Rebecca Gratz & Ivanhoe. 1. Not Just Any Novel

"Rebecca and the Templar"
10" dinner plate
Ivanhoe pattern, Wedgwood, 1880

Rebecca Gratz was celebrated in her lifetime and revered after her death as the inspiration for the character of Rebecca, the beautiful Jewish girl in Walter Scott's historical novel Ivanhoe.  As such she became a role model for Jewish women and a figure of romance to the larger community.

The problem today with discussing her association with the character is that no one has read Ivanhoe in 50 years.  Even though some are still familiar with the title and can recall it as a story about medieval England, their knowledge comes from a film version rather than the book itself.  No one has firsthand experience of the Rebecca of the novel and we are too far away from Ivanhoe's publication date to have any idea of the impact it had on 19th-century readers.  So, before we look into the Gratz link, we have to understand how a novel could have the power to change a woman's life.

Ivanhoe was published in December 1819, in three volumes, 1000 pages long.  Overstuffed with characters and plot lines, it is too much to summarize (see the Wikipedia synopsis) but here is a taste:

12th-century England -- a Saxon knight, Wilfred of Ivanhoe, just returned from the Crusades -- a Norman Knight Templar -- Jews in constant peril -- a tournament -- Rowena, Ivanhoe's childhood sweetheart -- two abductions -- a battle -- Rebecca, a "Jewess" (Scott's word) -- Robin Hood and Friar Tuck -- an attempted sexual assault -- an accusation of witchcraft -- trial by combat --  Good King Richard the Lionhearted -- Bad Prince John -- a host of Norman knights -- lots of Saxon servants and peasants -- a bittersweet ending.

This melange of action and romance, vividly portrayed by Walter Scott, turned out to have universal appeal. 

The publisher set a price on Ivanhoe which was higher than that put on any of Scott's earlier works. Nevertheless, copies seem to have flown out of the bookshops and into the hearts of the British reading public.  The same would occur in the United States within a few months and soon after, as translations were produced in the major European languages, Ivanhoe would become an international bestseller.

In fact, the public's appetite was so great, the book alone could not satisfy it.  The first plays based on the novel appeared on the London stage within three months of its publication.  There would be at least 25 theatrical versions performed in Britain over the next decades, some of them running concurrently.  Composers across Europe produced numerous operas over the same period, so that it was possible to hear Ivanhoe in English, French, German, and Italian.

Painters found the novel irresistible as a source of inspiration.  More than 100 paintings of scenes from Ivanhoe would be produced in the 19th century; at least 30 paintings of Rebecca were exhibited in London between 1830 and 1850.  Eugene Delacroix alone made a series of lithographs and painted four oils based on Ivanhoe.  In the 1850's he drew up a list of 20 more scenes from the novel which would make good paintings, but died before he could execute any of them.

Ivanhoe played a role in the revival of interest in the Middle Ages, contributing to the growing popularity of the Neo-Gothic in architecture and furnishings.  The novel also had an impact on cultural politics:  the Eglinton tournament based on Ivanhoe took place in Scotland in 1839, attracting more than 100,000 people.  It was ridiculed by the Whigs (the progressive political party) who saw it as Conservatives cosplaying in support of (really) old values and reveling in an outmoded and romanticized version of aristocracy.  In the United States, readers throughout the country loved Ivanhoe, but only in the South were tournaments inspired by the novel a form of popular entertainment from the 1840's to the 1880's. With Ivanhoe Southerners could see themselves as heirs to a traditional feudal society, chivalric and superior to the peasants in the industrialized North.  When Mark Twain blamed Scott for starting the Civil War, his overstatement was amusing but he wasn't exactly joking. After the Civil War Ivanhoe became a symbol of the South's lost way of life, and helped to foster the "moonlight and magnolias" version of southern history which downplayed the brutal slave system which supported that past.  (I do not think it is a coincidence that one of the Ku Klux Klansmen in Spike Lee's 2018 movie BlacKkKlansman is named Ivanhoe.)

Although Ivanhoe picked up this unlooked-for political and cultural baggage along the way, for most people it remained an exciting story appropriate for the whole family.  The most telling evidence of how deeply Ivanhoe had been baked into Anglo-American popular culture comes from Wedgwood, famous for its bone china and Jasperware.  Around 1880 the company was casting about for a new pattern to be used in its cheaper and sturdier stoneware line -- something which would appeal to the mass market.  The choice was Ivanhoe, still going strong 60 years after its publication and recognized by virtually everyone who was literate.  More than 20 scenes from the novel appear on various pieces in each set.  The pattern was a success throughout the British Empire and in the United States.  Wedgwood continued to produce it for nearly a quarter of a century, and several generations of children learned about Ivanhoe from their breakfast plates.  (There are plenty of pieces to be seen on eBay, a tribute to the pattern's popularity.)

There is much more evidence, which I am sparing you, that Ivanhoe was not just another novel.   It was a literary and cultural phenomenon, as well as a story beloved by readers of all ages.
To be associated with this book was to arouse the intense interest of the public.  To be identified with Rebecca, the novel's most appealing character, brought not only celebrity, but adulation.

Next we will look at Scott's Rebecca and see why readers, especially women readers, found her so compelling.


(My main source for the information about Ivanhoe was:  Ann Rigney, The Afterlives of Walter Scott:  Memory on the Move.  Oxford University Press, 2012.  Thank you to Jesse Rosenberg, Associate Professor of Musicology, Northwestern University, who gave me information about the  Ivanhoe operas.)

Another Portrait of Maria Gratz at the Rosenbach

Maria Cecil Gist Gratz (Mrs. Benjamin Gratz)

by Thomas Sully.  Oil on canvas.  Philadelphia, PA, 1831.

Courtesy of the Rosenbach of the Free Library of Philadelphia.

Gift of John H. Thomas in memory of Hermine Cary Gratz Johnstone.

2012.0004

In 2011, Judith Guston, the Curator at the Rosenbach, enlisted my blog in a search.  For 40 years the Museum had owned a portrait of Benjamin Gratz (Rebecca's younger brother), painted in 1831 by Thomas Sully.  Although Sully's ledger had also listed a portrait of Ben's wife Maria, done at the same time, its whereabouts were unknown and had remained that way for four decades.

My job was to write a post about the missing painting in the hopes that its current owner might see it.  I published "Have You Seen Maria?" in June of 2011 and three weeks later Guston received a call from Maria Gratz Roberts in Atlanta, Georgia.  For the full story, see the follow-up post, "Found," from February 2012.

The reunion of the portraits was covered locally and in the art press and was also picked up by the Associated Press.  The story appeared in more than 200 newspapers.

Soon after, Guston received another call, this time from Jeannette Thomas in California, who is the wife of a great-great-grandson of Ben and Maria.  She said that she had a portrait just like the one of Maria she had seen publicized, the only difference being the presence of the date "1831" and Sully's characteristic initials "TS" on hers.  (The Maria portrait from Georgia had already been authenticated as a Sully, but it lacked signature and date -- omissions which were not unusual when Sully painted two portraits to be hung together.)

After a quick trip to California, Guston affirmed that the West Coast Maria was the original portrait, painted from life.  Furthermore, she was able to report that  John Thomas had made a gift of the painting to the Rosenbach.

So where did that leave Maria from Georgia?  The most likely story is that after Maria died at 44 in 1841,  Ben, in Lexington, Kentucky, wanted a copy of her portrait which hung in Rebecca Gratz's parlor in Philadelphia.  The family commissioned the copy from Sully himself.  Georgia Maria is the result.

