuming chores to which the expedi- tion members had become accustomed. Once on land, the tasks of seeking their daily lodging, exchanging their foreign banknotes for local currency, and maintaining their clothes torn in the wilderness caused additional delays.

On November 17 Stupicz and Boos arrived in Charleston: "We saw land both southwest and northwest and at 7:00 a.m. came the pilot. Toward 9:00 a.m. the city came in view and at about 10:30 we docked.""" Stupicz's daily record provides interesting insights into commercial life during the winter of 1783-1784 in and around Charleston. Looking tor plants and seeds, he and Boos came upon

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

Dorchester, "a poor place, completely destroyed by the British,"'' waded through knee-deep mud walking to Goose Creek and Monk's Corner, and spent some bitterly cold nights without a fire or blan- kets on the bare floor of country inns. Obtaining food in the thick- ets was impossible, and since they had been unable to exchange more than fifty thalers into local currency, they ate only little at the inn. Alone, on foot, and without a gun, Stupicz once encountered an alligator: "When the rain let up in the afternoon I went along the river with my walking stick and tound a crocodile."- Didn't cross over, partly because I didn't have a rifle and partly because the brushy terrain didn't permit me to defend myself. Brought home several kinds of seeds.""'

MOLL S CHARLESTON YEARS

On his return to Charleston Stupicz found that Moll and the gar- dener Bredemeyer had arrived from the Northeast. He writes on De- cember i6, 1783: "Toward 9:00 a.m. I met Moll and the gardener, brought them to my place and spent the day with them."" Moll ex- perienced the same difficulty as Stupicz in exchanging the Emperor's bankdrafts and banknotes into the needed local currency. On nu- merous occasions he and Stupicz unsuccessfully went to a Danish ship in the harbor whose merchant owner had held out some promise to cash their paper notes,"' and on December 20 Moll invit- ed Stupicz to dinner at his place. Stupicz spent considerable time with Moll during the Christmas season and went to St. John's Ger- man Lutheran church repeatedly. Moll did not accompany him to church, and on January 2, 1784, Stupicz left the city again to con- tinue his botanizing activities in the countryside with the two gar- deners.

During 1784 the difficulties among the members of the expedition came to a head. Matter, who had arrived in Charleston on January 16, 1784,"" and had found the weather to be colder than expected.

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

was eager to move on. Taking Boos with him, he stopped briefly in St. Augustine in mid-March and then continued to the Bahamas, returning to Charleston at the end of May. Stupicz he had sent northward. In his report of June 15 from Charleston to Count Cobenzl he notes with scathing sarcasm that Stupicz, "this great polyglot, has not yet learned the English language to a point where he can function among Englishmen without an interpreter . . . and since nobody speaks Hungarian or Croat in North America, I had to send him to the tew Germans in North Carolina to collect what- ever rarities, if any, he might find for us there.""' In the same letter Marter complains that three quarters of the birds he had bought for shipment to Vienna had died during his absence from Charles- ton because Moll and Bredemeyer had not tended them properly. This is surely an unfair accusation inasmuch as Stupicz mentions in his journal that the birds he purchased died within twenty-four hours in captivity.

A major source of discontent among Matter's crew continued to be salary inequities and exchange rates. Since they were required to pay for their own living expenses, they felt cheated when they did not receive the full equivalent of the sum promised them at home; but South Carolina's currency problems in the aftermath of the Rev- olution made it very difficult to exchange foreign bills for local mon- ey. "Stupicz has insinuated here and there that I am defrauding him of a part of his salary, refusing to accept the true value of the Spanish thalers which I receive at the local bank, and instead wants the equivalent of their worth in Vienna, " Marter writes. Although aware of Moll's powerful friends at home, he also complains at length about him and asks Count Cobenzl for advice on the personnel problems he was experiencing:

Moll, who has been the most useful of them until now, has changed completely. He perceives a rosy future for himself in his profession in America and didn't lift a finger for his job while I was in the Bahamas,

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

despite the many items I had left behind for painting. When I returned he demanded a monthly raise of i6 Thalers, and because I didn't agree immediately, he became most impolite. Now he is so derelict in his duty that he has merely produced the few plates I am sending, none in dupli- cate, and just barely acceptable for engraving; and although I pay him the extra money so as not to give him an excuse, I can see by everything he does that he just wants to force his dismissal by reftising to do his dut)'. It is a thankless process.''^

Matter's judgment proved correct. Little more than three months later he was forced to report the final breakdown oi his relationship with Moll. On September 28, 1784, he wrote from Charleston to his superiors in Vienna that he had discovered the real reason lor Molls insubordination:

A few days ago some light was shed on the case of the painter Moll: his dereliction of duty and the constant grumbling about his small salary plus 8 Thaler bonus per month (which is relatively speaking a much larg- er sum than my own) brought me to the decision to send him back to Europe on the first available vessel. The moment I told him ... to get ready for the trip he revealed the secret of his complaints and dissatisfac- tion which he presumably communicated to you. He answered "that he was not a subject of the Emperor and hence not bound to return; that as of this time he considered his services no longer needed, and neither my [Marter's] superior nor I were presently able to deport him; nor did he desire to see his Fatherland ever again. "'''

Marter knew that he was on thin ice. As leader ol the expedition it was his prerogative to send Moll home; as a commoner it was pre- sumptuous of him to demand obedience from the only nobleman in the group. He was surely aware of the high esteem in which Moll's family was held at court. He feared that Moll had told his Iriends in Vienna unflattering things about him, and that his fellow Mason and leader Ignaz von Born would back Moll's version of the tale. He admitted that "it would seem incredible that a person who had been recommended by such eminent men should be so unsatisfactory, "

24 JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I99S

and therefore he found it necessary to enclose a statement by wit- nesses. The brief statement reads: "The undersigned attest that Mr. Moll refused the bidding of Director Matter to return and be held accountable as a useless and dissatisfied member of the expedition, and that he [Moll] withdrew voluntarily from Imperial service. [Signed] D. Stupicz, Franz Boos. " "

The news of Moll's defection caused little surprise in Vienna. On November 15, 1784, von Born wrote to Cobenzl that Matter would have to continue his travels alone with Boos because Moll and Stupicz had found sufficient means in America to make a living. ' He seems unperturbed, "'especially since according to their decrees they will not be able to obtain a position at court after their re- turn." - Vice Chancellor Cobenzl's letter of November 22, 1784, ad- dressed to His Majesty is also seemingly unconcerned. He notes the recent arrival of Bredemeyer with a substantial shipment of animals and plants from North America and some paintings of native ani- mals by Moll, then chats pleasantly about expected future shipments from other parts of the world. He mentions the loss of personnel al- most in passing and suggests that four "new subjects" be sent to meet Matter in Martinique to replace the original crew; it would make no difference in the cost of the expedition, since only the in- significant travel costs of the four would be involved.'

The only one genuinely surprised by this turn of events seems to have been Joseph II. Stung by the defection of Moll, who had re- ceived many noteworthy favors from the Imperial family, he wrote a lengthy reply in the margin of Cobenzl's report: "I am not as indif- ferent as you to the loss of two people like Stubitz and Moll, for whom one has paid travel expenditures. Besides these costs, they shall be lost to the state as subjects." He blames Matter's quarrel- some nature for the fiasco, criticizes the inferior quality and quantity of the recently arrived shipment, and concludes that Matter merely wanted to get tid of his companions in order to be left to do as he pleased. His insttuctions were that Matter should receive no addi-

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

tional assistants, that he proceed to East India with Boos, and return to Europe after a final collection stop at the Cape of Good Hope. For the two renegades Joseph II has a final message:

You are to write Stubitz and Moll that they are reminded ot their dury and integrity by means of which they offered to complete an assignment for payment. It is hoped, therefore, that they will fulfill this obligation unless they want to be publicly known as deadbeats and swindlers. Con- fident ot the contrary they are to be privately assigned to gather — alone and independently ot Matter — a well-chosen collection ot minerals, plants, and animals in South and North America and in the Antilles, and to return with it to Europe.

In this manner you will proceed with this business and write to both Matter and Stubitz.

[Signed in his own hand] Joseph i i . ''

Cobenzl wrote his reply to Marter on November 29, 1784, reporting that Bredemeyer had arrived with the transport, but that most ot the plants and animals had died en route. Only sixteen of the original ninety birds had survived, along with one raccoon and a very small number ot plants. Regarding Moll he writes:

I don't doubt that you have confronted Moll and emphasized his un- grateful wrongmindedness, and also have read to him my letter of Sep- tember 16 in this regard. Therefore I don't want to give up hope yet that he will arrive at some insight and will fulfill his obligation better than be- fore. ^ However, if he should persist in his idleness and eventually leave you, you will have to let it happen. You have no means to force him to fulfill his dury, and to drag along an individual who doesn't want to work would only cause inconvenience and useless expense. ''

For all intents and purposes, this signified the end ot the Moll affair for the Austrian Imperial Court in Vienna. In the meantime, Moll had indeed settled at No. 31 Broad Street in Charleston and had begun advertising tor students. On November 23, 1784, the fol- lowing ad appeared in the Gazette (see figure i):

26 JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

The ART of DRAWING.

Bernard Moll (lately from Vienna)

REQUESTS leave to Inform the Ladies and Gentlemen of this City, that he has undertaken to teach that necessary accomplishment,

The Art of Drawing, In All its branches. He flatters himself (from the attention which he shall observe) to those whom he has the honour of instructing, that with appli- cation thev will in a short time become proficients. -Profiles done in the most exact manner, of all sizes. No. 31, Broad-street.''

At the time ot this advertisement Moll had already gained accep- tance by many of Charlestons prominent families. Silhouettes of more than five dozen important Charleston residents are represented in Moll's album for 1784 alone, among them a number ot those that the Swiss-born artist Jeremiah Theus also had painted before his death in 1774, such as Dr. Irving and members of the Motte, Rut- ledge, and Heyward families.

Three months after this first advertisement Moll again publicized his skill in creating silhouettes, an inexpensive and popular means of portraiture. A persons profile was drawn either on black paper or the drawing was inked in. The silhouette could also be cut out carefully, mounted on an appropriate background, and framed. This variation is not documented in Charleston before Moll practiced it there. On February 25, 1785, the Gazette c^mtd this advertisement:

Profile Likenesses

Done in the most exact manner, and

very reasonably, by

BERNARD MOLL,

No. 31, Broad-street. *

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

It is clear that Moll liked Charleston and its New World culture. The city had a large and well-established segment of German-speak- ing immigrants who had brought with them German books and a desire for cultural amenities. As early as 1736 Charleston had a per- manent theater and was one of the first American cities to afford its very own professional stage. Indicative of the size and importance ot the city's German-speaking population in the late eighteenth centu- ry is the fact that Charleston was the first American city to stage a German play ' The city also had a substantial contingent ot Ger- man-speaking businessmen such as Michael Kalteisen, who founded the German Friendly Society in 1766 and was co-founder of St. Johns, the first German-language Lutheran church in Charleston; craftsmen such as the shoemaker and tailor Henry Timrod, the first to sign the list of volunteers for the German Fusiliers, organized in the defense against the British in 1775; musicians such as Charles Theodore Pachelbel, organist at St. Philip's from 1739 to his death; and Hermann Moll, a surveyor and cartographer who may have been a relative of Bernhard Moll, whose work is also well known. Hermann Moll produced some of the earliest maps of South Caroli- na, the originals of which are now in the Austrian National Library.™ Obviously, Moll's decision to travel to America and remain in Charleston was well planned. When he said in his application to the Emperor that "it had been his great desire since childhood to go on such a journey," he most likely spoke the truth; on May 23, 1785 he took the oath of allegiance to become a citizen of the United States.

