Truth, fiction, or both?

The other day I was reading two articles published in BYU Studies for the Mormonism class I’m taking here at the U, both by Chad M. Orton. The one deals with Francis Webster, a member of the Martin handcart company, the other with the Sweetwater River rescue.[1] As I read them, I was constantly struck how they were almost devotional in nature, something that didn’t make sense to me as a scholar until I took a step back.

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“Crows Can Now Eat Crickets”: An attempt to complicate our understanding of LDS reactions to the 1978 Revelation on the race-based Priesthood and Temple Ban

What follows is a sort of follow-up to Joey’s excellent post last week analyzing reactions to the 1978 revelation ending the race-based priesthood and temple ban. I am admittedly far outside of my own field here, and it is entirely possible I’m not aware of some study that has already been written and published. Please feel free to point out any such work in the comments, and to otherwise respond to the post.

In December 2007, perennial presidential candidate and prominent Mormon Mitt Romney was asked on NBC’s “Meet the Press” about the 1978 revelation that signaled a shift in LDS church policy and lifted the ban that had previously denied people of African descent ordination to the priesthood and entrance into LDS temples. Romney’s response was a familiar one to most Mormons:

I can remember when I heard about the change being made. I was driving home from ? I think it was law school, but I was driving home ? going through the Fresh Pond rotary in Cambridge, Massachusetts. I heard it on the radio and I pulled over and literally wept. Even to this day, it?s emotional.

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Mormon History and Indian History

Todd Compton, award-winning author of the recently-published biography of “Apostle to the Indians” Jacob Hamblin, contributes this installment in the JI’s Mormons and Natives Month.

The problem with Mormon history is that it focuses on Mormons. I make this paradoxical statement to intentionally overstate the case?but there is some truth to it. We Mormons have never existed in a bubble; we have always interacted with non-Mormons. A historian can, of course, focus on the Mormon side of things, and you would expect a writer of ?Mormon history? to do so, to a certain extent. However, if we don?t take the non-Mormon side of the story seriously, looking at it thoroughly and even sympathetically, we will not even understand the Mormon side of the story in a careful, holistic way. (Looking at the non-Mormon side of our history sympathetically can be difficult for modern loyal Mormons, given the polarized Mormon/anti-Mormon conflicts throughout nineteenth-century Utah history.)

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Painting the Mythical and the Heroic: Joseph Smith Preaches to the American Indians

By Laura Allred Hurtado, with David G. Note: This represents preliminary and ongoing research for the Armitage painting. 

In 1890, British born painter and founder of the Utah Art Association William Armitage created the massive historic painting, Joseph Smith Preaching to the Indians. The artwork, which once hung with prominence in the Salt Lake Temple, now fills the wall leading up to the 2nd floor of the Church History Museum. The scale itself means that it demands the attention of the entire room, standing almost as a sentinel within the space. The painting depicts, as the title suggests, a well-dressed Smith preaching to a crowd of nearly forty American Indians which surround the frame. Smith?s outstretched right arm gestures heavenward while his left hand holds the Book of Mormon, a book that according to historian Ronald W. Walker was ?not just a record of the ?Lamanite? or Native American people, but a highly unusual manifesto of their destiny.?[1] Smith stands triumphantly and confidently among this crowd of mostly male Indians whose expressions vary from guarded, taken aback, distrusting, perhaps even provoked but in all instances, they are engaged, looking toward Joseph and his distinct message regarding the destiny of North America?s Indigenous peoples.

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True Blue, Depending on Who’s Telling the Tale: The Redacted Story of Joseph F. Smith and the ?Ruffians?

It?s a powerful story.  The young Joseph F. Smith, fresh off his mission to the Sandwich Islands, is traveling through Southern California on his way home to Utah in late 1857/early 1858.  The Mormons are viewed with mistrust and hostility:  rumors surrounding the Mountain Meadows Massacre are fresh on everyone?s lips as Johnston?s Army converges on Utah.  Joseph F.?s party is confronted by a band of rough and tumble men on horseback, looking to pick a fight with any Mormons they can find.  Joseph F.?s fellow travelers scatter, and when one burly ruffian pointedly asks Joseph F. if he is a Mormon, the young returned missionary responds, ?Yes, siree, dyed-in-the-wool; true blue, through and through,? diffusing the tense confrontation by staying true to his identity.