If you come to the Rosenbach you can see both portraits in the parlor.  Georgia Maria is on the wall beside Sully's portrait of her husband, and West Coast Maria sits on an easel between the two.  The two Maria's are the work of the same hand and very similar, but Sully did not try to make an exact copy.  Visitors find the differences both fascinating and perplexing.

Rebecca Gratz's Romance. 5. The Poem

This narrative thread begins here.


In 1807,  Rebecca Gratz wrote a poem about lost love, and it dovetails with what we already know.  She begins by stating that it had been two years since she had received a marriage proposal.  In her letter of August 11, 1805, she had implied that Samuel Ewing's proposal had taken place a week or two before; the poem is dated July 23, 1807, which must have been very close to the second anniversary of the event.  She also says in the course of the poem that she had loved him for five years which coincides with the 1800-1805 span when Ewing was the man she most often mentioned in her letters.

So I think we can agree that the poem is referring to the same man and the same proposal.  How do I know it is a proposal?  Rebecca uses a fairly common metaphor of the time for a lover and his beloved.  She calls the man a "votary," that is, a person who has devoted his life to the service of a god (or goddess).  She is then the goddess at whose "shrine" he makes his request.  In some poems which use this metaphor, the "votary" is requesting sex, but here we can be sure it is marriage.

The poem is of more biographical than literary interest,  but the pain and sorrow it expresses have the ring of authenticity.   Rebecca dated the poem and I have used that as the title.

July 23rd, 1807

'Tis two revolving years since thou

A votary at my shrine didst bow.

With melting heart & listening ear I gave thy suit a pitying tear

And Love! who on thy lips still hung

Caught soft persuasion from thy tongue

And what thy passion would impart

Sank glowing to my yielding heart.

The world receded from my view

And nought remain'd but love of you.

I hung with rapture on thine arm

Unconscious that the stern alarm

Of interfering faith must come 

And call the wandering mortal home.

The moment given to joy is o'er

And love and bliss are mine no more!

I with feign'd indifference met thy glance

And seem to fly when thou'st advance

But ah! the lesson duty gives

My breaking heart so weak receives.

That even time whose fabled power

Can take from memory passion's hour

On me cannot such conquest claim

Whose heart and fate are still the same.

My heart! whose sensibility has oft 

When thou hast smiled forgot its (illeg)

To laugh in thy joy--My heart! whose (illeg)

For five long years was faithful unto thee

By interfering fate now torn from thine

is wrecked of joy, of peace, of every dream

Where hope & thou alone were cherished.

The summer eve no more brings joy to me

For thou art fled and the dull hours move on

Unheeded in the lapse of time--The moon

Whose soften'd luster once my soul could wake

Now shines to gild my sorrow and to show

how deep how dark is the color of my fate.  

My yawning grave is lighted by her beauty

And all its horror open to my view

But Hope bright Cherub! lifts the veil beyond

And with seraphic promise points to bliss!

There thou shall meet me and renew thy love!

Mortal pangs shall never reach me more.

[Our souls united shall be blest

Oh blissful promise!]

This seems to be a draft rather than a finished piece.  Rebecca started with rhymed couplets and then dropped the rhyme completely about halfway through.  The tenses of verbs do not always agree and the punctuation is sketchy.  I have put the last two lines in brackets because they appear on the back of the piece of birch bark on which the poem was written. They do seem to be appropriate, and the poem ends rather abruptly without them.

Also on the back of the poem are some crossed-out lines:  "[My] heart!  Thy image faithful bears\ My fate still dooms me to despair\ A prey to both, I languish on\ Uplift my soul, "Thy will be done"\ with holy resignation cry."  Rebecca already had pictured her "yawning grave;" she must have deemed these verses just too much, or simply too direct.

Despite the fact that the verses were unpolished and she had left scribbles on the back of the page,  Rebecca was finished with this poem.  She rolled it up into a scroll and tied it with a pink ribbon.  She then kept it for the rest of her life.

The purpose of the poem?  Depressives sometimes become hypochondriacal and  think they are dying. This could have been  the case with Rebecca, and the poem was a message which she hoped would find its way to Samuel Ewing (it is, after all, addressed to her former love) after she died.  She outlived him by nearly 50 years, but she held on to the poem. Perhaps her intention had changed, and it was for posterity she left her message of love and sacrifice.

So, yes, Rebecca loved Samuel Ewing and he loved her. It isn't just a pious fable or an exaggeration of the seriousness of their relationship.  She gave him up and it was not easy.  She put the requirements of her religion first, but in this poem she no longer denied her feelings for him.  In fact she continued to believe their love was a good thing; it just took place on the wrong plane of being.  She dared to hope that in heaven it would be blessed.

Rebecca survived her ordeal and went on to live a useful and satisfying life.  To see how she presented herself a quarter of a century after her love affair, go to the post,  "The Rosenbach Acquires Sully Portrait of Rebecca Gratz."


(The poem is in the Gratz Family Collection at the American Philosophical Society.  It is now in two pieces (the birch bark is very fragile) and a conservator used the faded pink ribbon,  with which Rebecca had tied up the poem originally, to bind together some sheets of protective paper into a booklet in which the pieces of the poem now reside.)

Rebecca Gratz's Romance. 4. The Letter

(This narrative thread begins here.)

On vacation in New York State in the summer of 1805, Rachel Gratz, who idealized her older sister, wrote Rebecca to ask her to write a character sketch of herself.  Rachel was probably looking for some guides to conduct without having to solicit advice directly.  She received something more than she expected.

The letter, dated August 11, 1805, which I have excerpted below, lacks the usual salutation -- the first indication that Rebecca is in the midst of an emotional breakdown.  She begins:

 "My character Rachel--yes you shall have it--but do not expect exalted virtues--strength of mind or humility--I have stronger passions than you expect--and weaker resolution....
....I have been a whole week in the most acute agony anticipating a misfortune which has fallen on me and which perhaps may crush my happiness for life--When a little exertion and address might have relieved me from its danger--it was brought on in the first instance by compassion and a wish to spare the bosom of another the pain of disappointment..."
"....God gave me understanding enough to have been better--but a disposition too perverse to profit by it...but adhering too much to the wayward impulse in my own bosom--when the enjoyment of the present conceals the sting of future sorrows.  I press'd on from year to year ...and often quite unconscious till on the brink of a yawning gulph my affrighted soul appall'd--and sorrowing retreats despairing ever to acquire the path to peace....affected modesty more fatal than vanity a thousand times, more curst than coquettes' wiles deludes the judgment--& misleads the heart--its consequences I now must suffer."
 "....I see a bleeding heart my perfidy has wounded...till I see a countenance in smiles which now deep gloom invades, a brow tranquil, torn now with blasted hopes & bitter disappointment--the beauty of creation's finest work here I despoil'd--the seat of reasonable desires in the heart of man--"
She ends her letter to Rachel by addressing the deity: "But thou oh God! has not harden'd me in sin.  Thou willst lead me back to virtue--strengthen in my heart the love of thy holy command.  'Honor thy parents'--'Reverence thy God'...so shall my soul find grace and be gather'd with my fathers in the day of trial--where thou willet accept my penitence and extend thy Mercy--for the sake of thy faithful servants whose law I will obey."

Rebecca has done something which has hurt someone badly, but she omits the what and the who.  We must suppose that Rachel, better acquainted with the situation, could fill in the holes.