During the next two years Moll moved several times within the city. In late August or early September 1785 he relocated his home and studio to 27 Tradd Street and advertised his new address in the Columbia)! Herald:

MOLL, DRAWING-MASTER,

Is removed to No. 27, Tradd-street, Where he teaches that art on very reasonable terms."'

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

The following year he moved to Lynch's Lane. He appears to have made contact with Charleston's upper class and made an adequate living, but at the time pulmonary diseases ravaged South Carolina's population in epidemic proportions and Moll's earlier "protracted illness " and "chest defect" may have taken a turn for the worse. On November 19, 1787, he advertised in the City Gazette that he had moved to 31 King Street, a choice location then as now, offering the testimony of "several of the most eminent families" in Charleston as witness to his skill. If he was feeling ill, the schedule he maintained belied it. Indeed, the founding of a school suggests an overflow of pupils at a respectable tuition:

Drawing Academy. THE subscriber begs leave to inform his friends and the pub- lic in general, that he has removed from his late apartments in Lynch's Lane, to No. 31, King-street, where he means to carry on

The Art of Drawing, in all its different branches; he therefore solicits the favours of all young ladies and gentlemen, and flatters himself they will kindly grant him their support, the facility of his instructions being well known to several of the most eminent families in this

cit>r

He continues to give lessons twice a week at his own House, viz. Thursdays and Samrdays, from 3 to 5 o'clock in the after- noon, and from 7 to 9 in the evening — He has also opened an Evening School twice a week, viz. Mondays and Wednesdays — His price is one guinea per month, and one guinea entrance.

Barnard A. Moll, Drawing Master.'^

Bernhard Moll had found sufficient means to remain in America, but the fulfillment of his childhood dream coincided with his death. He lived to see his U.S. citizenship duly recorded in Charleston on April 30, 1788: "This is to certify, that Bernhard Moll, Gendeman,

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

late a Subject of the Emperor of Germany is become a Citizen of this State he having taken and subscribed the Oath of Allegiance and Fidelity.""' His will, dated June 25, 1788, is the last known document signed by him and leaves his entire possessions to a woman named Hagar, with whom he lived at the time."' Moll must have died short- ly thereafter because Edward Lightwood qualified as executor oi Bernhard Moll's will on July 23, 1788. On September 9, 1788, Molls personal effects were sold," and on November 13, 1788, his paintings and professional utensils changed owners at public auction."' A final inventory and a last call tor outstanding debts were the last com- memorations of Bernhard Moll."

Nobody thought of notifying his family in Vienna of his death. When Mrs. Moll died in 1792, six surviving children were listed in the probate records, including Bernhard Moll. The document states that "the first of these sons [Bernhard] went to America. His last let- ter was from Charlestown in the month of December 1786. Since that time his family has not heard from him, however.""" The renun- ciation of Moll's claims to his father's estate that he had signed on 24 April 1783 played its significant role in the settlement of the case.

THE ALBUM AND MOLl's SILHOUETTES

Besides the engraving that accompanied Moll's advertisement in Vienna's Rea/zeitnng, only the volume of silhouettes in the Royal Ontario Museum, Toronto, can be positively attributed to Moll. The album contains 148 profiles of which 76 sitters are labeled as be- ing from Charleston. Judge Heyward (page 17 verso) is also from Charleston, although not so designated. The seventy existing Charleston silhouettes and a transcription of Matter's index are re- produced in the Appendix. The index lists 151 names. The profiles of Miss Neuman and Mr. Somarsall (page 82 recto and verso), and an unidentified silhouette on page 83 verso (possibly Bernard Moll or his brother Albrecht) are missing from the index. Pages i and 2 con-

30 JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 19 9")

tain the profiles of Emperors Joseph II and Maximilian of Austria; pages 3 to 6 are blank and not listed in the index; Mr. Hall's silhou- ette on page 7 has been bound between pages 4 and 5; and the pro- files of Mrs. and Mr. Sanders (pages 41T and 43r, respectively) are misnumbered in the index. Three pages, 73, 76, and 79, are missing from the album; according to the index, the sitters on those pages were Mrs. Terons (73r), Mr. Armstrong (73V), Mr. Smyth (76r), and Mrs. Braun (79r) and Mr. Kraus (79V). The name for page 76 verso is illegible.

The profiles were cut from black-washed paper and first placed on the recto side of the laid-paper pages of the album, which mea- sures 5.8 X 4 inches.*" The images vary in size, suggesting that some were intended for mounting in oval frames or lockets. Profiles of Emperors Joseph II and Maximilian introduce the album, followed by the portraits of Ignaz von Born, Moll's family members, and prominent Viennese officials. Members of the expedition also appear in the early section. The order suggests that the collection was begun in Vienna and that these early silhouettes were affixed according to the social ranking of the individuals. Successive sitters from Bel- gium, France, the American Northeast (Philadelphia, New York, New Jersey), and Charleston fit the chronology of Moll's travels. Ini- tially, the silhouettes were placed only on the recto side of each page, which was numbered and marked off by lines to suggest a frame for the profile. When the end of the album was reached, profiles were also placed on the verso side, beginning at the front of the album from page 7. (Emperors Joseph II and Maximilian were respectfully accorded an entire album leaf to themselves.) In this manner most of the rest of the album was filled, but the chronological order as one leafs through the album is confusing.

The silhouettes depict members of Charleston's foremost families. It speaks for Moll's skill that several of them had also commissioned portraits by Jeremiah Theus (d. 1774)."° Among them is Thomas Heyward, Jr. (1746-1809), signer of the Declaration of Indepen-

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

dence, who was later made a judge in South CaroHna. Molls silhou- ette "Judge Heyward" is dated 1784 (figure 25). Moil's "Ms. Hayn" may be the young woman whom Theus painted earlier as "Little Al- ice Hayne" feeding a squirrel. Alice Hayne was the daughter of Mr. and Mrs. Abraham Hayne, both of whom Theus also painted. Moll's Miss Hayne portrays a self- assured, stylishly dressed young woman (figure 68). The Alexander Fraser painted in 1750 by Jeremiah Theus is perhaps the "Mr. Fraser" depicted in Moll's silhouette (figure 59). He and his wife Mary Grimke (possibly Moll's "Mrs. Fraser, " figure 60) had fourteen children, of whom Moll's Alex, Polly, Betsy, Judy, Nancy, Suky, and James Fraser may be a few (figures 61—67).

The profiles of Mrs. and Mr. Garden (figures 37 and 38) may well be those of Alexander Garden, Jr., son of the famous physician and naturalist of the same name, and his wife, Ann Gibbes. The couple was married in 1784, and the profiles have an air of celebration about them; Mrs. Garden might very well have sat for Moll in her wedding costume."

Among other Charleston families portrayed by Theus is the fami- ly of George Abbott Hall. Moll's silhouettes include a profile of George Abbott Hall, his two sons John Ladson and George, Jr., and seven daughters, all except Elizabeth (Moll's "Miss Betsy Hall ") un- der age (figures 15-24)."' The elder Hall owned property in Tradd Street where Moll also had a studio. Interestingly, The Biographical Directory of the South Carolina House of Representatives states that the names of only five of Hall's nine children could be found; the album identifies all nine. "

Others of Charleston's social elite profiled by Moll include the Rutledge, Drayton, Middleton, Huger, Mott, Irving, and Purcell families. The silhouette of the Rev. Henry Purcell was cut in the year in which he was elected Rector of St. Michael's Parish church in Charleston (figure 30)." A separate, detailed study of these families relative to Moll's silhouettes may well result in the discovery of addi- tional works by him.

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

Bernhard Moll was perhaps the first artist who employed the technique ot cutting profiles in Charleston, a variation of the genre requiring considerably more skill than merely drawing and painting them. In Vienna, the art flourished as a parlor-game entertainment; silhouettists would quickly and dexterously cut likenesses before an appreciative audience. In Charleston, the portrait painter Cephas Thompson advertised in 1804 that he cut profiles "with his machine, which is on a new principle, and more accurate than any in use.'^ He also painted silhouettes. Isaac Todd cut profiles in 1807 which he stamped with "Todd's patent,""" and Mr. Cromwell from London cut profiles in 1810, advertising "a superior style ol accuracy and ele- gance to any ever before taken in Charleston.""" In the same year, John Thomson, "lately arrived from the West-Indies," cut and painted profiles and taught drawing "in all its branches."'"' If Moll indeed introduced this technique in Charleston, it would explain his popularity and his comment to Born shortly alter his arrival that there were few artists and none in his field.

All of Moll's silhouettes show remarkable dexterity in their scis- sor-cutting and exquisite skill in characterization, capturing the de- meanor and individual personality traits of the sitters. Dr. Irving, with his soft, fleshy lips, bushy eyebrows and thick, braided tresses, seems portly joviality personified (figure 81). The Rev. Henry Purcell shows both a fine, somewhat reserved, very correct manner of the minister, and the very erect bearing of a military man. An almost childlike innocence is portrayed in the youthful faces of the two gar- deners Boos and Bredemeyer (figures 3 and 4), whereas Mr. Marter's profile, while still youthful, conveys a more forceful, determined at- titude (figure 2). The furrowed brow and doubtfully raised chin of "Mr. Lecke from Hamburg" betray the savvy, energetic businessman (figure 27).

Concentrating on portraying the personality of the sitters, Moll avoids the large and elaborate headdresses of the time, usually show- ing the men without hats and the women with small, frilly caps or

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

hats that accentuate and complement the face rather than detracting from its features. The silhouette of Mr. Franc. Fohrmann, probably made while Moll was still in Europe, illustrates the reason: his ex- pression is overpowered by the large, substantial-looking hat — per- haps part of a required military uniform — that dwarfs his features (figure 5). His features seems almost coincidental to the attire.

Nevertheless, the portraits carefully depict the sometimes extrava- gant ladies' headdresses of the 1780s. Moll is particularly adept at capturing the feeling of the showy ribbons, lace, artificial Bowers, and feathers that went into these confections. Though several women wear hats, these are small compared with the large hats seen in many painted portraits of fashionable women of the period."" The fanciful headdresses worn by Misses Betsy and Sarah Hall both soften the impression of Betsy's energetic profile and add interest to Sarah's unassuming features (figures 16 and 17). In either case they enhance and frame the personal characteristics of the sitter. In contrast, an unassuming cap covers and hides the hair of Caroline at Mr. Deslan- des (figure 6). Effortlessly, it seems, the artist captures the counte- nance of the old woman with her bent body and sorrowful brow. She is the only one in the album identified only by her first name, a liberty commonly taken with servants and indigent, live-in relatives.

