Lindsey - A communion of shadows: religion and photography in nineteenth-century America
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A COMMUNION OF SHADOWS
RELIGION AND PHOTOGRAPHY IN NINETEENTH-CENTURY AMERICA
RACHEL MCBRIDE LINDSEY
THE UNIVERSITY OF NORTH CAROLINA PRESS
Chapel Hill
Publication of this book was supported by grants from the Grace May Tilton Fund in the Program in American Studies of Princeton University and the John C. Danforth Center on Religion and Politics at Washington University in St. Louis.
2017 The University of North Carolina Press
All rights reserved
Manufactured in the United States of America
Designed by Jamison Cockerham
Set in Arno and Church in the Wildwood
by Tseng Information Systems, Inc.
Cover photograph: [Unidentified woman with male spirit pointing upward, 186275], William H. Mumler (American, 183284), albumen silver print, 9.9 5.7 cm (37/8 21/4 in.). The J. Paul Getty Museum, Los Angeles. Digital image courtesy of the Gettys Open Content Program.
The University of North Carolina Press has been a member of the Green Press Initiative since 2003.
LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA
Names: Lindsey, Rachel McBride, author.
Title: A communion of shadows : religion and photography in nineteenth-century America / Rachel McBride Lindsey.
Description: Chapel Hill : University of North Carolina Press, [2017] | Includes bibliographical references and index.
Identifiers: LCCN 2017003594| ISBN 9781469636481 (cloth : alk. paper) | ISBN 9781469633725 (pbk : alk. paper) | ISBN 9781469633732 (ebook)
Subjects: LCSH: United StatesReligious life and customs19th century. | PhotographyUnited StatesHistory19th century.
Classification: LCC BL2525 .L553 2017 | DDC 204/.4dc23 LC record available at https://lccn.loc.gov/2017003594
Portions of appeared earlier in somewhat different form in Rachel McBride Lindsey, Haunting the Streets of Cairo: Visual Habits of the Biblical Imaginary in Nineteenth-Century Holy Land Photography, Bulletin for the Study of Religion 43, no. 2 (April 2014): 411.
For ZO and WILLOW
who encompass my communion of shadows
and in memory of CHARLOTTE
who taught me to behold
To see Rachel McBride Lindseys expanded collection of more than one hundred images related to this book, visit the MAVCOR Journal of the Center for the Study of Material & Visual Cultures of Religion, hosted by Yale University, at mavcor.yale.edu/mavcor-journal/collections/communion-shadows-religion-and-photography-nineteenth-century-america.
1 Detail of photograph of Walter G. Jones, Pvt., 8th New York Cavalry
2 Photograph of Walter G. Jones, Pvt., 8th New York Cavalry
3a & 3b Full-plate and ninth-plate tintypes, ca. 1865
4 Nash Bible Family Portraits album page
5 Unidentified family studio portrait, ca. 1880
6 Undated tintype (ca. 1865) of Gr. Grandpa Dikeman holding a book that appears to be a Bible
7a & 7b Carte de visite, Lucian Williams Mother, ca. 186070
8 Family Portraits page from canvassing Bible
9 Fund-raising card photographs in Heppenheimer photograph album
10 The Family Photograph Tree, Currier & Ives, 1871
11 Family Portraits, Nash Family Bible
12 The Sunken Road at Antietam, Alexander Gardner, 1862
13 Carte de visite of woman in mourning attire, Lowell, Mass., ca. 1863
14 Memorial card for Jonathan W. Osborn, ca. 1902
15a & 15b Memorial card for an unidentified man, ca. 1865
16 Memorial card for Charles E. Hall, ca. 1867
17 Then Shall the Righteous Shine Forth as the Sun, engraving
18a & 18b Carte de visite photograph album from Our Departed Friends
19a, 19b, & 19c Hairwork negatives
20 Hairwork likenesses in carte de visite album, ca. 186575
21 Swivel brooch of unidentified Union soldier
22 Colonel Cushman, ca. 1870
23a & 23b Hannah Mumler with the Controling Spirit of Benjamin Rush
24 William Lloyd Garrison
25 Abraham Bogardus, Hoax Spirit Picture of Abraham Lincoln and P. T. Barnum, 1869
26 Front page, Harpers Weekly, May 8, 1869
27 Spirit photograph of John K. Hallowell, surrounded by superimposed faces of deceased people
28 Mary Todd Lincoln, ca. 1872
29 Frontispiece from Earthly Footsteps of the Man of Galilee
30 Robert Edward Mather Bain, Jewish Wailing Place
31 Robert Edward Mather Bain, The Kings Chamber
32 Robert Edward Mather Bain, Tomb of Lazarus
33a & 33b Nursing mother Piet motif
34 Robert Edward Mather Bain, A Woman of Samaria
35 Robert Edward Mather Bain, Family Traveling in Galilee
36 Life of Christ stereographs, ca. 187580
37 Father into thy hands I commend my Spirit, 1891
38 Robert Edward Mather Bain, Panorama of Jerusalem as Seen from the Top of the Mount of Olives
39 The Tomb of Our Lord, New Calvary, outside of Jerusalem, Palestine
40 Characteristic Southern Scenes. Cotton Field, ca. 1870
41 Unclean! Unclean! wretched Lepers outside Jerusalem, Palestine
42 Mug & wallet which belonged to Thos. Clark and a Bible brought over in the Mayflower
43 Open Bible
44 Kilburn Brothers, No. 222. The Lords Prayer, ca. 1875
45 Kilburn Brothers, 842. One Hundred and Thirty-third Psalm, ca. 1875
46 Loose page from album, ca. 1921
When I was a girl, my mother took pictures, my grandmother saved pictures, and I beheld pictures. Some of my fondest childhood memories are of family nights nestled around the Kodak carousel, transfixed by its metrical click and the earlier versions of my mothers family festooned in tropical shirts, too-tight athletic uniforms, and goofy grins as they splashed across the screen. My grandmothers house was filled with pictures. Her parents wedding certificate, with vignette portraits of a dapper young couple, hung on the wall in the upstairs hallway. A copper bowl of stereographs that had once belonged to her grandmother sat on the built-in chest at the bottom of the stairs. Large portraits of ancestorsunknown to meloomed over the dining room in gilt frames. Albums assembled by great-grandmothers and great-grandfathers, with crumbling paper covers or richly textured leather binding, were packed away in drawers and cabinets. Small square snapshots from generations past were displayed alongside glossy color prints of my own childhood in nearly every room. Shoeboxes filled with negatives spanning decades were tucked into closets and set upon shelves. She even had an enlargerthe contraption used to make photographic prints from film negativesthat I used in my own darkroom in high school. Here, in the glowing red light, I would bring the faces of the past back into my present. A print from a deteriorating negative, taken of my grandmother as a little girl, now hangs outside my own daughters bedroom. In my grandmothers house, pictures collapsed time and bridged the living with those who had gone before. Before I could name it, or even wonder about it, my grandmother had introduced me to a communion of shadows.
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