This is my interpretation:  Rebecca had received a proposal of marriage from a man with whom she had been in a relationship  for years ("I pressed on from year to year").  The only candidate is Samuel Ewing.  She had accepted his proposal ("out of compassion"), changed her mind, and then postponed telling him for days, afraid to face the general condemnation which her actions would provoke.  When she did make her refusal, she had to face up to pain she had caused Ewing. Implicit in the prayer at the end is the motive for her change of mind:  it was a matter of religion and she could at least feel that, faltering as her decision was, it was ultimately the correct one.

There is so much not said here -- I could speculate forever on family influence, for example -- but essentially I take Rebecca at her word.  Her commitment to her religion was authentic.

However, there is a great lack of candor in this letter as to her feelings for her suitor.   I do not think that she accepted him "out of compassion," or that an "affected modesty" led to a misunderstanding between her and Ewing about the nature of their relationship.  What could cause a kind, usually thoughtful,  religious young woman to lead a man on for five years?

She loved him, of course, and couldn't bring herself to let him go.  As we shall see in the next post, two years later she finally confessed.

(Rebecca's letter is in the Gratz Family Collection at the American Philosophical Society.)

Rebecca Gratz's Romance .3. The Gratz Papers

This narrative thread begins here. 

"I have heard [Samuel Ewing] pronounce the name of 

Becky Gratz with more energy & enthusiasm

than I ever saw him express on any other occasion."

----Eliza Fenno, Sept. 19, 1804

Rebecca's letters begin in 1797 when she was sixteen.  Peggy (Margaret) Ewing and she were already friends but there is no mention of Peggy's older brother Samuel Ewing until 1800.

From April 1798 through June 1799, Rebecca was in Baltimore, helping her oldest sister Fanny Etting with a rapidly growing family.  When she returned to Philadelphia, she was eighteen, ready to make her social debut which would mark the beginning of her life as a marriageable young woman.  (There was nothing written in stone as to when a girl could come out, but the Assembly dances, the most important events of the social season, were open only to those eighteen and older.)  She would then encounter Samuel Ewing on an equal footing:  they were both single adults enjoying the the teas, dances, formal and informal visits which were designed to foster courtship.  By June 1800 she could casually refer to him in a letter, and that August he almost certainly wrote an anonymous and very flattering character sketch of her.  To read it and learn one reason why I think Ewing was the author, click here. 

 I attribute this profile to Ewing for another reason as well: the very first of  Rebecca's qualities he mentions is her conversational skill.  This would be  important to a man who was known for his own abilities in that realm.  On August 24, 1800,  Rebecca, musing as she sometimes did, about marriage, wrote to her best friend Maria Fenno, "The happiest hours of married life are those passed in social conversation of unreserved confidence."   Two expert talkers had found someone else on the same level, and it's easy to believe that it played an important role in the development of their relationship.

Its blossoming benefited from the excitement surrounding the new publication, The Port-Folio.  Philadelphia had always been a publishing center, but the lively new magazine, which began in January 180l, helped to create a vibrant literary scene, the envy of Rebecca's New York friend Eliza Fenno who could only hope that "at some point a genius will break forth" in her city.

Ewing had his first poem published in the magazine a few months after it began and soon became one of its steadiest contributors.  His success would have only added to his luster with Rebecca.

As a friend of Samuel Ewing, she was drawn into the literary set led by Joseph Hopkinson, a lawyer and poet, and his witty, cultured wife Emily Mifflin Hopkinson.  When Mrs. Hopkinson suggested that Rebecca and she start a formal correspondence, Gratz, usually so composed, was flustered, afraid that she could not hold her own.  (They did go ahead with it, but none of the letters survives.)  It must have been heady, for a young woman who loved literature, to be so close to the center of the country's literary life.

 From 1800 till 1805 Ewing appears more often in Rebecca's letters than any other man.  Again and again she refers to him -- or rather his presence.  A few examples:  "Sam often comes to see us"  (Aug. 21, 1800)...."S. Ewing called this morning" (June 22, 1802).... "people who dined on Wednesday included S. Moses [who would marry Rachel Gratz in 1806] and S. Ewing"(April 21, 1804) ...."Mr. Ewing returned yesterday from Washington" (Feb. 22, 1805).  And so it went.

There is only one instance which I have found where Rebecca really lets go on the subject of Samuel Ewing.  In June 1802, Rebecca wrote to Maria Fenno, "S. Ewing called this morning...the girls [Maria's soon-to-be stepdaughters] will find him an agreeable, sensible companion...he is not known as an eccentric character, rather romantic [as in romanticism]--but at times very entertaining particularly when he meets with women of good understanding....& his writings prove him a man of genius."

 What is strange about this is that Maria had known Ewing at least two years and was perfectly capable of judging whether he should be around young girls.  No, it is more likely that Rebecca devoted many thoughts to Samuel Ewing and, despite her discretion, sometimes they just burst out.

Ewing did not guard his feelings as well as Rebecca, and her friends sometimes commented on them, as Maria's younger sister Eliza did in the quote at the beginning of this post  On one such occasion Maria Fenno explains in a letter to Rebecca that Mr. Ewing on a visit to New York has insisted that she write to her so that he can hand-deliver the letter.  Having nothing in the way of news to impart, Maria comments on the man:  "Poor Mr. Ewing has another fit of his old complaint [sickness: in this case, lovesickness], and I think the worst attack I ever knew him have.   Not only his thoughts, but his conversation constantly turn to the same object, and nothing gives him so much delight as to hear the praises of her he doats [sic] on....."  A year later he was bothering his sister Peggy with the same request.  She gave in because she had promised to write to Rebecca anyway, but adds, "Your word is a law to him."  And later when Ewing has followed Rebecca to Baltimore, where she was visiting her sister, Peggy remarks that the city must be "uncommonly agreeable" to detain him so long.

And so the relationship went on and on, but not surprisingly.  The Ewing family was in the city's social and intellectual elite but lacked money.  Mr. Ewing would have to save if he wanted to provide for a wife, and since the era disapproved of long engagements, he would have to have the cash on hand if and when he made his proposal.

Meanwhile, Rebecca must have experienced cognitive dissonance:  she was devoted to her faith at the same time that she was interested in a non-Jewish man.  In this era, when there was a difference in religion (most usually in Protestant denominations), the wife  attended her husband's church.
A Jewish-Christian marriage, however, would have required that the wife convert.  Rebecca's aunt, Shinah Simon, had done so when she married Nicholas Schuyler.  Her parents had opposed her choice, but after a short estrangement, they forgave her and welcomed her back into the family circle.

But conversion would not be simply a social move for Rebecca.  She sailed through five years of what everyone must have recognized as courtship by not thinking about it.  Until she had to think about it.

We will look at that crisis next.


(The letters of Rebecca Gratz dated August 24, 1800, and June 22, 1802, are from the Rebecca Gratz Collection at the Library of Congress.  Those dated August 21, 1800 and April 21, 1804, are from the Gratz Family Collection at the American Philosophical Society.  The one dated February 22, 1805 can be found in:  Blau, Joseph L. & Salo W. Baron, ed.  The Jews of the United States 1790-1840, A Documentary History.  3 vol.  New York:  Columbia University Press, 1963.  The letters by Maria Fenno Hoffman, Eliza (Mary Elizabeth) Fenno, and Peggy (Margaret) Ewing are also in the collection at the APS.)

Rebecca Gratz's Romance 2. Samuel Ewing

This narrative thread begins here.