Moll's silhouettes are among the best of the genre, and the cross section of businessmen and workers, ministers' wives and noble- women, children and old politicians, provides an interesting per- spective on eighteenth-century society and family life. How the al- bum came into Matter's hands, or if it was not perhaps even Marter's own from the outset, is a question that must remain open. Since silhouettes were commonly cut in multiples, Moll may have kept examples in the album to showcase his skill to prospective clients. On the other hand, Marter may have compiled the album himself with cuts given him by Moll. According to his contract as a member of the expedition, Moll was to supply all of his paintings and drawings to Marter in duplicate to guard against loss during

34 JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 199S

5. Mr. Franc: Fohrm.inn {p. z.SW. 17S3.

6. Caroline chcz Mr. Dcslandcs (/>. }6r). 1783.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

shipment. After Moll arrived in Charleston in December 1783, he spent most of his time establishing himself among the first families of the city and neglected his contractual duties. When Matter re- turned to Charleston from the Bahamas in May 1784 he found that Moll hadn't worked on the items he had left behind to be painted, had only produced a few plates ("none in duplicate"),'"" and had in- stead sold silhouettes for private profit. Since Moll was still being paid a salary by Marter throughout 1784, it is probable that Matter insisted on receiving cuts of Molls silhouettes. When Marter even- tually left Charleston in the spring of 1785 without Moll, the addi- tion of silhouettes to his collection ended. It is entirely possible that he sold the profiles before leaving America, sensing that he would be denied resumption of his teaching position upon his return to Vien- na, which did occur. On receiving a report dated August 11, 1788, on Matter's expedition, Joseph II replied in the margin that Matter had served poorly in the job entrusted to him, and that he could not ex- pect to be reinstated in his academic position upon his teturn.'"'

Moll's Charleston silhouettes, published hete for the first time, in- troduce this artist's work and fill a perceived void in Charleston of extant examples of the genre. It is hoped that their publication will stimulate a search for additional works by Moll in Charleston, in the Northeast, and overseas. It may also be worth investigating it some copies of Theus portraits were the work of Moll, since a number of Charleston families commissioned work by both attists.

Finally, I would like to state my gratitude to the many individuals in Austria, Canada, and the United States for their assistance in my research, for copies of necessary documents, and their expett advice. Special thanks go to MESDA and its staff fot a research grant in the winter of 1993 and for their always friendly help in preparing this publication.

HELENE RILEY is Professor of GemiiVi at Clemsou U>iiversity. She discovered Bernard Moll while at MESDA as a Moeller Research Fellow in December ipp3.

36 JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I99S

Appendix

Transcription of the index to Bernard Moll's profile album

This is a transcription of the index found in the back of the al- bum. Column I gives the name as it was inscribed in the index, and column 2 gives the page number. Whereas Matter underlined the numbers that indicate the verso side, here rand v for recto and verso are used; otherwise the itregular punctuation of the original has been retained. The dates in column 3 are those written on the pro- files. Column 4 provides the complete caption that appears under the profile.

The index does not contain entries tor pages 82 and 83. The indi- viduals represented are Mis Newmann of Charleston, 1785 (82r); J. Somarvall, 1785 (82v); Mr. Beach, 1785 {83r), and the unidentified profile that is assumed to be either Bernard Moll or his brother, William Berczy (83V). Page 84r is blank, and the index begins on 84V and continues on both sides of page 85, the last page of the album.

Profiles that are reproduced in this article are indicated by an as- terisk before the name.

Listing m index, in pa^e

order in which It appears no. Date caption under profik

A. Mr: Armstrong 73V Folio ~} is missing from the album.

B. Mr Born 8r 1783 dc Born.

"Mr Berkmeyer 20v 1784 Mr. Berkmeyer from Hamburg in Charleston

Mr Brucher 25r 1783 Mr Brucher

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

37

Luting in index, in

uipu

niier profile

'Mr. Behagen 'Mrs V. Braun *Mr. Berisford 'Mrs. [Berisford] "Mr Brown Jac: '[Mr] Bredemeyer •[Mr] Boos [Mr] Bencke [Mr ] Boden 'Mr: Brown Jos. Mr. Braun 'Mr: Beekman

'Ms Caroline 'Mr Chion 'Mr Chion Jun:

Mr Deslandes Ms Deslandes Mr Deslandes [Mr.] Delius [Mr] Deslandes Mrs: V Doren 'Mr Dreyton *Mr Davis

33V

1784

35V

1784

39V

1784

40V

1784

45V

1784

5ir

1783

55r

1783

5Sr

1783

6ir

1783

71V

1785

79r

80V

1785

36r

.783

36V

1784

37V

1784

3or

1783

3ir

1783

3'r

1783

5or

1783

39r

1783

63r

1783

66v

1784

-J IV

1785

Mr Behagen from Coppenhagen in Charleston

M^ van Braun from Amsterdam in Charleston

Mr Berestord of Charleston

M'^ Biristord. from Charleston

Mr Charles Brown of Charleston

Mr; Bredemeyer.

Mr: Boos.

Mr: Bencke de Hambourg, en Phyladelphie

Mr: Boden de Hambourg en Phyladelphie.

Mr: Joseph Brown at Charleston

Folio 79 is missing from the album.

Mr Charles Beekman at Charleston

C.

Caroline chez Mr. Deslandes

Mr. Chion from Amsterdam in Charleston

MrChion Jun: from Amsterdam in Charleston

D.

Mr Deslandes, de Bruxelle.

Mad- Deslandes

Mr Deslandes, |un.

Mr Delius

Mr Deslandes juvin:

Mad: van Doren de Philadelphie

Mr. Jacob Dreyton at Charleston

MR: NX^n Davis, at Charleston

Mr Emeroth 'Mr Edwards

Mr Emeroth de Hombourg en Philadelphie Mr Edwards Major at Charleston

Mrs Fohrmann Ms Fohrmann [Mr] Fohrmann [Mr] Fohrmann *[Mr| Fohrmann Mr. Fiihrer

'Ms Fraser Polv

l6r

1-83

I7r

1783

igr

1783

i7r

1-83

28r

1783

40 r

1783

43V 1784

Mad™. Fohrmann.

Mad'^ Fohrmann.

Mr. Fohrmann

Mr Ferd: Fohrmann

Mr Franc: Fohrmann

Major Fuhrer fon den amerikans: Trouppen in

Phvladelphia.

Ms Fraser from Charleston.

JOURNAL OF E.\RLY SOUTHERN DECORATIVE ARTS

SUMMER 1995

Listing in mdt'x. in

P'W

order in which it appears

no^

Date

'Mr Fraser

5IV

1784

'Mrs [Fraser]

52V

1784

*Mr [Fraser] Alexand

5.^v

1784

*Ms [Fraser] Poly

S4V

1784

•Ms [Fraser] Betsi

55V

1784

'Ms [Fraser] Judy

56V

1784

'Ms [Fraser] Nancy

57V

1784

'Ms [Fraser] Suky

58V

1784

'Mr [Fraser] James

60V

1784

'Mrs Garden

Z9V

1784

*Mr [Garden]

30V

1784

Mr Gotze

45r

1783

Mrs Gross

67r

1783

'Mr: Gaer

74r

1784

•Mr: Hall John

i6v

1784

'Mr. Heubert

17V

1784

'Mr. [Heubert] Daniel

iiv

1784

Ms. Hess

49r

1783

Ms. Holden

6or

1783

'Ms Hayn

61V

1784

Mrs Hxxx

62r

1783

Mr. Herlitz

64r

1783

Mr: Hasenkleber

69r

1783

'Ms. Huger

69V

1784

Mr Hubley

7ir

1783

•Mr Hall

7v

1784

•Ms. [Hall] Betsy

8v

1784

'Ms. [Hall] Sara

9V

1784

■Ms. [Hall] Mariane

lOV

1784

Mr. Heidinger

ilr

1783

'Ms. Hall Louise

IIV

1784

•Ms. [Hall] Juillette

u

1784

captu

(fider silhouette

'Ms. [Hall] Hennette 'Ms. [Hall] Caroline

1784

Mr Fraser at Charleston Mrs: Fraser. at Charleston Mr Alex: Fraser at Charleston. Ms. Poly Fraser at Charleston Ms Betsi Fraser at Charleston Ms Judy Fraser at Charleston Ms. Nancy Fraser at Charleston Ms Suky Fraser at Charleston Mr. James Fraser at Charleston.

G.

Mrs Garden, from Charleston.

Mr Garden from Charleston

Mr Gotze Danoi en Phyladelphie

Mistris Gross de Philadelphie

Mr. Gaer from Landkaster in Charleston

H.

Master John Hall, from Charleston

Judge Heyward

Mr. Daniel ["Heubert " crossed out] Heyward

from Charleston

Mis Petzi Hess de Phyladelphie

Mis Cath: Hoolden des quackers in Phyladephie

Ms Hayn at Charleston.

de Philadelphia

Mr Herlitz de Neujork.

Mr Hasenkleber de Philadelphie

Ms: Marv Huger at Charleston

Mr. Hubley Collonel Americain en

Philadelphie

Mr George Hall of Charleston

Miss Betsy Hall of Chadeston

Miss Sarah Hall, ot Charleston

Miss Maria Hall of Charleston

Mr. Heydinger.

Miss Louisa Hall ot Charleston

Miss Juliett Hall of Charleston.

Miss Henrietta Hall ot Charleston.

Miss Carolina Hall, from Charleston.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

Listing in index, lu order in which it affiean

Cttption

under ulhouette

"Mr. George [Hall 'Mr. Hessling 'Mr Hubert 'Mrs Hubert

'Mr Harrelbrink 'Mr Henning

15

1784

ist

1784

77r

17S4

78r

1784

8ir

178s

8or

1784

1784

M^ister George Hall of Charleston

Mr Hessling de Hollande a Charleston.

Mr Hubert from Holland in Charleston

Mistris Hubert from Kurei;ao in the

West Indies in Charleston

Mr Hrrelbrinck from Prussia at Charleston

Mr Henning de Frankfort sur le mayn

a Charleston

Mr Richard Hutson Intendent of Charleston

josephus II 'Mr Inglis Ms Joassens 'Mr Irwing 'Mr Irwing doct.

Mrs Kunzmann Mr Kohler Mrs Kapli •MrsKrause Mr Krause

•Mr. Lecke Mrs Levi

Maximilian

Mrs. Moll

Ms. Moll Jeanette

[Ms.] Moll Suzette

I Ms. I Moll Eleonore

Mr: Munschi

•[Mr.] Maerter 'Ms. Mukenfus Mr Matzcn

[Mr.] Meyer '[Mr.] Middleton

ir

n.d.

3IV

1784

.'7r

1783

70V

1785

75V

178s

-.'"'