But was he really ?dyed-in-the-wool, true blue, through and through??

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Mormon Navajo Youth at the Intermountain Indian Boarding School

John C. Begay recalled the day when his branch president, Don C. Hunsaker, pulled him out of his class at the Intermountain Indian Boarding School to invite him to attend the Latter-day Saint Indian Seminary program. His mother had enrolled him in seminary, but Begay followed his peers to the Catholic and Nazarene activities until Hunsaker found him. He then started to attend the seminary class of a respected LDS leader and local of Brigham City, Elder Boyd K. Packer. Begay claims, ??That?s where I was converted to the LDS Church. My mother had secretly signed me up for Seminary which became my favorite class?.?? [1].

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Abstractions, Shadows, and Images of Christ

Laura Allred Hurtado contributes this next installment in the JI’s material culture month, on Mormon attempts to represent Jesus. Laura is the Global Acquisitions Curator for Art in the Church History Department. She has an MA in Art History and Visual Studies from the University of  Utah and a BA in Art History and Curatorial Studies at BYU. Laura has presented papers at scholarly conferences and curated exhibits at the Utah Museum of Fine Art, Utah Museum of Contemporary Art, and various other venues.

If my people, which are called by my name, shall humble themselves, and pray, and seek my face, and turn from their wicked ways; then will I hear from heaven, and will forgive their sin, and will heal their land.–2 Chronicles 7:14

 All representations of divinity fail. Fail in that they are made of terrestrial materials, seen through non-celestial eyes. 

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A Touchstone of the Past: The Face Wheel from Haun’s Mill

Tiffany T. Bowles offers this installment in the JI’s material culture month. Tiffany is a Curator of Education at the Church History Museum in Salt Lake City. A native of Orem, Utah, she received a BA degree in history from BYU and an MA in Historical Administration from Eastern Illinois University in Charleston, Illinois. She has worked for the National Park Service at Natchez National Historical Park in Natchez, Mississippi, and Lincoln Home National Historic Site in Springfield, Illinois. In addition, she has worked at the Illinois State Military Museum and volunteered for the Illinois Historic Preservation Agency.

On a quiet fall day in October 1838, Amanda Barnes Smith and her family busily worked to prepare a campsite on the banks of Shoal Creek in the small community of Haun’s Mill, Missouri. After a grueling journey from Kirtland, Ohio, the Smiths were relieved at the prospect of settling near others of their Latter-day Saint faith on the unfamiliar frontier.

Without warning, the contentment of the autumn afternoon was broken by the sounds of a fast approaching mob. The men of the settlement gathered in a small blacksmith shop, prepared to defend themselves and their families. Amanda Smith and two of her children “escaped across the millpond on a slab-walk,” and sought safety in “some bottom land” near the creek [1]. When the firing ceased, Amanda returned to the blacksmith shop to find her husband and one of her sons among the 17 dead.

In Latter-day Saint memory, the brutality of the massacre at Haun’s Mill epitomizes decades of persecution endured by early members of the Church. Some Latter-day Saints today commemorate and try to make sense of this defining event in Church history by looking to the power of place and visiting the location of the massacre. A visit to this site today requires a long, bumpy drive on dirt and gravel roads (a hazardous journey after a rainstorm). The site of the massacre is an open field along a shallow creek bed. The only indication of the violent events that occurred at this location is a small sign detailing the events of October 30, 1838.

Others might look to the power of objects in making sense of the Haun’s Mill tragedy. Objects have the unique ability to provide a tangible connection to the past and allow us to transform “experience into substance” [2]. Steven Lubar and Kathleen Kenrick, Curators at the National Museum of American History, describe artifacts as “the touchstones that bring memories and meanings to life” [3]. Unfortunately, since the mill on Shoal Creek was torn down in 1845, tangible ties to Haun’s Mill are rare, though interest in objects related to the massacre has spanned two centuries.