Samuel Ewing has been the chief candidate for the Christian man whom Rebecca loved and renounced since his granddaughter Lucy Lee Ewing identified him as such in the early twentieth century.  But at this point I am more interested in getting at the facts of Ewing's life than in recounting family stories.   I have used as my main source for this post The Philadelphia Souvenir; A Collection of Fugitive Pieces from the Philadelphia Press with Biographical and Explanatory Notes by J. E. Hall.  John Elihu Hall, Ewing's nephew, was an admirer of his uncle's literary work and included two of Ewing's poems in his anthology, along with a  biographical sketch.  Since Hall was only nine years younger than Ewing and the book was published in 1826, about a year after Ewing's death, his is the most accurate account available.  I have summarized it here.

Samuel Ewing was born on August 16, 1776, a son of Dr.  John Ewing, the minister at Philadelphia's First Presbyterian Church, and  for nearly 20 years the provost of the University of Pennsylvania.  Ewing began his education with his father and continued it at the University, graduating when he was about 16. He then entered the countinghouse of  an eminent merchant whose subsequent bankruptcy cost Ewing his job.  He took one voyage as a supercargo (the agent for the owner of the cargo who sold the goods at ports of call and purchased merchandise for his employer).  Hall does not mention where he went or for how long, but when Ewing returned, he took up the law in the office of William Lewis, and was admitted to the Philadelphia Bar in December of 1800.

During this rather bumpy period between college and attaining a profession, Ewing pursued his first love -- literature -- and saw his work published in local journals.  In 1800, a successful writer and editor from New England arrived in Philadelphia to take a government job and to create a magazine which would appeal to the literati throughout the new nation.  On January 1, 1801, John Dennie published the first issue of  The Port-Folio, a weekly devoted to literature, politics (in this case,  Federalist), culture, travel writing and humor.  Ewing was an early and frequent contributor to the magazine.  Under the name "Jacques" he wrote serious poetry, humorous pieces and political satire.  In 1809  Ewing created his own publication, Select Reviews and Spirit of the Foreign Magazines, selling it in 1812 for "a considerable sum," and applying himself thenceforth completely to the law. He had a successful practice. (Hall does not mention that Ewing had married Elizabeth Redman, a daughter of a Philadelphia doctor, in 1810, and their growing family may have led to his decision to leave off his literary endeavors.)

Although he no longer wrote, Ewing did support literature and learning as a founding member of the Athenaeum of Philadelphia, serving on its board and in various official capacities until his death.

Ewing died  at the age of 48, in 1825.  His nephew wrote that he "suffered much during the last five months of his life from the delusive illness" (tuberculosis --see the note at the end of the post "Making a Good Death").  Samuel Ewing was buried in the First Presbyterian Church's graveyard, but when the land was needed for other uses, his remains were moved to the churchyard at Old Pine Street Presbyterian Church where you may visit his grave.

Hall's biography bolsters the claim for Ewing as Rebecca's sweetheart.  He was in Philadelphia at the right time:  Rebecca was eighteen in 1799 and probably made her debut that year.  He wa the right age, five years older than Rebecca.  (Men in Rebecca's set generally married in their late 20's to early 30's; their wives were five to ten years younger.)  He was of the same social class and shared Rebecca's interest in literature.  And like Rebecca, he was known as an excellent conversationalist.  His nephew remarked on this, noting that his talk combined "social feeling with sallies of playful wit."  In a city as small as Philadelphia they must have met.  The Gratz papers will provide more evidence here.

Rebecca Gratz's Romance 1. Introduction

I was skeptical of this story when I started researching Rebecca.  I thought that it was a case of every- one wanting her to have had a great love, preferably a tragic one, and someone obliging, through speculation or exaggeration, with a "Christian gentleman" whom she had loved and renounced because of religion.

Certainly no one seemed to have found any hint of a romance in the Gratz papers then available.  This was important because during Rebecca's lifetime the appearance in print of an item about the private life of a respectable, not to say, revered, woman, without her permission, would have been a journalistic scandal.  Any evidence of an affair from that time could come only from private letters.  After her death, however, Rebecca's life would be fair game.

Yet, at the time I started my research, the earliest article in print that referred to a mystery man was thought to be in an issue of The Century magazine in 1882, thirteen years after her death  -- a long pause, it would seem, before anyone brought the subject up, certainly enough time for the story to be concocted.  There was a popular theory that the Gratz family, in an effort to explain Rebecca's not marrying, was responsible.

Unlike previous researchers, I had in the internet a highly effective search tool that only got better as my work went on.  One day, something popped up, a short article published in the February 1870 issue of the Australia (yes, Australia) Journal  (about six months after Rebecca died)  and there it was:  [Rebecca Gratz] "was addressed by a gentleman of wealth, position, and character whose passion she returned.  But the difference in their religious faith...proved an insuperable barrier to their union."  If the Gratz family had created the story, they did so immediately after her funeral and then made the press contacts which would send it to the other side of the world in a matter of months.  It just seems more likely that the tale had been in the gossip-sphere for decades and burst into print as soon as it was permissible.

This doesn't mean the story is true, but because it was in circulation much earlier than expected, there is a greater likelihood that it has some factual basis than if it had first appeared years after Rebecca's death.

Once the romance was public, candidates were suggested for the Christian man whom Rebecca loved.  Washington Irving was a favorite although the Gratz family denied they were sweethearts.  (Biographical research has borne this out.)  Henry Clay was another famous man who got a mention but once again research nixed that possibility.  There was also a story that she loved a friend's younger brother and nursed him in his final illness (No signs of that  have ever been found.)

And then in the early 20th century, a scion of an old Philadelphia family came forward.  Lucy Lee Ewing said that her grandfather, Samuel Ewing, had told her grandmother that Rebecca Gratz had been his first love but that they did not marry because of religious differences.  Beyond that fact she supplied some anecdotes, which seemed partial at best. For me, these sketchy secondary tales served to undermine rather than bolster the central fact of a Ewing-Gratz love affair.  However, like most family stories, I thought, there could be a grain of truth at the center.

And so we will take a  look at Samuel Ewing and see how he shapes up as the "Christian gentleman" of Rebecca's romance.  To read that post click here.

Rebecca's Legends & Why They Are Important

Despite her pioneering efforts in religious education and charities for women and children, Rebecca Gratz's enduring popularity in the American Jewish community rests on two romantic legends.  One is her purported romance with a non-Jew, and the other concerns her possible role as the inspiration for the character of Rebecca in Walter Scott's novel Ivanhoe.

Each tale is interesting enough in itself, but the two are intertwined: the real Rebecca, like the one in the novel, was a beautiful, intelligent, compassionate Jewish woman who fell in love with a Christian, did not marry him and went on to live a life of good works.  This parallel enhances the credibility of both tales.

Credibility aside, these legends are just too good to be ignored by the popular press.  From the 1870's to the present day, popular histories, newspapers and magazines have printed and reprinted the stories, despite  a dearth of documentary evidence.

However, as early as the 1950's some were questioning their veracity.  In 1954 a writer in the magazine Commentary called them "pious fables," and from then on scholars have often simply dismissed them.

Given the Gratz materials available during most of the 20th century, it was right to be cautious.  But in the last twenty years or so, more letters have become available and their content sheds some new light on the subject.

If you have read other of my blog posts, you know that in passing I have referred to Rebecca's romance as fact.  In upcoming posts,  I will be presenting the evidence for this conclusion.  I will then deal with what we know about the Ivanhoe story.