1783

47 r

1783

66r

1783

igv S6r

1784 1783

9r lOr

1783 1783

I2r

1783

i.ir

1783

I4r

1783

29 r

178.^

48V

1784

6sr 65V

1784

Josephus II I. R. The present Emperor

Mr Inglis from Charleston

Mad'"' Joassens, d'Anvers

Mr Irwing at Charleston

Mr. Irwing Doct: at Charleston

K.

Mad"^ Kunzmann.

Mr Kcihier Danois, en Phyladelphie

Mde Kapli de Philadelphie.

Mrs Krause at Charleston

Folio 79 is missing from the album.

L.

Mr Lecke from Hamburg in Charleston

Mistris Levi. Juife en Phyladelphie.

M.

Maximilian of Austria

Mad™ de Moll.

Jeanette de Moll.

Suzette de Moll.

Eleonore de Moll.

Mr Munschi. a Viennne. des Etats

d'Hyderalq.

Mr Maerter

Ms Muckenfus from Charleston

Mr: Matzen. Capitain du Neptun, Danois

en Phyladelphie

Mr. Meyer de Neujork

Mr Middleton at Charleston +

40

JOURNAL OF E.\RLY SOUTHERN DECORATIVE ARTS

SUMMER 199s

Listing in mdt-x. m order w which it appears

*[Mr.] Motte •Mrs. Marschall Mr: Maetsch

no. Date

67V 1784

68v 1784

72r 1783

Mr Oesterly 52r 1783

Mrs [Oescerly] 53r 1783

captii

nder siihout

Mr Motte. at Charleston

Mrs. MarschaJl at Charleston

Mr Maetsch de Hamborg en Philadelphie

O.

Mister Oesterly Capitain de la Milice en Phyladelphie Mistris Oesterly

*Mr Purcell •Mrs [Purcell] Mr Perfetta *Ms: Purcell Nancy •Ms: [Purcell] Jeny *Ms: [Purcell] Petsy 'Mr: Purcell Henry *Mr Pxxx Ms. Parker

22V

23V 24r 24V 25V 26v 27V 32V

Ms

1784 1784 1783 1784 1784 1784 1784 1784

la Par. . . [illeg.] 76r 1785

Mr Rugker

I5r

1783

•Mr Readhead

i8v

1783

Mrs Reinc

.14'-

1783

*Ms. V. Rhein

34V

1783

Mr. Reine

35r

1783

•Ms Rumiz

4IV

1784

'Mrs: Rumiz

42V

1784

Mr Ruge

46r

1783

•Mr Rutledges

62V

1784

•Mr Rutledges Eduard

63V

1784

•Mr Rutledges Willam

64V

1784

Mr Seivert

2or

1783

Mr. Schuz

2ir

1783

Mrs. Schliz

22r

1783

'Ms. Stark

28v

1784

Ms. Schiquier

38r

1783

•Mr Stuermann

38V

1784

Mr Purcell, minister from Charleston

Mrs. Purcell from Charleston

Mr Perfetta.

Ms Nancy Purcell from Chadeston

Ms Jeny Purcell. from Charleston.

Ms Petsi Purcell. from Charleston

Mr Henry Purcell from Charleston

Mr P . . . from Coppenhagen in Charleston

Mis Petzi Parcker en Phyladelphie.

Folio ^6 IS missing from the album.

R.

Mr Rugker

Mr Readhead from Soud Carolina to

Charleston

Made Reine. chez Mr. Deslandes

Ms van Rhein from Amsterdam in Charleston

Mr Reine

Mis Rumiz from Charleston

Mrs Rumiz from Chadeston

Mr Ruge de Hambourg en Phyladelphie

Mr Fredrik Rutledges at Charleston

Mr Edward Rutledges at Charleston

Mr Willam Rutledges at Charleston

S.

P. Prosper Seivert

Mr Schiitz.

Mad"" Schutz.

Ms Stark from Charleston

Mad: Schiquie

Mr Stuermann from Holland in Chadeston

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

Listing m index, in order in which it appears

caption under silhouette

Mr Sanders

Mrs Sanders *Mr. Salser *Ms. Salser Ms. Schmid 'Mr. Schmid 'Mr Seibels Ms. Schall Mr. Sayer Mr: Smyrh

"Mr Tunno Mrs: Thully Mis P. Thully Mrs. Terons

Mr. Vats Ms Vuillam

'Mr. Wilson

Mr. Ziegler

42r 1783

43r 46V

47V 48 r 49V 50V

54r 70r 76V

81V 4ir 44r 731-

1785 1784 1784 1783 1784 1784 1783 1783 1785

1783 1783

77V 1785 26r 1783

Mr Sanders de Hambourg a Neujork en

Amerique

Madame Sanders de Phyladelphie

Mr. Salser from Frankfort in Charleston

M° Salser from Charleston

Catherine Schmid, de Phyladelphie

Mr Schmidt from Stutgard in Charleston

Mr Seibel from Elberfeld in Charleston

Miss Schall N. de Bethlehem en Pensilvanie

Mr. Sayer de Hollande en Philadelphie.

Folio 76 IS missing from the album.

T.

Mr. George Tunno at Charleston. Madame Thully de Phyladelphie. Mis Moly Tully de Phyladelphie Folio ■'i is missing from the album.

V.

Mr Vats a Vienne d'Engleterre

Mad'^ Vuillam.

W.

Mr. D. Wilson at Charleston

Z.

Mr Ziegler.

4i

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS

SUMMER 199s

L

m

e m

7. Mr. Gaer from Landkaster in Charleston (p. 74r). 17S4.

8. Mr. Hessling from Holland in Charleston (p. y^r). 1/84.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

43

igfiia.^

9. Mr. Hubert from Holland in Charleston {p. yyr). 17S4. I hi nujy be Charles Nicholas Hubert, a iiatire of Amsterdam, who died ill iSii having lived in Charleston for 28 years. Charleston Courier, j September 1811.

10. Mistress Hubert from Kure(,ao m the West Indies in Charleston (p. j8r). 1784.

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS

SUMMER 1995

m

^^

^aS^-^^

7^ SC:.^,,-^^!^^

II. Mr. Henning from Frankfurt am Main in Charleston {p. 8or). 1784.

L

12. Mr. Harrelbrinck from Prussia at Charleston (p. Sir). 1784.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

13. Miss Newmann ot Charleston (p. Sir). 1784.

14. Mr. Beach (p. 8}). 1784.

46

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

15. Mr. George Hall of Charleston {p. jv). 1784. George Abbott Hall was a merchant and collector of customs in Charleston. His wife Louisa predeceased him in 17S1. This folic ivhich hears a silhouette only on its verso, was erroneously bound into the book between folios 4 and $.

16. Miss Betsy Hall of Charleston (p. %v). 1784. Elizabeth Hall married Robert Hazlehurst of Charleston.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

47

ly. Miss Sarah Hall ot Charleston (p. gvl i~S^.

i8. Miss Maria Hall of Charleston (p. lov). 1-84. Maria Hall married John Stanyarne Brisbane in ijgs-

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

19- Miss Louisa Hall of Charleston (p. iiv). 1784.

2.0. Miss Juliett Hall of Charleston (p. I2i>). 1784.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

II. Miss Henrietta Hall of Charleston (p. /,'rA 1784.

Miss Carolina Hall tVom Charleston (p. 141'). 17

50

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I99S

imti

23. Master George Hall ot Charleston f/). isv). 1784.

24. Master John Hall From Charleston {p. i6v). 1784.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

"^mmmfmm^^

iffm

i5. ludgc Heyvvard (p. 171'). 17S4. This probably depict Judge ThoiHiU Heywiird. Jr. (1-46-1X09), who served as judge of the Court of General Sessio)is and Common Pleas from 1779 to i-Sg.

26. Mr. Readhead trom South Carolina in Charleston {p.

iSv). 17S4.

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

2/. Mr. Lecke from Hamburg m Charleston (p. igv). 17S

28. Mr. Berkmeyer from Hamburg in Charleston (p. 20v). 17S4.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

IT

^tm

■--•Jf^v^.-

I7*^t-

■J

29. Mr. Djniel Heyward from Charleston (p. 211'). 1784. Daniel Heyward (1774-1798) was the only child of Thomas Heyward afid his first wife, Elizabeth Matthews.

->^^-

30. Mr. Purcell, Minister from Charleston (p. 22x1). 1784. Hetiry Purcell (i~^g—i8o2) was the rector of St. Michael's Church in Charleston.

54

JOURN.'kL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I99S

■"

fit'*'*'. Q^t^ »wg^S«<>-j>-g',

f^'^-h

/r«v ,

31. Mrs. Purcell trom Charleston (p. 2^v). 1784, This profile is of Henry Purcell's first ivifie. whose name is unknown.

,£^

1

(

I

32. Ms. Nancy Purcell from Charleston (p. 241'). 1784.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

*■■

vf-

# .

' -^^■'

W ^<

^^

i

'1

1

' ^^iB""

/7yJt. 1

J

<»V I

1^^

33. Ms. Jeny Purcell trom Charleston (p. 2w). 17S4.

34. Ms. Petsi Purcell trom Charleston (p. 26v). 1784.

56

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

35. Mr. Henry Purcell from Charleston (p. 27v). 1784.

36. Ms. Stark from Charleston (p. iSv). 1784.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

I" .■■ i^'

1,

4

tm.

mJk mm

37. Mrs. Garden from Charleston {p. igv). 1-784. Probably 38. Mr. Garden from Charleston (p. }ov). ^84. This may be

Anil Gibbei Garden (i-d^-f). who married Alexander Garden. Alexander Garden (i-^r-iSig). the son of the famous naturalist

Jr.. in i~S4. of the same name.

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I99S

mmmm

/?*'#.

^9. Mr. Inglis from Charleston (p. ^iv). n

.Kk -^.

i'\. ^^^^tr^

/»♦.

40. Mr. P . . . trom Coppenhagen in Charleston

{p. i2v). 17S4.

1

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

llf*.

41. Mr. 17S4.

Behagen from Coppenhagen in Charleston (p. }}i').

42. Ms. van Rhein trom Amsterdam in Charleston (p. 341')- 1784.

60

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

mm'^^m'amrFm

i,W^.

/W-f.

43. Ms. van Braun from Amsterdam in Charleston [p. ^w). 1784.

44. Mr. Chion from Amsterdam in Charleston (p. }6v). 1784. A Phillip William {Guillaume) Chion (c. I7^$-I7g6}, formerly of Amsterdam, was a merchant in Charleston. Columbian Herald, 19 May 1796.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

^'"■""■Mi<<"*pmpp

^wmmmiiiKfi

-" -"-''^ '• -.. -^^ _ ^ 1,.,^', -•'-'' ^^ ..'^j::«L

4v Mr. Chion Jun. from Amsterdam in Charleston (p. ijv). 1784. A John Francis Chion (c. 1768-181$), a native of Amster- dam, was described as a grocer in Charleston. Charleston City Gazette, 25 October 181$.

tlWf'.