In September 1888, Church historian Andrew Jenson and colleagues Edward Stevenson and Joseph S. Black embarked on a journey to visit Church history sites across the country. At Haun’s Mill, they noted a “remnant of the old mill dam,” including “five large pieces of timber left in the middle of the creek.” They mentioned standing “upon a solid ledge of rock,” where the milldam was originally located. The group then searched for the well where those murdered in the attack had been hastily buried. The site was marked “by an old millstone, formerly belonging to Jacob Haun’s mill” [4].

Latter-day Saint photographer George Edward Anderson mentioned another millstone when he visited Haun’s Mill in May 1907. He wrote of crossing the creek and finding “one of the old millstones, which we worked out of the ground and [then moved it] down to the edge of the creek and made two or three negatives of it, putting an inscription on one side” [5]. This particular stone was later moved to a city park in Breckenridge, Missouri [6].

Just two months after George Edward Anderson’s visit to Haun’s Mill, Latter-day Saint Charles White took a seven-day trip across the state of Missouri. Along the way, he gathered “relics” at each of the sites, hoping to establish a tangible connection not only to the various locations, but to the events that transpired there. At Haun’s Mill, White recorded that he waded out into Shoal Creek and broke several pieces off of an original millstone “as a relic of the blackest crime that was ever committed in our fair country” [7].

The interest in objects related to the Haun’s Mill Massacre continued into the late 20th century, when “Cowboy” Bill Howell, a resident of the area, discovered a piece of cast iron protruding from the bank of Shoal Creek. He assumed that he had found “the metal frame for half of the waterwheel from the old mill,” and “hoped that someday he might run upon the matching other half so he could reconstruct the wheel” [8]. In April 1986, Latter-day Saint Institute of Religion instructors Newell R. Kitchen and John L. Fowles asked Cowboy Bill if he would be interested in selling the metal wheel fragment to them, which he did for $25. Kitchen and Fowles later determined that the cast iron artifact was not a wheel frame, but was actually a “face wheel,” or a gear wheel that transferred power from the waterwheel to the rest of the mill’s machinery [9]. On August 11, 1986, the men delivered the face wheel to the LDS Church History Museum in Salt Lake City, where the artifact is now displayed as the lone representative of one of the most tragic events in Church history [10].

How can this rusty piece of cast iron connect us to the events of October 30, 1838? The basic function of this face wheel gives us insight into the type of work that was done at the mill on Shoal Creek. Face wheels of this kind were common in gristmills of the time period, and gristmills were used to grind grain into flour. The probability that the mill at the Haun’s Mill settlement was a gristmill is substantiated by a statement from Latter-day Saint Ellis Eamut who recorded that non-Mormon residents of the area were initially friendly with the Saints, using “[our] mill[s] for grinding” [11]. Interestingly, Eamut mentions that they also used the mill for ‘sawing,” indicating that the mill functioned as both a gristmill and a sawmill. A study of nineteenth century mills in South Carolina states that “a saw mill could often be found at the site of a grist mill. The two could be powered by the same wheel or turbine by using different gearing” [12].

In addition to increasing our understanding of the type of work done at the mill, the face wheel artifact can also connect us to the personal stories of Haun’s Mill. Latter-day Saint convert and successful millwright Jacob Myers from Richland County, Ohio, constructed the original mill on Shoal Creek in 1836. Myers later sold the mill to Jacob Haun, and Myers’ son, Jacob Myers Jr., helped Haun operate the mill. On the day of the 1838 attack at Haun’s Mill, Jacob Myers Jr. was shot through the leg as he attempted to run from the ill-fated blacksmith shop. One of the attackers approached him with a corn cutter, intending to kill him. According to Myers’ sister, “As [the attacker] raised his arm to strike, another one of the mob called out to him and told him if he touched my brother he would shoot him,” for Myers had “ground many a grist for him” [13]. Instead of killing him, the mob carried Myers to his home. His skill as a worker at the mill had saved his life.

The rusty face wheel on display at the Church History Museum serves as a tangible connection to the early Saints, increasing our understanding of their life and times and serving as a reminder of their sacrifices and courage. In a broader sense, this artifact also represents, as a plaque near the original millstone in Breckenridge, Missouri, states, “The perpetual need for greater understanding and tolerance between all peoples” [14].