But why give these sideshows time and effort when the real story of Rebecca's life is found in her philanthropic and educational activities?  Earlier researchers tended to believe the legends were late accretions created by the Gratz family after Rebecca's death.  However, my research has uncovered evidence that by 1830 her contemporaries believed she was Rebecca in Ivanhoe.  Endowed with the charisma of everyone's favorite literary character as well as with her own, Rebecca was in an almost unassailable position to put forth the idea of a Hebrew Sunday School and make it succeed.  Other Jewish women attempted to emulate her with minor or no success.  Rebecca's special status, conferred by the romantic legends about her,  helped put the project across.  To put it crudely, "No legends, no Sunday School."  Her good works and the stories which swirled around her are both of importance.  Neither can be ignored if you wish to understand her life.

P.S.  Please take a moment to celebrate that life  on  Rebecca's 233rd birthday today.

Today Is Rebecca Gratz's 232nd Birthday

"Well-behaved women seldom make history."

One of the things I like best about Laurel Thatcher Ulrich's epigram is that qualifier "seldom."  If there is a subtext to this blog, it is that at least one well-behaved woman succeeded in changing and improving things in her corner of the world.  

Of course, Rebecca could be well-behaved because she had an unusual gift which assisted her in effecting her good works:  she was a private person (as all respectable women of the time were supposed to be) who was also a celebrity.  I hope to take up this part of Rebecca's story in the months ahead.

In the meantime, in honor of her birthday, let's raise a glass to Rebecca. 

Six Degrees of Rebecca Gratz

The United States was so much less densely populated in Rebecca Gratz's day that the linking game of the 19th century would probably have been called "four degrees of separation." For an upper-class woman like Rebecca, two or three degrees were probably all that were necessary to link her to the prominent men and women of her time.

Here are just a few of her many  friends who connected her to the larger world:

William Henry Furness, the minister at the First Unitarian Church in Philadelphia, was a lifelong friend of Ralph Waldo Emerson, providing a link to the New England intellectual and literary establishment.  Furness personally introduced Rebecca to theologian William Ellery Channing and the English economist Harriet Martineau, two intellectual lights of the era, when they came to Philadelphia.

Francis Preston Blair, from 1830 a Washington insider, as newspaper editor, founder of the Republican Party and advisor to presidents, was a resource for contacting practically anyone in the federal government.    Rebecca called upon him for help in getting friends and family federal appointments. And when she wanted to get a message to Abraham Lincoln, it was Blair who read it to the president.

Washington Irving and the actress Fanny Kemble connected her to literary and artistic circles in both America and England; Irving, most famously, to Walter Scott.

There are more surprising connections as well.  A few weeks ago, I read a review of a new book, Freedom's Gardener:  James F. Brown, Horticulture, and the Hudson Valley in Antebellum America, by Myra B. Young Armstead.  Based in part on Brown's diary, the book traces his rise from slavery to freedom as a politically enfranchised citizen, a master gardener for a wealthy family in the Hudson Valley.

Sure enough, there was a Gratz connection.  His employer was the Verplanck family whose estate Mt. Gulian was at Fishkill Landing, about 70 miles north of New York City.  The man who hired him was Daniel Crommelin Verplanck, whose son Gulian married Rebecca's good friend, Eliza Fenno.  The young couple took up residence at Mt. Gulian, and although Eliza died in 1817, well before Brown arrived as gardener,  Rebecca, who always took an interest in the children of her friends, maintained her friendship with Eliza's husband and their family, visiting Mt. Gulian repeatedly.

By 1837, Sara Moses, Rebecca's niece, was already familiar with the estate.  She wrote that she and her aunt were going to visit the Verplanck's at "that most beautiful spot...on the river only a few miles from West Point" and were planning to spend a week there.  Certainly during that time, Rebecca saw and enjoyed Brown's gardens.  And it was just around this stage of her life, that she started to mention her roses in her letters, suggesting that she was either taking a greater interest or had found a new hobby in growing flowers.  It is pleasant to think she might have consulted with James F. Brown on her trips to Mt. Gulian.

(Sara's letter is in the Gratz Family Collection at the American Jewish Historical Society.)

Art in America: Nude Statues, 1803

"Art in America would not detain an intelligent Traveller one hour....," John Davis, an English ex-sailor, wrote in a book about his journeys, published in 1803.  His pronouncement was not an unusual one among foreigners who had visited the new nation.

The socially elite young men and women of Rebecca's generation,  the first to grow up as American citizens, smarted under foreigners' criticism. In reaction they developed cultural responsibilities -- to familiarize themselves with the European artistic tradition, foster an appreciation of it in their countrymen and provide American artists with educational resources.

The New York Academy of Fine Arts was founded in 1802 to promote classical art.  It began by importing casts of classical sculptures as teaching tools and to be exhibited to the public.

This exhibition was greatly anticipated by Eliza (Mary Elizabeth) Fenno, the younger sister of Rebecca's best friend, Maria Fenno Hoffman.  Eliza, who was 16 in 1803, had moved from Philadelphia to New York in 1800 with her family.  In a letter from early 1803 she demonstrates her interest in art and a delight in her adopted city:  "The growing greatness of our city would astonish you, the streets swarm with people, our commerce improves daily, and the fine arts will shortly flourish here...."

But she was to be disappointed.  In July 1803 she wrote to Rachel Gratz, Rebecca's younger sister:  "There had been lately a society formed in New York [the Academy of Fine Arts] for the encouragement of the fine arts, and they have imported from France casts of the most celebrated statues which are to be exhibited in a few days at the museum, and of course our sex are to be excluded, as it would shock their delicacy amazingly."

Eliza goes on to suggest sarcastically that only when clothes have been provided for the statues will women be allowed to see them.  But then she breaks cover and blurts, "I must tell you a secret, I have seen them all....Caty [the Fenno's servant] is very well acquainted with Mrs. Savage whose husband keeps the museum and he gave us the key of the door, but this must not be known.  My delight and astonishment you may readily imagine on viewing the copies of those statues of which I had read so many animated descriptions but they surpassed all the brilliant ideas I had formed.  The gratification experienced will last me all my life."

America had its first teenage culture vulture.

While Eliza was comfortable telling her story to Rachel, who was the Gratz sister most capable of such a caper, she did not confide in Rebecca although she also corresponded with her. She seems to have  looked upon Rebecca, who was six years older, as a paragon.  Her only mention of the statuary exhibit to her is a simple statement in a letter the following March that she had gone to see it.

Obviously the men in charge of the exhibit must have changed their minds about its suitability for women, although there were probably restrictions.  Mrs. Trollope, visiting the Pennsylvania Academy of Fine Arts in the 1830's, was shocked that men and women viewed the statuary separately.  Perhaps that was the same solution which was offered to women by the New York Academy.

(The letters are in the Gratz Family Collection, Manuscript Collection No. 72, at the American Philosophical Society.  The title of the book by John Davis is Travels of Four and A Half Years in the United States of America.  Frances Trollope's story is in her Domestic Manners of Americans.)

Joseph Gratz, the First Troop and the War of 1812

Members of the First Troop Philadelphia City Cavalry visited the Rosenbach Museum & Library on March 4, 2012, to honor their former member Joseph Gratz.