46. Mr. Stuermann from Holland in Charleston (p. }8v). 1784. On g February 178s, one Henry Stuerma?in announced in the South Carolina State Gazette and Daily Advertiser that he was planning to leave Charleston and requested that debts due to him be settled.

62

JOURNAL OF E.ARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

/>»!«».

.-i

47, Mr. Beresford of Charleston (p. }9v). 1784. This may portray Richard Beresford (17^^-180}), who practiced law a>id icrt'cd for a few months in 178} as lieutenant governor of South Caivlina.

mm

M.

i^

""'^W

nif^.

48. Mrs. Beresford ol" Charleston {p. 40V). 1784. Ann Ferguson, widow of Charles Elliott, ivas the wife of Richard rd

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

63

/7«'f.

49. Mis Rumiz from Charleston (p. 4IV). i~S4.

50. Mrs. Rumiz (rom Charleston (p. 42V). 1784.

64

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

i^

/X**-.

51. Ms. Fraser from Charleston (p. 4_w)- i~S4.

\

17^41.

52. Mr Richard Hutson, Intendant ot Charleston \p. 441 1784. Richard Hutson ivas a delegate to the Continental Congress and signed the Articles of Confederation, He also served as a judge and as Charleston 's first Intendant after South Carolina 's incorporation in 178^.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

65

""im

•• r.^.

I

S3. Mr. Charles Brown of Charleston (p. 4)v). i~S4. Several men of this name lived in Charleston around this time.

s

/ytf-H-

idlS

S4. Mr. Salser from Frankfort in Charleston (p. 46V). 1^84.

66

JOURNAL OF E.-\RLY SOUTHERN DECORATIVE ARTS SUMMER 1995

l^-^wp

iPM^^vvv^npiipii

/rifif

/7y^.

iiHii

55. Mrs. Salser from Charleston (p. 471'). 1784.

56. Ms. Muckenfus from Charleston (p. 481')- 17S4.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

67

/7«^.

'ammmmmfni

A

/»4

V\

57. Mr. Schmidt from Stutgard in Charleston (p. 491'). 1784. 58. Mr. Seibel From Elberfeld in Charleston (p. sov). 178

68

JOURN.AL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

wiRliapap

59. Mr. Fraser at Charleston {p. $iv). 17

60. Mrs. Fraser at Charleston (p. pp). i/S

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

69

6i. Mr. Alex: Fraser at Charleston {p. wrA 1784.

62. Ms. Poly Fraser at Charleston {p. S4v). 17&4-

70 JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

/?**•

%

63. Ms. Betsi Fraser at Charleston {p. $$1'). 17S4.

64. Ms. Judy Fraser at Charleston (p. ^6v). //i

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

^v<^^«H^i^mip*v<wmpq

/7M*.

65. Ms. Nancy Eraser at Charleston {p. S7v). 1^84,

66. Ms. Suky Fraser at Charleston (p. sStO. 17

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

^ ^

1794-

67. Mr. James Fraser at Charleston (p. 6ov). 17S4.

68. Ms. Hayn at Charleston (p. 611'). 17S4. This mny be Alice Hayne, whose portrait Ierei7iiah Them (d. 1^74) painted.

Charleston's drawing master Bernard albrecht moll

r

)

nit4'

i

- i.

/7*4^

69. Mr. Fredrik Rutledges at Charleston f/). 62v). 1784. 70. Mr. Edward Rutledges at Charleston (p. 631'). 1784.

74

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

71. Mr. William Rutledges at Charleston (p. 641'). 17S4.

^m

mk

72. Mr. Middleton at Charleston + (p. 6sv). i''84. The cross after the name indicates that the subject was deceased. While Middleton was an extremely common name in Charleston, it is possible that this is Thomas Middleton, husband of Frances Motte, who died in 1784.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

B^

ntf^-

.tmmtm^mHibi

ipMMIIPPi"^<«*«*^'P<MiP*''''<^''"^

^-

73. Mr. Jacob Dreyton at Charleston (p. 66v). 1784. Jacob DrdytoH id. 1S06) wdi an attflnuy and judge in Charleston.

/Z«<^.

i^^itB&Mte^l

74. Mr Motte at Charleston (p. 67v). 1784.

76

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I99S

It*^.

75. Mrs. Marschall at Charleston {p. dSv). i~S-f.

r

H

1

n^i^

76. Ms. Mary Huger at Charleston (p. 6t)v). rS^. A Ma Golightly Huger married Hugh Rutledge in lySS.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

»

«l»-

n»»-

,^i^

Mr. Iiwiiit; ai (.Charleston (p. 70v). 1^84.

78. Mr. Joseph Brown at Charleston {p. 7iv). i:'Sf.

78

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

mm

/7trjf.

I

79. Mr. William Davis at Charleston (p. J2v). 1784.

I^^^PP*

3t*«wi/>!j^

z^***-

■isaiiiiiMiikMMMMiiiiiiiiiiMiyiiiM^ 80. Mr. Edwards Major at Charleston (p. 741')- 178$.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

79

.ftr.J^

<*%^. Sf,^/.-

^GSa^

■ii^^

I7»!t

:j^»mm^ .

' /. -

■M

5i. Mr. Irwing, Doct. at Charleston [p. jsv). IJ84.

82. Mr. Daniel Wilson at Charleston (p. jyv). 178^.

80

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

MHiiil

^m

83. Mrs. Krause at Charleston {p. jSv). ijS^.

N4. Mr. (_;harlcs Bccknian at tJiailcstuii (y>. A'orA /7<?5'.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

■P

lum^^

cjftr>- Ofxi^rmm- jft^n- n*

n

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8s. Mr. George Tunno at Charleston (p. Siv). 1-8$. 86. H. Somer\'all (p. Siv). iSs-

82 JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

NOTES

1. The City Gazette or The Daily Advertiser, p. 2 col. 3.

2. Inventories of Charleston County, S.C., vol. B, 1787-1793, p. 154, February 16. 1789. The inventory notes a variety of weapons and a pocket compass.

3. Charleston County, S.C. Letters Testamentary, 1786-1792, p. 134, 23 July 1788.

4. Osterreichische Nationalbibliothek (Austrian National Library, henceforth cited as ONB) Cod. Ser. n. 3517, fol. 19. For gracious assistance in obtaining a copy of this letter and of many other relevant documents in the manu.script collection ot the Austrian National Library I am very much indebted to the director. Dr. Eva Irblich. LInles.s noted otherwise, all transla- tions from the German are by the author.

5. The term "silhouette " originated in Europe soon after the middle of the eighteenth cen- tury, named after the Finance Minister of Louis XV of France, Etienne de Silhouette, who cut shades as a hobby. In America in the eighteenth century the descriptions "profile," "shades," or "shadows" were used. In his Charleston advertisements, Moll referred to silhouettes as "pro- files."

6. Anna Wells Rutledge does not discuss profile cutters in her definitive work. Artists in the Life of Charleston (Philadelphia: American Philosophical Society, 1949), although Helen and Nel Laughon, who collect and research silhouettes, know of at least thirty mostly itinerant artists who cut profiles in Charleston in the nineteenth century. They also note the rarity of ex- tant examples in Charleston. Discussions with Lisa Denisevich, Registrar of the Gibbes Muse- um of Art in Charleston and Martha R. Severens, Curator of the Greenville County Museum of Art and former Registrar of Charleston's Gibbes Museum also failed to reveal silhouettes at- tributable to Moll among their holdings. Museum of Early Southern Decorative Arts (MES- DA) documentary research has identified at least four arrists who cut profiles between 1804 and 1820, but MESDA field research did not uncover any extant silhouettes from Charleston.

7. John Andre examines the family roots in William Berczy, Co-Founder of Toronto: A Sketch by John Andre. A Canada Centennial Project of the Borough of York (Toronto; Orto- print, 1967). Berczy's life was as adventurous as his older brother's. He adopted the common short form of Albrecht (Berth Berti, or Bertsi) as his last name later in life. Andre believes that Albrecht was nicknamed "Bcrtzie" bv the leader of a band of Hungarian bandits who held him for ransom, but since the abbreviation "Bert" (with various endings) is quite common tor the names Albrecht and Albert, it is much more likely that he was called "Bertsi" by his family. His Swiss marriage certificate lists his name as "Albert Guilaume Berczy" (p. 49).

8. Ibid., p. 48.

9. John Andre and Hartmut Froeschle, "The American Expedition ot Emperor Joseph II and Bernhard Moll's Silhouertes, " in The Genrian Contribution to the BuiUing of the Americas: Studies in Honor ofKarlJ.R. Amdt (Worcester, Mass.: Clark University Press, 1977), 135-72, n. 7. The authors credit Helen McCormack, then Director ot the Gibbes Art Gallery in Charleston, with unspecified information "about the former fate of this album."

ID. Andre reproduced some of the profiles depicting Moll's family membets in his 1967 es- say on Berczy.

11. Paramount among the lattet is that he provided a list ot Moll's silhouettes, but followed neither the album's sequence nor its numbering nor Matter's index. This is misleading because it both hinders the identification ot the silhouettes and leads to the taJse assumption that all the profiles were numbered. Misreadings also occur.

12. For a photocopy of the entry in St. Albans baptismal register I am indebted to the Katholisches Pfarramt St. Alban in Wallerstein. The document is significant because it specifi- cally notes that his father belonged to the nobilin,' and the Aulic Council at the time.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

M. An exhaustive family tree is found in Beate Stocis et ai. Berczy (Ottawa: National Gallery of Canada, 1991), Appendix A.

14. The Aulic Council was the supreme court established in 1501 by the Holy Roman Em- peror Maximilian I. Fiirstlich Ottingen-Wallerstein'sches Archiv, Harburg. Dienerakten. 13 December 174s.

15. Cf. letter of Count Philipp Carl to Legationsrat Bernhard Paul von Moll (brother of Al- brecht Theodor), dated September g, lyss. Fiirstlich Ottingen-Wallerstein'sches Archiv, Altere Kabinetts-Registratur II.A.10.2. no. 540.

16. One of the Viennese houses in which the Moll family resided was located at Habs- burggasse 5 (Braunerstrasse 8). The house was owned by Count Maximilian von Cavriani, Court Councillor of the Exchequer, and was among "the most magnificent residential homes of its time." Five stories high and with a base of 14.000 square feet, it featured the statue of a madonna above a richly stucco-decorated portal. Paul Harrer: Wien. seme Mauser, Menscheti und Kuhur (Vienna: Its Hauses, People, and Culture), typescript in the Wiener Stadt- und Landesarchiv, 1952, vol. 6. part II, p. 329. 1 am indebted to Univ.-Doz. Dr. Ferdinand Opil, Director of the Wiener Stadt- und Landesarchiv, Vienna, for a copy of this research paper.

17. Fred. RogI records, among others, the visit of Jean Etienne Guettard of the Academie Royale, Paris, at Moll's Kabinett. Cf Fred. Rbgl, "L. von Fichtel und J.P.C. von Moll und ihre wissenschaftliche Bedeutung" (L. von Fichtel and J.P.C. Moll and Their Scholarly Signifi- cance), Annalen Naturhtstornches Museum U'/eH 84/A (1982), 63-67.