Original cast iron face wheel from Haun’s Mill on display at the Church History Museum

 George Edward Anderson 1907 photograph of original Haun’s Mill millstone, Courtesy Church Archives

______________________________________

[1] Journal of Amanda Barnes Smith, unpublished typescript, 3.

[2] Marguerite S. Shaffer, See America First: Tourism and National Identity, 1880-1940 (Washington, D.C.: Smithsonian Institution Press, 2001), 265.

[3] Steven Lubar and Kathleen Kenrick, “Looking at Artifacts, Thinking about History,” Smithsonian National Museum of American History “Guide to Doing History with Objects,” http://objectofhistory.org/guide/.

[4] “Half a Century Since,” Deseret News (October 3, 1888), 10. The “red millstone fragment” that marked the well was moved by area resident Glen E. Setzer in 1941. Setzer, unaware of the significance of the stone’s location, moved it to the site of a marker he constructed near the road (‘story of Haun’s Mill’ by the Missouri Mormon Frontier Foundation, unpublished typescript, 2003, 5).

[5] Richard Neitzel Holzapfel, T. Jeffrey Cottle, and Ted D. Stoddard, eds., Church History in Black and White: George Edward Anderson’s Photographic Mission to Latter-day Saint Historical Sites (Provo: Religious Studies Center, Brigham Young University, 1995), 97, as quoted in Alexander L. Baugh, “The Haun’s Mill Stone at Breckenridge,” Mormon Historical Studies 2, no. 2 (Fall 2001), 211.

[6] Baugh, “The Haun’s Mill Stone at Breckenridge,” 211.

[7] Charles White, Charles White, Journal, 1907 [typescript] MSS SC 219, L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University, Provo, Utah, p. 13.

[8] Newell R. Kitchen and John L. Fowles, “Finding the Haun’s Mill Face Wheel,” Mormon Historical Studies 4, no. 2 (Fall 2003), 167.

[9] Kitchen and Fowles, “Finding the Haun’s Mill Face Wheel,” 170.

[10] Artifact acquisition records, artifact number LDS 87-26, Church History Museum.

[11] Ellis Eamut, “Reminiscence,” in Journal History of the Church of Jesus Christ of Latter-day Saints, 30 October 1838, 11.

[12] Chad O. Braley, Southeastern Archaeological Services, Inc., “Mills in the Upcountry: A Historic Context, and a Summary of a Mill Site on the Peters Creek Heritage Preserve, Spartanburg County, South Carolina,” unpublished manuscript prepared for the Spartanburg Water Authority, 2005, 12.

[13] Artemisia Sidnie Myers Foote, “Reminiscences, 1850-1899,” MSS SC 999, L. Tom Perry Special Collections, Harold B. Lee Library, Brigham Young University, Provo, Utah.

[14] Historical marker at Breckenridge, Missouri City Park, dedicated May 26, 2000.

Joseph Smith on the Jersey Shore: In Search of NJ’s Nauvoo

A couple of weeks ago, my wife, kids, and I closed out our summer vacation with a quick trip “down the shore” (we’d been staying with my in-laws in northern New Jersey, and I’ve been assured that’s the preferred terminology of locals for what the rest of America calls “going to the beach.”) Thanks to the wonderfully helpful research of our own Steve Fleming, I knew that Mormonism’s history in the Garden State dated back to the late 1830s, but I wasn’t sure if there was much activity along the Jersey Shore. Re-reading Steve’s article, along with a short piece in the April 1973 issue of The Ensign by Stanley B. Kimball (hey, remember when The Ensign used to publish short historical essays by actual historians? That was awesome.), I learned that not only did Mormonism’s history there date back to the 1830s, but that Joseph Smith himself preached in the region. From Kimball’s article:

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Eliza R. Snow as Dorm Mother and Concert Master: Memorializing Mormon Women In Campus Spaces

One trip through Rexburg, Idaho, or any amount of time spent there, reminds visitors of the methods of honoring the institutional, religious, and pioneering heritage of western settlements, in ways that often emphasize the prominence of male actors in that history, and the absence, or lesser importance, of female actors.

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