Joseph Gratz (1785-1858), one of Rebecca's younger brothers, was what was once called a "clubbable" man; that is, he was socially adept (not boring) and thus suitable for club membership. In the course of his life Jo would join the Masons, the Athenaeum and the exclusive Philadelphia Club. He was also an officer of his synagogue, a corporate director and on the board of at least one charity -- offices which in those days must have seemed much like being in a men's club.

What might be seen as one of his first clubs was the First Troop Philadelphia City Cavalry, which he joined in 1809, during the unsettled times leading up to the War of 1812. The First Troop, today arguably the oldest military unit in continuous service to the nation, was founded in 1774 by a group of men who already knew each other from various social clubs. It would retain its clubby atmosphere. Where most young men of Jo's social class were interested in obtaining an officer's commission, he preferred to be a private among his friends and peers.

For the first few years in which Jo was a member, the Troop carried out its usual ceremonial assignments (escorting VIPs, for example) and took on a few military duties -- for instance, guarding the arsenal in 1812 when a plot to blow it up threatened. But the War was very far away until the late summer of 1814.

On August 26th, news reached the city that Washington, DC, had been burned, and the fear that the British planned to burn Philadelphia took hold. Committee of Defense was formed to build fortifications, the militia was activated and the First Troop offered its services to Brigadier-General Joseph Bloomfield, commander of the Fourth Military District, Philadelphia.

The Gratz family responded with its characteristic good citizenship. Simon, the eldest brother and the head of the family, participated in the civilian defense effort, as did another brother Jacob. The youngest brother, Benjamin, a second lieutenant in the Washington Guards, marched with his unit to an encampment outside the city at Kennett Square. Jo would go farther afield with the First Troop.

Brigadier-General Bloomfield had immediately assigned vedette duty to the First Troop. (Vedettes, in this case, were mounted troops in outlying areas doing reconnaissance.) Capt. Charles Ross and thirty vedettes, including Jo Gratz, established their headquarters at Mount Bull, near Elkton, MD, where they had a clear view of the northern reaches of the Chesapeake Bay. Lookout posts were set up, patrols organized, relay stations located on the road to the city. Ross's vedettes communicated each day with the encampment at Kennett Square and with Philadelphia. In one of her letters to Jo during this period, Rebecca told him how the children in her neighborhood "watched out for the vedettes."

On September 14th, Charles Biddle, the Chairman of the city's Committee of Defense, wrote to Capt. Ross at Mount Bull that the stagecoach from Baltimore had not arrived the previous evening nor the mail packet that day. He ordered that vedettes take up positions south along the Chesapeake towards Baltimore to learn what they could of the situation there. In fact, on September 13th, the British had begun their bombardment of Fort McHenry. When news of the attack reached Philadelphia, it seemed to confirm the fears that other cities would soon fall victim to the British.

Rebecca Gratz spent this time in a state of anxiety, caring for her sister Sarah who was in the midst of a manic episode and worrying about her brothers on active duty. Nevertheless, she hoped that the family could be reunited for the High Holidays. A letter dated September 28th indicates that Jo and Ben had both been home recently, probably having been given leave for Yom Kippur on the 24th.

The military crisis ended in December when it became clear that after its failure to take Baltimore, the British fleet had sailed away (some ships to Halifax, others to Jamaica) and Philadelphia was out of danger. The First Troop returned to the city on December 12, 1814, ending its service in the War of 1812.

Jo resigned from the Troop when he reached the age of thirty in 1815, but the First Troop would remember him. In 1853, he and the other surviving participants in the Mount Bull Campaign were made honorary members for their service during the War of 1812.

Jo Gratz would be a businessman, active in civic, charitable and Jewish affairs in the city throughout his life and, as mentioned above, a very active clubman. Among his effects, after his death, was a superior wine cellar and numerous boxes of fine cigars, testament to his lifelong attachment to good living and good company.

Today the First Troop Philadelphia City Cavalry is part of the Pennsylvania National Guard. It has most recently deployed to Bosnia and Iraq and will again deploy in the next twelve months to an active theater of military operations.

(Information about the Troop in the War of 1812 is derived from History of the First Troop Philadelphia City Cavalry, issued by the Pennsylvania National Guard, Troop of Philadelphia Cavalry, 1875. Rebecca's letters are in the Gratz Family Collection, Manuscript Collection No. 72, American Philosophical Society.)

A Happy 231st to Rebecca Gratz

Rebecca Gratz was born on March 4, 1781, six months before the Battle of Yorktown, and died during the Grant administration. She is commemorated for her good works, but today it seems fitting to honor her for her letter-writing.

Rebecca's letters begin in 1798 and end in 1866, spanning the antebellum period and the Civil War. They provide a window into the era from the perspective of an active, intelligent woman close to the center of the nation's social and political life.

This year, I lift a birthday toast to Rebecca, acknowledging her charitable and educational contributions but especially her writings. I also offer a second toast to all those who preserved her letters over two centuries and have thereby given us a wonderful cultural and historical resource for studying America during her lifetime.

Found: The Lost Portraits of Mrs. Benjamin Gratz

Maria Cecil Gist Gratz (Mrs. Benjamin Gratz)

by Thomas Sully. Oil on canvas, Philadelphia, 1831.

Courtesy of the Rosenbach Museum & Library.

Gift of Maria Gratz Roberts. 2011.0023.00l.

Photograph by Douglas A. Lockhard

Last spring Judith Guston, the curator of the Rosenbach Museum & Library, asked me to write a blog post about a painting which neither of us had ever seen: a portrait, by Thomas Sully, of Maria, the wife of Rebecca's brother Benjamin Gratz.

The Museum's interest in this painting began more than 40 years ago when the Rosenbach received a bequest from Ben's granddaughter which included Sully's portrait of Ben, painted in Philadelphia in 1831. The artist's records show that he had also painted Maria at the time, but where was she? Henrietta Clay, who gave the bequest, had heard that the painting existed but had no idea where it was. This is not too surprising because the Kentucky Gratz's are a large family. Miss Clay, a descendant of Ben's second wife (Maria was his first), was in the wrong line of descent to know much about Maria.

In 1984 the Rosenbach received another Gratz bequest, this time from the widow of a descendant of Maria's. She knew the Museum was looking for Sully's painting, and she reported it had already disappeared by the time she married into the family. She gave the Rosenbach a lovely portrait of a youthful Maria, by Matthew Harris Jouett. And she included in her bequest a photo of what she termed "a crayon copy" (a pastel) of the Sully portrait, which I would eventually use in my blog post.

Years passed, and the Maria portrait never made an appearance at auction, with a dealer or in an art publication. So the Rosenbach took a shot with my blog, and it was no sure thing. The portrait could well have been in the hands of someone who did not know the sitter or the painter and would never find my post. Or the painting might turn up in another institution, no longer a possible addition for the Rosenbach.

I published the post at the beginning of June, thinking we should probably give it a year or two. I did not know that a Gratz descendant in Georgia was already acquainted with my blog and checked it from time to time. Three weeks later our curator got a call from Atlanta. Maria Gratz Roberts, a great-great-great-granddaughter of Ben and Maria, had the original Sully portrait in her parlor. It had been given to her father by his great-uncle, a grandson of Ben and Maria, no later than 1935. And although Maria Gratz Roberts had lived with the painting throughout her life, she, like us, had the romantic notion that Ben and Maria's portraits should be together again.