18. Akademie der Bildenden Kiinste, Archives. Entry in the "Mattikelbuch" is dated July ~, 1762. ficrczy lists an entry for May \s, 1762, in the "Aufnahms-Protocoll fUr die academischen Schiiler vom Janner 1738 bis Juli 1785'

19. Ignaz von Born, Briefe iiher Mineralogische Gegeyistiinde . . . (Frankfurt: Johann Jacob Ferber, 1774), 227.

20. John Andre, William Berczy, n. 146. Ignaz von Born also was editor of the Masonic joutnal, Physikalische Arheiten der eintriichngen Freunde in W'/cw.

21. The Totenbeschauprotokoll (coroner's record) for 1772 in the Wiener Stadt- und Land- esarchiv notes that he suffered a stroke and that the family then lived in the "large house on the Kohlmarkt," directly across from the Impetial palace. Copy of the coroner's record courtesy of Dr. Ferdinand OpII.

22. On February 23, 1773, Christian Hieronymus, Maria Susanna. Johann Ludwig and Maria Eleonora were not yet of age. Haus-, Hof- und Staats-Archiv in Vienna. RHR 132/1 Tes- tamente Sperr-u. Verlassenschaften MOL - MOLL (henceforth cited as HFiScA). I am very grateful to Dr. Leopold Auer of the Archive for his extensive assistance in finding extant records and references to Bernhard Albrecht Moll. Without his help I would not have been able to assemble the hitherto unknown facts on Bernhard Moll's early life and career.

23. At Johanna Moll's death in 1791, her husband's estate was still owed the substantial sum of 11,361 fl (gulden) and 24 kreurzer. HHStA, RHR 132/2 Testamente Sperr-u. Verlassen- schaften MOL - MOLL 1793-95, fol. 3v, 4r, igr. Moll will and probate records at the HHStA, RHR 132/2, Testamente Sperr- und Verlassenschaften, dated 31 March I79--

24. HHStA, Oberhofmeisteramt, Sonderreihe 82, Pensionsbewilligung of October 8, 1777. Maria Theresa also agreed to pay for the tuition of Johann Ludwig Bernhard Moll at the Im- perial Military Academy. This youngest Moll son, whom his mother induced to convert to Catholicism, became a sur\'eyor and mappeur inA also studied art at the .Academy of Fine Arts in Vienna in later lite.

2s. HHStaA, RHR. OR. 699.

26. Chief Chamberlain Count von Rosenberg to Joseph IL HHSlV O.Kaj\. Akten

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

1777-1780, Number 32/1780. The protracted illness may have been a form of "cavitary" tuber- culosis, a scourge at the time both in Europe and in Charleston. I am indebted to Darius G. Ornston. M.D., for information on the medical practices of the time. Cf. also The Merck Manual of Diagnosis and Therapy. 9th ed. (Merck, 1956), 1535; and W.A.D. Anderson, M.D., Synopsis ofPatholog)/, 3d ed. (St. Louis: C.V. Mosby, 1952), 96-101.

27. HHStA, 6B, O.Ka.A. Akten 1777-1780. No. 32/1780; and O.Ka.A. 134: 1780 bis 1781. II 54: "Expeditiones in Mense Marty 1780. N. 32 der Abfertigung des Moll N. 162."

28. Decree number 246 dated April 2, 1780, and signed by Chief Chamberlain Count von Rosenberg. HHStA, 6B O.Ka.A. Akten 1777-1780, N 103/780. Moll's petition to be released from military service because of his appointment is in the Kriegsarchiv (War Archives), Vien- na, HKR. 1780 D io6s.

29. HHStA, O.Ka.A., Karton 6, No. 99/i^So, fol. S9v, 6or; Oberhofmeisteramt Sonderrei- he 176, Expedition Matters.

30. Number 35 (August 29, 1780). The two-page advertisement and the full-page engraving are not paginated and appear after page 560 of the paper. The etching measures 7.4 x s.i inch- es. For a copy of Moll's advertisement and the etching, I am grateful to Dr. Ferdinand Opll.

31. Originally the expedition was to circle the globe and visit the Caribbean, the Americas, the South Seas, India, and the Cape of Good Hope at the southern tip of Africa. The itinerary of the expedition was subsequently curtailed.

32. Otto Nowotny: "Die Forschungs- und Sammelreise des Nicolaus J. Jacquin m die Karibik und zu den Kusten Venezuelas und Kolumbiens 1755-1759" (Nicholas J. [acquin's Re- search and Collectmg Trip in the Caribbean and on the coast of Venezuela and Columbia, i755-'759). in Elisabeth Zeilinger, ed., Osterreich und die Neue Welt: Symposium in der Oster- reichischen Nationalhiblwthek (Austria and the New World: Symposium of the Austrian Na- tional Library) Biblos-Schrtften 160 (Vienna: Austrian National Library, 1993), 89-94. Also: Helga Huhnel, "Botanische Sammelreisen nach Amerika im 18. Jahrhundert" (Botanical Col- lectmg Voyages to America in the Eighteenth Century), in Franz Wawrik et al., eds.. Die Neue Welt: Osterreich und die Erforschung Amerikas (The New World: Austria and the Exploration of America), (Vienna: Austrian National Library, 1992), 61-77.

33. The "k.k. Theresianische und Savojische Ritterakademie, " named after Empress Maria Theresa, was a renowned military academy for noblemen.

34. Italics added. It is not clear when or why he resigned from this position.

35. Original petition by Bernhard Moll addressed to His Majesty, no date. ONB, Hand- schriftensammlung, SR 176, fol. 1-48, 20 r.,v.

36. HHStA, OMeA SR 176, fol. 6 v.

37. Cf Emperor Joseph II's lengthy reply in the margin of Vice Chancellor Cobenzl letter of November 22, 1784. HHStA, OMeA SR 176 XXVIII, fol. 37-39, discussed below.

38. The name appears with varying phonetic spellings both in European and American documents (Stubitz, Stupitch, Stupicz, Stupics, etc.). I have adopted the spelling commonly used in Vienna. The names of other expedition members show similar variations.

39. Huhnel, 66; and HHStA, OMeA SR 176 fol. 18.

40. Bredemeyer also was a Freemason. Stupicz notes in his daily lournal on 27 December 1783 that Bredemeyer "went to his Freema,son function" in Charleston. Stupicz's journal is in the ONB, Handschriftenabreilung, Cod. ser. n. 3794, part 3, fol. 85.

41. HHSta, OMeA SR 176, fol. 6 v.

42. On June 15, 1784, he wrote from Charleston to Vienna: "The rwo gardeners are begin- ning to act more and more according to their initial delusion and as if they had to accomplish a separate and entirely independent task." ONB, Cod. Ser. n. 3517, fol. 3-^ v.

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

43- Also spelled Bolts, Boltz.

44. Memo of Ignaz von Born, dated June 23, 1782. HHStA, OMeA SR 176, fol. 7 r, v.

45. Born to Cobenzl. June 29, 1782, HHStA, OMeA SR 176, fol. 6 r.,v.; 9 r.v.; Cobenzl to Emperor Joseph II, August 3, 1782, HHStA, OMeA SR 176 XXVIII, 10 r., v.; Born to Cobenzl, August 5, 1782, HHStA, OMeA SR 176, fol. 22 v.

46. HHStA, OMeA SR 176, tol. 30 r.; also Kabinettsprotokolle der Kabinetskanzlei, vol. 21 (1782), p. 984, N. 141.

47. After Mrs. Moll's death in 1792 the document became significant because Bernhard's last letter to his family was from Charleston, dated m the month of December, 1786. ONB, RHR 132/2.

48. ONB, Cod. Ser. n. 3794, part 3, fol. 76-Si v.

49. The first known map of inland Carolina was produced by Johann Lederer durmg the last of his thtee expeditions along the Appalachians in 1669-1670. The geographer and cartog- rapher Herman Moll subsequently published maps ot the American Southeast before his death in 1732. A number of maps of the Carolinas were published in the 1780s. See P. Lee Phillips, A List of Maps of America in the Library of Congress (Washington: Government Printing Office, 1901), 820-21.

50. Perhaps after General George Monk (or Monck), Duke ot Albemarle (1608-1670), or General Robert Monckton (1726-1782).

51. ONB, Cod. Ser. n. 3794, part 3, fol. i. According to John Andre (1977), the captam may h.ive been the American naval officer Joshua Barney (1759-1818).

52. ONB, Cod. Ser. n. 3794, part 3, fol. 6 v.

53. ONB, Cod. Ser. n. 3794, part 3, fol. 7 r.

54. ONE, Cod. Ser. n, 3517, fol, 19 r,, v. for gracious assistance in obtaining a copy of this letter and of many other relevant documenrs m the manuscript collection of the Austrian Na- tional Library, I am very much indebted to the ditector. Dr. Eva Irblich.

55. HHStA, OMeA SR 176 XXVIII, fol. 37-40, r.,v. Sub|ects of the crown needed permis- sion to emigrate.

56. Helga Hiihnel, "Kaiserliche "Gartnergesellen' bereisen Amerika" (Imperial "Gardener- Journeymen" Visit America), in Osterreich und die Neue Welt. Symposion in der Osterreichischen NattonalhMiothek, Elisabeth Zeilinger, ed. (Vienna: Osterreichische Nationalbibhothek. 1993), 95 and n.l.

57. On board ship Matter, Srupicz, and Moll dined at the captain's table. While the gar- deners ate meager fare with the crew and "nearly starved to death" (ONB, Cod. Ser. n. 3517, fol. 14 and in Moll's letter to Born, fol. 19 r), Marter complained that they "almost never were served anything other than meat" (ONB, Cod. Ser. n. 3794, part 3, fol. 7 r.). Once in South Carolina, Stupicz notes on January 3, 1784 in his daily journal: "The gardeners, especially the larger one, complained about the salary inequit)' and we quarreled. Since he wouldn't stop talking 1 gave in to his pride and said nothing, I cooked the last of our provisions." ONB, Cod. Ser. n. 3794, part 3, fol. 85 v,

58. Andre and Froeschle, 143.

59. ONB, Cod. ser. n. 3794, part 3, fol. 82.

60. ONB, Cod. ser. n. 3794, part 3, fol. 82 v. Stupicz was apparently required to maintain a daily journal while away from Marter, because his record begins with a note that he and Boos took leave from Marter, and it ends with Matter's arrival in Charleston on Januar\' 16, 1784.

61. ONB, Cod. ser. n. 3794, part 3, fol. 83 r. See .ilso Henry A. M. Smith, "The Town ot Dofchester, in South Carolina," The South Carolina Historical and Genealogical MagazineW. i (1905), 62-95: "On December i, 1781, Col. Wade Hampton advanced against Dorchester. The

86 JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

British garrison of 400 infantry and 150 cavalry diJ not await his attack, but during the night destroyed everything, threw their cannon into the river and retreated to Charles Town, and Dorchester passed finally under the control ot the American forces " (84-8S). Apparently the town had not been rebuilt two years later.