What's more, Ms. Roberts proposed that she GIVE the Rosenbach the Sully portrait of Maria, the pastel copy which she also owned and a chair that Ben had brought from Pennsylvania. This incredible generosity was much more than anyone could have imagined at the beginning of our search. I know from my work with the Gratz correspondence how much Rebecca Gratz and her family admired Maria Roberts' great-great-great-grandparents and their happy marriage. It is absolutely fitting that their portraits be reunited. I hope our benefactor will visit the paintings at the Museum and accept our thanks in person.

But wait!  Another descendant contacted the Rosenbach.  The result is this.

Thomas Sully's 1831 portrait of Maria will go on display to the public on Saturday, February 11th, just in time for the Rosenbach's annual Romance Tours which take place that weekend. They will be spotlighting those objects in our collections which have romantic associations -- the portraits of Ben and Maria, a love letter by John Keats, Lord Byron's marriage license and much more. Click here for information about the tours and their times.

If you would like to know more about the artist Thomas Sully, you can get an interesting perspective on his work on Feb. 15th. Carol Soltis, Associate Curator at the Center for American Art at the Philadelphia Museum of Art, will be giving a talk at the Rosenbach on "Thomas Sully's Ladies: Real, Imagined and Literary." Click here for more information.

The Gratz Family: Federalists

Rebecca Gratz, born in 1781, grew up with the American political system. However, she much preferred the Constitution and its ideals to the party politics which developed in its wake.

By the time Rebecca was twelve (in 1793), the first American political parties were taking shape around two founding fathers with conflicting visions of the new nation. Alexander Hamilton, President Washington's Secretary of the Treasury, saw an America which could and should take its place beside the European powers. To that end, he supported a national bank to help regulate credit, a navy to protect American shipping and a strong central government to oversee the country's development into a great nation. Thomas Jefferson, the Secretary of State, envisioned America as a wholly new entity, a nation made up of farmers and townsmen, without the large cities, banks, military and centralized government which he saw as sources of corruption. The Gratz family, like the rest of the American mercantile class, most large landowners throughout the country and virtually all of New England, was squarely in the ranks of Hamilton's Federalists. Jefferson's Democratic-Republicans (whom I refer to as Democrats because that is what the Gratz's called them and because theirs was a forerunner of the modern Democratic Party) included the Virginia planters as well as farmers and much of the urban population outside New England.

During the presidential election of 1800, the Gratz's supported Federalist John Adams. The only family member who did not was Rebecca's brother-in-law Reuben Etting in Baltimore. His support for Jefferson was rewarded after the election when the new president made him United States marshal for Maryland, the first federal appointment for an American Jew.

The rest of the family was not happy. Sarah, Rebecca's older sister who was visiting with her sister and brother-in-law in Baltimore during the campaign season, spent evenings in "argumentation" with Reuben, a pastime they both seemed to enjoy. But once the results were in, Sarah expressed her dejection to 19-year-old Rebecca: "Really the triumph of the Democrats makes me feel sad. In this State as well as in ours, they are successful. Shame. Shame. I would not show Reuben your letters for the world" [my italics].

It seems clear from Sarah's comment that Rebecca was quite a partisan herself. Yet her youthful enthusiasm did not last. A few months later, her friend Maria Fenno, railing against Thomas Jefferson (probably because of his heterodox religious views), wrote, "I cannot get reconciled, little as I am a politician, to such a president....You will laugh at me [my italics], I suppose, but I know your feelings are something like mine." Whatever party fervor Rebecca had evinced during the campaign, Maria suspected that her friend had already grown skeptical of the partisan stance.

What might have caused Rebecca to have turned away from party fervor? Perhaps the change had something to do with the political press of the time.

To be continued.

(Sarah's letter about "argumentation" and Maria's letter are in the Gratz Family Collection, Manuscript Collection No. 72, at the American Philosophical Society. Sarah's post-election comments are from a letter in the Gratz Family Collection at the American Jewish Historical Society.)

The Rebecca Gratz Blog in 2011

This is my second annual report (click here for the first), a little public record-keeping, which shows how a blog about an obscure historical figure fares on the internet. This year "Rebecca Gratz & 19th-Century America" received over 2300 visits, up by more than 550 from last year, not surprising since there are more posts to attract hits.

The interesting thing for me this year is that six of the top ten posts include portraits. It strikes me that having as my subject a beautiful woman who had the presence of mind to have three portraits painted -- and had an equally attractive and well-painted family -- has brought me more hits than a figure without the good looks would have garnered. If you happen upon one of the Gratz portraits on the internet, it is difficult not to want to know more. More importantly, the portraits attract those interested in 19th-century American art and the specific artists, as well as the usual researchers concerned with American history, Jewish history, women's history and genealogy.

So here are the top ten posts on the blog this year.

The Rebecca Gratz Club (Aug. '10). Although I have heard from many people who have a familial or personal link to the Club, my guess is that the popularity of this post derives from the fact that the organization's former building (now condos) has "The Rebecca Gratz Club" incised in stone on its facade. Locals and tourists taking a walk through the historic Society Hill section of Philadelphia see the name and want to know more. I would be willing to bet -- I haven't been able to pull up these data from Google Analytics-- that the Rebecca Gratz Club is the subject of more "impulse" searches on smart phones than any other topic covered by this blog.

The Rosenbach Acquires Sully Portrait of Rebecca Gratz (Nov. '10). Well, this was a news story in art and museum publications as well as in the local Philadelphia newspapers, and my blog benefited from the increased curiosity about Rebecca.

Domestic Servants in Philadelphia, 1800 (Jan. '11). In this post I was following an interest of mine which was not covered in school when I was young. It seems to be given much more attention today.

Benjamin Gratz, Rebecca's Youngest Brother (Mar. '11)

Maria Cecil Gist, Rebecca's Sister-in-Law (Mar. '11)

Rebecca's brother and sister-in-law, besides being probably the handsomest couple in the Western Hemisphere (the posts include their portraits), have historic interest of their own, at least in Kentucky where they made their home. They are also the progenitors of the Kentucky branch of the Gratz family and therefore a target for descendants' genealogical research.

The Lost Portraits of Mrs. Benjamin Gratz: Have You Seen Maria? (June '11) Another portrait, this time linked with a mystery. Who can resist?

Sully's First Portrait of Rebecca (Oct. '09).

Sully's Second Portrait of Rebecca (Feb. '10).

See above.

The Gratz Sisters and Solomon Moses (Apr. '10). This is part of a narrative thread about Rebecca's younger sister Rachel Gratz, her romance and marriage. I think this gets onto the list because of the appearance of the words "Solomon" and "Moses" in the title. People searching for Solomon Moses, Moses Solomon, Rebecca Moses, Rachel Solomon, etc., could all wind up here.

Rebecca and Mixed Marriages (Apr. '11). This post addresses a central issue of the Rebecca Gratz legend: why she refused to marry the Christian man she loved. I check in with my speculations.

Over the past two years, most of the blog's hits have come from the United States, and as of today only one state has not yet been heard from. Come on, Wyoming, there must be one Jewish person, scholar of American painting, or historian of the 19th century living there. I look forward to your appearance in my blog statistics.

"Inquiring Minds" at the Rosenbach

Most visitors to the Rosenbach Museum and Library in Philadelphia, where I am a docent, think of it as a house museum with galleries of changing exhibitions showcasing books, art and artifacts from its collections. But the Rosenbach also functions as a resource for researchers. A new exhibition, curated by Rosenbach registrar Karen E. Schoenewaldt, spotlights the ways in which researchers have recently delved into the collections.

Fifteen projects are represented. Here are a few:

An author of a recent Dracula novel studied the Rosenbach's notes for Dracula, composed by Bram Stoker over seven years, for characters and plot threads not used in the final version.