62. The term is applicable to any member of the reptilian order Crocodilm. Based on char- acteristics ot the head and skull, the American crocodile native to the southern United States is now called by the term "alligator."

63. January 6, 1784; ONB, Cod. ser. n. 3794. part 3. fol. 8s v.

64. ONB, Cod. ser. n. 3794, part 3, fol. 84 v.

65. They visited him on December 20, 21, 22, twice on Dec. 23, and on Dec. 31. ONB, Cod. ser. n. 3794, part 3, fol. 84-85 r.

66. One, Cod. Ser. n. 3794, part 3, fol. 86 v.

67. ONB, Cod. Ser. n. 3517, fol. 37 r.

68. ONB, Cod. Ser. n. 3517, fol. 38 r.

69. ONB, Cod. Ser. n. 3517, fol. si r.

70. ONB, Cod. Ser. n. 3517, fol. 78 r. Marter had also ordered Stupicz to return with the first transport, but apparently he also defied the order because Bredemeyer arrived alone in Vi- enna with a shipment of the collected plants, animals, and seeds.

71. Stupicz also remained in Charleston. Born in Transylvania, an area that once belonged to Hungary and is now part of Romania, he became a member of the Roman Catholic church in Charleston, died on August 20, 1794, and was buried in St. Mary's Cemetery. Extant records show that he practiced medicine in Charleston successfully and had filed several law- suits to recover payment for his services and medicines. One ot his patients in arrears with pay- ments was the aged Lutheran pastor Christian Theus. Johann Jacob KalckotFen, a friend of Stupicz and administrator of his estate after his death, collected outstanding debts and paid for a memorial in St. Mary's Cemetery. This tombstone is now one of the oldest in that burial ground. For information on the burial site and permission to photograph the tombstone 1 am grateful to the Rev. Msgr. John A. Simonin.

72. HHStA, OMeA, SR 176, fol. 40 v.

73. HHStA, OMeA SR 176 XXVIII, fol. 37-39. f-v.

74. The Emperor's dictated, personally signed reply is in the left margin ot Document no. OMeA SR 176 XXVIII, beginning on fol. 39 t.

75. Coblenzl was responding to the complaint that Moll "had done very little painting for Marter and had occupied himself mostly with other work for his private gain," which was not- ed in the left margin of fol. 31 r. ONB, Cod. Ser. n. 3794, part i.

76. ONB, Cod. Ser. n. 3794, part i, fol. 30 v-31 r.

77. South-Carolina State Gazette and General Advertiser. Charleston, 23 November 1784, 1-3.

78. South-Carolina State Gazette and Daily Advertiser, Charleston, 25 February 1785, 2-1.

79. Helene M. Kastinger Riley, "German Romanticism in Old Charles Towne? Rediscov- ering William Henry Timrod, Bookbinder-Poet." South Atlantic Review 59, i (January 1994), 67—85; and Johannes Strohschank: Deutsches Drama am Charleston Theatre ngs-iS6i. M.A. thesis. University ot South Carolina. 1977, 24.

80. Hermannus Moll died in 1732. His map ot the British Empire in America dates to 1708, his map of Carolina was made in 1721. The fact that he produced a map showing the set- tled areas around Charleston in 1711, and a plan ot Port Royal harbor in Carolina in the year ot his death, leads one to suspect that he resided in or around Charleston at the time.

81. Columbian Herald, Charleston County, S.C., (no issue date, ptevious issue is 7 Septem- ber 1785, following issue is 12 September 1785), 3-4

CHARLESTON S DRAWING MASTER BERNARD ALBRECHT MOLL

82. The City Gazette and The Daily Advertiser, Charleston, 19 November 1787, 3-2

83. South Carolina Department of Archives and History, Citizenship Book. 1784-18)^, Misc. Records vol. Q 1788-1839, p. 11. The term "subject of the Emperor of Germany" is am- biguous. Moll and his father were born in Germany, but Bernhard was raised in Austria from infancy and Joseph 11 of the Austro-Hungarian Empire certainly considered him an Austrian subject. Still, the Molls were diplomats to the Aulic Council in Vienna and Bernhard Moll could easily have argued that he was a German, not an Austrian citizen.

84. It reads: "I give & bequeath the whole of my Estate real & personal which I possess in the State of South Carolina to Edward Lighrwood, In Trust for the Wench now living with me known by the Name of Hagar, appointing him the said Edward Lightwood my sole Execu- tor, who is hereby directed to sell or dispose of the same or m any other wise to act in the Pre- misses as he may think most advantageous. Witness my Hand and Seal this twenty fifth day of June one thousand seven hundred and eighty eight." The will is signed and witnessed by Samuel Baker and Robert Seabrook. South Carolina Department ot Archives, Charleston Will Transcripts, vol. 22, p. 302. Recorded in original Will Book "B" 1786-1793, p. 208.

8s. The City Gazette or The Daily Advertiser. Charleston, 9 September 1788, 3-2

86. The City Gazette or The Daily Advertiser. Charleston, 12 November 1788, 2-3

87. Charleston County, S.C., Inventories. Vol. B, 1787-1793. p. H4- 16 February 1789; and State Gazette ofS.C. Charleston, S.C., 23 February 1789. 1-4.

88. Probate record for Johanna Moll, HHStA, RHR 132/2 Testamente Sperr-u. Verlassen- schaften MOL - MOLL, dated March 31, 1792.

89. For the description of the originals m the bound volume and for study prints from a microfilm I am indebted to Mary Allodi. curator oi the Canadiana Department, Royal On- tario Museum, Toronto, Ont.

90. See Margaret Simons Middleton: Jeremiah Theus: Colonial Artist of Charles Town, rev. ed. (Columbia: University of South Carolina Press, 1991).

91. Dorothy Smith Berkeley and Edmund Berkeley, Dr. Alexander Garden of Charles Town (Chapel Hill: University of North Carolina Press, 1969), 312-13.

92. Caroline T. Moore, comp. and ed.: Abstracts of Wills of Charleston District. S.C ijSj-iSoo (Columbia, S.C: R. L. Bryan, 1974), 247-48.

93. N. Louise Bailey and Elizabeth Ivev Cooper, Biographical Directory of the South Caroli- na House of Representatives, vol. 3 , i — s-i-90 (Columbia: University of South Carolina Press, 1981), 297.

94. During the Revolutionan' War, Purcell had been chaplain to the second South Caroli- na Regiment commanded by Moultrie, and began to officiate at St. Michael's upon the evacu- ation bv the Bfitish, Decembet 14, 1782. Although he received a salary, he was not officially elected Rector until April 2, 1784. The Rev. Henry Purcell died March 24, 1802. Year Book of the City of Charleston 1886. p. 300.

95. Charleston Times. 12 December. 1804 (italics added). According to his advertisement in the Gazette, he was a portrait painter from Boston who had arrived m Charleston in Novem- ber 1800. City Gazette and Daily Advertiser. 2 December 1800.

96. City Gazette and Daily Advertiser, 7 February 1807.

97. Charleston Times, 22 December 1810.

98. Charleston Courier, 16 January 1810.

99. For the discussion of how the silhouettes reflect fashions of this period. I am indebted to Colleen Callahan, curator of costumes and textiles at the Valentine Museum, Richmond, Virginia.

100. ONB, C^od. Ser. n. 351^, fol. 38 r.; and ONB. Cod. Set. n. 3794. part i.

loi. ONB. OMeA SR 176 XXVIII. Report to His Maiesn-. fol. 3--39. right margin.

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS S U N1 M E R 1995

Research Notes

New Discoveries in a Piedmont North Carolina Chest-on-Frame Group

BRADFORD L. RAUSCHENBERG

In his article "American Vernacular Furniture and the North Car- olina Backcountry," which appeared in the November 1994 issue of the Journal, Michael H. Lewis studied a group of chests-on-frame produced in the piedmont North Carolina counties of Rowan and Randolph. Lewis presented the group as evolving from an unknown shop in Rowan County c. 1795; a later subgroup that emerged in Randolph County was probably produced until the Civil War.

Soon after the publication of Lewis's article, several pieces of fur- niture relating to this group have come to light. Two identical chests-on-frame have been discovered, with separate family histories, that represent a high-style variation of the Rowan group. One chest descended in the Jonathan and Elias Barber family, which setded in Rowan County in 1794 (fig. i). The other, identical to the Barber chest, is still in Rowan County and has a history of descent in the Alexander Long/ Andrew Murphy family through an 1850s marriage. In many respects these chests conform to Lewis's tj'pe II; each has an arched skirt with central pendant, as well as a bonnet drawer. The way that the drawer supports are mortised through the back is iden- tical to the Rowan group.The striking variations these examples ex- hibit include the tapered reeded feet and the walnut veneer on the drawer fronts and the front skirt. A number of internal construction

I. Chest-oii-friuuc. Rowan County type 11. piedmont North Carolina, c. iSl^. Wahiiit a>id ivahiut veneer drawer fronts: tulip poplar and yellow pine sec- ondary HOA 44 'I. ". W'OA jS Vs ". DOA 19 'I- "■ MRF S-2088-'. Courtesy of Estate Antiques, Charleston, South Carolina.

90

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS

SUMMER 199s

details also difter. Tulip poplar drawer linings and yellow pine draw- er supports are a variation on the exclusive use of yellow pine in the other known examples from Rowan and Randolph counties. The four horizontal back boards are paneled into the top and sides and have the bottom board pegged into the case base; a centrally placed wrought nail secures the pegging. The drawer fronts have less than full applied cockbeading, the beveled bottoms are held by front and side grooves and are not pinned to the back, and the sides extend slighdy past the back, apparently to adjust the stopping depth. To flirther ensure the fit, a small vertical block was applied to each drawer back corner. There are no dustboards. The case has a cove molding at the top, and the base frame has a small ogee molding.

While neither of these two chests is dated, the accurate rendering of the reeded feet certainly suggests a date in the i8ios, even allowing for the retention of styles in the Backcountry. The importance of these two chests-on-frame lies in how their attentiveness to design reflects a style more in tune with the period than most of the Rowan chests. Although their maker is unidentified, he obviously was asso- ciated with the Rowan shop and had a client or clients who de- manded the newest style in reeded feet. Though avant-garde for Rowan County, this new design suits the traditional chest-on-frame style.

The other example of the group Lewis discusses is a painted blan- ket chest-on-frame of the Randolph type II (fig. 2). While all other known examples of the chest-on-frame form exhibit walnut as the primary wood, this chest has yellow pine and tulip poplar as the case woods and walnut, tulip poplar, and yellow pine as the frame woods. Its construction features are consistent with the Randolph type II: molding at the front and ends of the lid, with cut nails; half dove- tails visible on the ends at front and on the back at the ends; case and frame possibly separable originally, but now pinned with cut nails through the case bottom into a board that is mortice-lapped front to rear into the top of the frame rabbet. No lock had ever been

RESEARCH NOTES

2. Chcit-on-friime. Randolph County type II. North Carolina, iSlo-lS^O. Chest: yellow pine and tulip poplar, painted with a red wash with pattern-assisted de- signs of black half-circles with additional inner dark red half circles on sides at front and base, and white diamonds on front board at top and sides. Frame: skirt front of tulip poplar with a red wash; the walnut ends and walnut feet are natural and the back ts yellow pine. HOA 26 l"(?), WOA 42 //', DOA 18". MRF S-2og26. Private collection.

92

JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS

SUMMER 1995

installed. When discovered, two inches ot the teet had been lost. Its restoration was accurate and based upon known examples oi Ran- dolph county type II.

This blanket chest has a history of being collected in the Lenoir area ot North Carolina north of Randolph County. This example is clearly a variation oi the Randolph type II; its painted decoration probably represents client taste.

These examples that vary Irom the norm provide information that at first may seem to confuse the picture, but ultimately can il- lustrate connections and help clarify the origins of this chest-on- frame group from Rowan and Randolph counties. Their discovery clearly demonstrates the on-going nature of research and the value of communication as we continue to refine our understanding of arti- san practices in the past.

RESEARCH NOTES

93

Book Reviews

Adapting to a New World English Society in the Seventeenth-Century Chesapeake

JAMES HORN

Chapel Hill: University of North Carolina Prcsi tor the Institute of Early American His- tory and Culture, 1994. Pp. xviii & 462. 14 maps and graphs, 9 halftones. Cloth, $55.00. ISBN 0-8078-2137-3.

In Adapting to a Neiv World, James Horn writes about similarities and connections, the "major continuities between lite in the Old World and the New." While he does not minimize the effect of ei- ther the new American environment or the disparities in material conditions, he focuses on the first phase oi the familiar Anglicization model and argues that "the fabric of English society and culture was maintained by the transfer of English values, norms, and attitudes"

(p- 427)-

Horn nuances his argument. Colonists did not expect the Chesa- peake to be a mirror image of England (p. 426), and no specific local English culture was reproduced. There are brief but suggestive allu- sions to features oi the English experience that were missing from the Chesapeake, such as the bustle of towns, the compactness of vil- lages, the presence ot antiquity in buildings and monuments, and the existence of certain social groups. Although Horn carefully states that he has limited his work to the transfer of culture from England to the Chesapeake, his lack of attention to Native Americans and

95

African slaves gives readers only a partial view of the population of Virginia and Maryland.

The pictures ot England Horn uses are drawn trom case studies of the Vale oi Berkeley and central Kent. He identifies the emigrants, describes the communities they left, and indicates the local factors, especially poverty, that pushed them across the Atlantic. In the Chesapeake he offers enough demographic statistics and facts about tobacco growing and crop diversification to support his contention that immigrants saw the region "in terms of the commodities it would in time yield" (p. 127). Concentrating his attention on the English settlers in Lower Norfolk and Landcaster Count)' in Vir- ginia and in St. Mary's County, Maryland, he stresses the impor- tance of kinship and friendship in the networks of daily living, agri- cultural work, and the establishment oi local and provincial offices.

Following this general background come five thematic chapters in which he discusses attitudes toward family, sex, marriage, and com- munity; the world oi work; the social order, crime, and rebellion; the spiritual world of organized religion and popular belief and the topic that may be oi greatest interest to readers of the Jourriiil, "The House and Home: The Domestic Environment." Horn helpfully positions his work among that of other scholars; but regrettably, the few unimaginative illustrations reveal the author's lack of interest in visual or material sources. In the chapters on work and material cul- ture, he treats differences between conditions in England and the Chesapeake as more important than similarities (pp.291— 92). Through indentured servitude and slavery, labor in the Chesapeake became commodified in ways that were unacceptable in England (p. 268). Servants were regarded as a species of property, their routines of work defined by and compensated for according to the "Custom of the Country" (p. 269).

Horn is in agreement with other scholars in his statement that "throughout the region, domestic conditions were uniformly basic. The simplicity and crudeness of agrarian society and the absence of

96 JOURNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 19 9 5

ways of life taken for granted in England must have been apparent to all new arrivals" (p. 434). He offers worthwhile comparisons be- tween the impermanent buildings of the Chesapeake and squatters' cottages in marginal lands in England. However, writing about the way planters moved dwellings and tobacco houses from place to place as the soil wore out, Horn seems not to understand the imper- manence argument that deferring housing improvemets was an in- vestment strategy and possibly a response to the brevity of most peo- ples lives. Although he mentions Green Spring and Bacon's Castle as exceptions (p. 306), he explicidy states that there was no use of met- ropolitan building styles in the Chesapeake. In fact, new archaeology and reassessment of old sites are turning up additional evidence for more sophisticated houses, such as Arlington on the lower Eastern Shore and several houses on Jamestown Island.

Horn's evidence for furnishings comes exclusively from invento- ries. While he summarizes previous work adequately and raises some worthwhile questions, conceptually he does not advance our under- standing of the subject of living conditions and practices. For all their problems, probate inventories clearly tell that furnishings were meager, and adjectives indicate their poor quality either of manufac- ture or condition. Does the scarcity of skilled labor and surplus in- come contribute to this picture? Would the many ships known to have brought furnishings to lower Norfolk have carried enough do- mestic goods to provide a high number of families with a better standard of living.^ These questions beg investigation.

Years ago others, including this reviewer, wrote about the seeming sameness of the furniture in all Chesapeake houses, which we attrib- uted to the homogeneity of society. Being rich meant having more, not being different. Horn usefully asks whether having more could mean being different (pp. 325-27). Now that material culture schol- ars have expanded their attention from numbers and patterns of dis- tribution of objects to issues of use and behavior, I would like to know more about these differences. Although Horn tinkers with a

BOOK REVIEWS

few suggestions about styles of living and assemblages of objects, the topic needs more work.

Readers who wish to take sides in the debate over the relative in- fluence of the culture ot Old England and the environment of the New World in shaping the experiences of colonists in the seven- teenth-century Chesapeake will focus on James Horn's nuanced effort to favor English heritage. Those who think the question im- possible to answer are still likely to appreciate the range and thor- oughness of his descriptions of English people and their lives and in- stitutions on both sides of the Atlantic. Finally, although the book is fat and heavy and the type small, the choice of paper, the overall de- sign, and the decision to position notes at the bottom of each page make reading pleasant.

BARBARA G. CARSON

The College of William and Mary and George Washington University

Pioneers in Historical Archaeology Breaking New Ground

STANLEY SOUTH, ED.

New York and London: Plenum Press, 1994. Pp- xiv & 233. 2i black-and-white pho- tographs. Cloth, $4vOO. ISBN 0-306-44X11-1.

In this volume Stanley South has collected accounts of the origins of historical archaeology, told by those who were instrumental in that field's inception. As a distinct subdiscipline, historical archaeol- ogy was established at the first meeting of the Society for Historical Archaeology in 1967 (I was at that meeting, and remember it well). Its roots, however, go back to the 1930s and before, when a few indi- viduals began to take a serious approach to "tin-can archaeology"

JOllRNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER I995

and started to explore the potential of applying traditional archaeo- logical methods to post-Columbian sites. As we have seen, their work was wildly successful, and today the Society for Historical Ar- chaeology is one of the three largest archaeological groups in the country.

In thirteen chapters, thirteen pioneers of the field tell the story of their involvement. They are all here: J. C. "Pinky" Harrington, John Cotter, Charles Fairbanks, and ten other well-known archaeologists who discuss how and why they were led to this then-new area of study. Considering the book as archaeology of archaeology, a post- processualist will find comfort in the powerful effect of personalities and quirks oi fate that led each early practitioner to particular sites, problems, and methods. Each chapter is a delight to read; the editor is to be congratulated on soliciting such personal, even intimate ac- counts and tying them together into a coherent account of the disci- pline's history.

The first chapter is by Harrington, who discusses his beginnings at Jamestown in the 1930s. At that time, and sometimes still, histori- cal archaeology was trying to define its own purpose. Was it to guide reconstruction and interpretation of historic sites, or was it to be a source of information on anthropological problems, a source inde- pendent of the written record? Harrington, like most of the contrib- utors, tells his story in a self-deprecating, self-critical style that is sel- dom seen in young scholars.

In chapter 2, John Cotter provides a straightforward chronologi- cal account of historical archaeology's development, giving a surpris- ingly early (1796) example of a problem-oriented excavation of an historic site. This is followed by a summary of the principal accom- plishments, along with seminal sites and persons, through the early part of this century to the establishment of the Society in the 1960s.

The third chapter, one of my favorites, is by J. O. Brew. Jo Brew was one of the best writers in archaeology, and his account of excava- tions and analysis at Awatovi is a fascinating story, filled with per-

BOOK REVIEWS

99

sonalities and incidents. His work reveals how much history can benefit from being fleshed out by archaeology and an anthropologi- cal understanding, in this case involving Hopi ethnography.

Two chapters, one by Kenneth Kidd and the other by Roderick Sprague, provide discussion of glass beads and their interpretation. Beads are to historic aboriginal sites what ceramics are to Euro- American sites, i.e., commonly found and vital for chronology. Kidd and Sprague, working largely independently, were among the first to establish a bead typology. Carlyle Smith writes oi his work on gun parts which, like beads, are a proven tool tor establishing a sites age and trade affiliations. Ed Jelks too demonstrates how little was known even forty years ago regarding certain classes of historic arti- facts, including ceramics. Jelks discusses the painstaking work of all of these pioneers in establishing the basic knowledge of such com- monplace but significant detritus. Hale Smith's chapter is still anoth- er example, and he refers to an understanding ol historic artifacts as a "venture into the unknown."

Contributions by John Griffin, Charles Fairbanks, George Quim- by, and Robert "Stu" Neitzel reveal another theme of the early years, the preoccupation with connecting historic Native American sites with recorded ethnic groups. This is part of a more general pattern, a tendency to ask (and sometimes answer) highly particularistic questions that are more historical than anthropological. In reading their chapters, one is reminded that Harringtons question "What is historical archaeology? " has remained a concern for all these schol- ars.

The editor Stanley South has written about what he has learned from and experienced with his archaeological crews. All archaeolo- gists have these stories, but they are seldom reported. South sees these shared experiences as worthy not only of telling, but as a source of anthropological information; an example is the folk songs of his workers in South Carolina.

Again and again, these pioneers mention early childhood experi-

JOIIRNAL OF EARLY SOUTHERN DECORATIVE ARTS SUMMER 1995

ences that inclined them to sttidy archaeology. Some of those events can only be seen as historical accidents; considering the strong, even vivid imprint these personalities have made on historical archaeolo- gy, one wonders how different the field would be if others had been in their stead. Whether one sees historical archaeology as too histori- cal, too anthropological, or just right (and it can be all oi these at times), this highly readable account of its genesis is well worth open- ing.

J. NED WOODALL

Wake Forest University

BOOK REVIEWS

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