The assistant general manager of a local gourmet foods store is using the Rosenbach's "Mr. Allen's method of curing bacon" to reproduce a 19th-century version of the food.

A student at the Moore School of Art, who came to the Rosenbach to research Maurice Sendak and music for an art history class, ended up using his illustrations from Outside Over There as inspiration for her final fashion collection. A dress from her show is on display and is a major crowd-pleaser.

A biographer, using the Rosenbach's extensive Marianne Moore collection, discovered that Moore's interest in the philosophy of William James and the novels of his brother Henry may have had its roots in her college crush on William's daughter Peggy at Bryn Mawr.

And so on.

For each project, the exhibit provides the Rosenbach source material, a description of the research and the final work. This gives visitors unusual insight into scholarly and creative inspiration and process. For those works which cannot be fit into a glass case, there is a computer terminal-- where, for instance, you can see the fashion show mentioned above or read my blog, "Rebecca Gratz & 19th-Century America," which is among the projects covered.

The examples I have chosen highlight a Rosenbach policy: although many academics use its collections, you need not be one to gain access to them. Click here for more information about research at the Rosenbach.

The exhibition will run through March 25, 2012.

Visitors at the Hebrew Sunday School

In the summer of 1840, Rebecca wrote to a niece about an occurrence at a recent session of her Sunday School. Just as school was beginning, two men entered the classroom. They said that the children outside had invited them in and asked if they might stay. Rebecca gave her permission.

As the classes ended the older of the two men stood up and asked if he might speak. He and his companion, he said, were Seventh-Day Baptists (a Protestant denomination, in general agreement with other Baptists except for the proper day for the Sabbath which they observe on Saturday).

The man told how he had been ridiculed since his youth for keeping Saturday "like the Jews." Now he "felt happy there were communities of Israelites spread over the land...he deemed it a privilege to keep their holy Sabbath [and] prayed God would bless them." His words, Rebecca wrote, impressed the children. The two men then quietly left.

(For an anecdote about a Jewish visitor to the Sunday School, click here.)

(This letter is in the Miriam Gratz Moses Cohen Papers, No. 02639, Southern Historical Collection, University of North Carolina at Chapel Hill.)

Theater in America, circa 1800

When Rebecca was a young woman, going to the theater was a popular pastime among those in her social set. The theater provided variety, with a mixture of Shakespeare, other favorites from the past and recent London hits. People went even though productions could be very uneven. Maria Fenno, Rebecca's best friend, reported to Rebecca from New York that she would be going to see King Lear, as performed by a "band of butchers," with a Cordelia "who has frequently been obliged to go to bed in the middle of a play in consequence of intoxication." On the other hand, America in 1800 had begun to attract young English actors whose stars rose much more quickly here than on the London stage. They would be the first matinee idols in the new nation.

Most of the social elite, as devotees of the English literary heritage, attended regularly. Others, like the Quakers, stayed away on principle. The middle classes generally avoided the theater, believing it to be a den of vice, and it can be argued that they were correct. Nearly every theater had its infamous third tier, the highest balcony where prostitutes displayed themselves and booked assignations. Theater owners early realized that this secondary attraction brought in a regular clientele, whose tickets provided the profit necessary to keep the dramatic arts alive in America.

The third tier was a frequent source of noise and disruption, but the prostitutes and their johns were not alone in impropriety. Wealthy young men felt entitled to exercise their wit in voices loud enough for the whole theater to hear. Rebecca's sister Rachel found their conduct disgusting on at least one occasion:

"We had several of them in our box at the theatre [who] annoyed me almost to death. Every word that [the leading actor] uttered was repeated by them with some comments."

Despite the rowdiness of the third tier and the "arrogance and affectation" (Rachel's words) of some young men, respectable men and women, safe in their theater boxes, continued to attend, and even to bring their adolescent children. In 1805 Rebecca wrote of taking 14-year-old Matilda Hoffman to see a play.

(Maria's letter is in the Gratz Family Collection, Manuscript Collection No. 72, at the American Philosophical Society. Rachel's is from the Gulian C. Verplanck Papers at the New York Historical Society, and the information about Rebecca and Matilda's theater-going is from a letter written by Rebecca in the Gratz Papers at the American Jewish Historical Society.)

Rebecca and the "Little Butlers"

(This narrative thread begins here.)

When Fanny Kemble realized that her estranged husband never intended to let her see her daughters, she left the United States. During her absence, Rebecca continued to be a good friend. The two women began a correspondence which survives only in part (so far as I have been able to discover): some of Fanny's letters are among the Gratz papers at the American Philosophical Society, but Rebecca's have been lost. However, it is easy to discern the letters' most important purpose -- to provide Fanny with news of her children. In an undated letter to Rebecca, Fanny wrote, "A thousand thanks for the accounts of my girls. How right, how wise, how good, how kind you are to tell me everything that you can about them, from Fanny's French studies to Sarah's brisk bonnet."

Given the rancor between the parents, it is surprising that Pierce Butler would permit his daughters to visit a woman who was very much their mother's friend. Butler could not accuse Rebecca, as he did other of Fanny's friends, of helping to destroy his marriage; she didn't meet his wife until their relationship was all but over. And here was an instance where Rebecca's reputation as a "good woman" and the inspiration for Rebecca in Scott's Ivanhoe probably stood her in good stead.

Rebecca invited Fanny's daughters to her house, and also seems to have taken them on excursions. In 1847, she wrote her niece Miriam Cohen after a trip to a charity bazaar, "The little Butlers seem entirely delighted and I go again to see them enjoy themselves." Rebecca's pleasure in the companionship of children as well as her keen observations must have made her ideal for communicating the girls' behavior and interests to their mother. To her own relatives, Rebecca wrote of her concern for the development of the children without a mother's influence.

After Fanny's return to America in 1848, her husband permitted her to see her daughters. She wrote to Rebecca about her older girl: "Sarah's mode of speaking of you pleased me extremely, not because it was affectionate, but because it was respectful and enthusiastic and bespoke in her some appreciation of that moral dignity & beauty which I would have her respect and admire and love above all things."

The affection between Rebecca and the little Butlers may have grown out of their peculiar situation but it endured. In 1856, when the girls had reached womanhood, Rebecca reported: "I have just had a visit from my young friends the Butlers -- Sarah came to tell me of her engagement to Mr. Sandford of New York...." (The engagement was not as enduring as their friendship. In 1859 Sarah married Dr. Owen Jones Wister of Philadelphia; her son was the novelist Owen Wister.)

Even at the beginning of the Civil War, in which Pierce Butler was a vocal southern sympathizer, Rebecca continued her concern. The younger daughter, Fanny Butler, who took her

father's side, had gone with him to Georgia in February of 1861. In March Rebecca was already asking her niece in Savannah for any news of the young woman. (She and her father were fine. They returned North for the war, during which Pierce Butler was in and out of trouble for his views, and went back to Georgia after to try to renew the prosperity of the family holdings.)

(As mentioned above, Fanny's letters are in the Gratz Family Collection, Manuscript Collection No. 72, at the American Philosophical Society. Rebecca's are in the Miriam Gratz Moses Cohen Collection, No. 02639, the Southern Historical Collection, University of North Carolina at Chapel Hill. I also used Malcolm Bell, Jr.'s Major Butler's Legacy: Five Generations of a Slaveholding Family, for more information about the Butler's.)