During the Salem witch trials, numerous illustrations emerged depicting the events and individuals involved. These drawings serve as a visual representation of one of the darkest periods in American history. The Salem witch trials occurred in 1692 and resulted in the persecution and execution of twenty people accused of witchcraft. The Salem witch trials drawings often portrayed scenes of the accused witches being interrogated, standing trial, or being executed. These illustrations depicted gruesome scenarios, with the accused often shown bound or chained, surrounded by a crowd of onlookers. The drawings captured the fear and hysteria that gripped the community during this time, as well as the intensity of the proceedings.
The Drawing Room
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talysalankil asked:
I take it you read the new pottermore story. Is it as bad as your tags make it sound?
gehayi answered:
If you mean the Salem witch trials story–yes, it’s that bad. This is what she had to say about the Salem witch trials:
“The last, and probably the most dangerous problem encountered by wizards newly arrived in North America were the Scourers. As the wizarding community in America was small, scattered and secretive, it had as yet no law enforcement mechanism of its own. This left a vacuum that was filled by an unscrupulous band of wizarding mercenaries of many foreign nationalities, who formed a much-feared and brutal taskforce committed to hunting down not only known criminals, but anyone who might be worth some gold. As time went on, the Scourers became increasingly corrupt. Far away from the jurisdiction of their native magical governments, many indulged a love of authority and cruelty unjustified by their mission. Such Scourers enjoyed bloodshed and torture, and even went so far as trafficking their fellow wizards. The numbers of Scourers multiplied across America in the late seventeenth century and there is evidence that they were not above passing off innocent No-Majs as wizards, to collect rewards from gullible non-magic members of the community.”
“The famous Salem Witch Trials of 1692-93 were a tragedy for the wizarding community. Wizarding historians agree that among the so-called Puritan judges were at least two known Scourers, who were paying off feuds that had developed while in America. A number of the dead were indeed witches, though utterly innocent of the crimes for which they had been arrested. Others were merely No-Majs who had the misfortune to be caught up in the general hysteria and bloodlust.”
This version fucks up several things:
1) The judges of the Salem witch trials were NOT native to Salem. All of them were brought in from outside the community, and they did not know the people of Salem before coming there. That would seem to make “paying off feuds” a little difficult.
2) Rowling cannot say that some of the dead were witches but were “innocent of the crimes for which they had been arrested”, because the crime for which they had been arrested was witchcraft. A witch, by definition, would be guilty of witchcraft.
(I think that she was trying to say that the accused witches and wizards had not hexed anyone’s animals, made anyone sick, etc. But those were not separate crimes. They all came under the umbrella of witchcraft. This fact is well-known to students of that era and to legal scholars, which makes the “wizarding historians” that she cites look ignorant by comparison. If you’re writing fake history, you need to make it convincing.)
3) Rowling’s version places the blame on the judges, saying that they were Scourers out to destroy witches and wizards. This completely ignores the fact that everything started because of the “afflicted girls”–girls and young women ranging in age from 9 (Betty Parris) to 25 (Sarah Churchill). If the girls had not started accusing their neighbors (both slave and free) of witchcraft, no one would have sent for the judges. There would have been no need.
4) The Salem witch trials were not the only witch trials in America. The earliest arraignment involving colonists was in 1622 Jamestown; the accused was Goodwife Joan Wright. The first execution in the colonies of a suspected witch was Alys Young, who was hanged in Hartford, Connecticut in 1647. There was also a witch hunt in Hartford, Connecticut in 1662. The wizarding historians make it sound as if Salem was the one and only witch hunt, ignoring others in America and numerous witch hunts in Great Britain and on the continent.
5) Nor were the witch trials of 1692-93 the last witch trials in America, as Rowling’s account would suggest. Virginia, Connecticut, Maryland, New Jersey and New Mexico all had witch trials after that, to 1694 to some time after 1762. And [i]n 1792 Winnsboro, [South Carolina,] Mary Ingelman, who had a knowledge of “pharmacy…and simple cures,” and three others were found guilty after cattle got sick and people began acting possessed. Mary and the other three were flogged and the bottoms of their feet were beaten until they burst. There was another witchcraft trial in South Carolina in 1813 (the accused, Barbara Powers, was acquitted). And then there was the Ipswich witchcraft trial of 1878, in which Lucretia L. S. Brown, an adherent of the Christian Science religion, accused fellow Christian Scientist Daniel H. Spofford of attempting to harm her through his “mesmeric” mental powers. (The case was dismissed.)
6) If some of the dead were witches–which is by no means proven, but let us accept it hypothetically–then the following plotholes arise:
a) Why did none of them use Apparition to escape from jail or from the hangman’s noose? There were other cities, even other colonies, and some people who had advance warning that they were going to be arrested did flee by both land and sea.
b) People without magic did try to save the accused by means of petitions and pleas to the court. Why did none of their magical friends or family try to save any of them by using, y’know, MAGIC? Because there is no mention of such attempts in this account.
c) Why did none of the accused use Imperio on the afflicted girls to make them admit that what they were saying was not true–or on the judges to force them to admit publicly that they were biased, out to get them, etc.?
d) Why were some people spared if they confessed to witchcraft? If the Scourers were out to destroy all witches, surely there shouldn’t have been any survivors.
e) Given that most witches and wizards in America are not purebloods and that many have been born into non-magical families, why does this book dismiss the non-magical victims of the trials as “merely No-Majs who had the misfortune to be caught up in the general hysteria and bloodlust” as if their deaths did not matter?
And that’s without even getting into the issues of racism, classism and accusations for the sake of land grabs, which had a hell of a lot to do with who was accused.
- gehayi
- Harry Potter
- J.K. Rowling
- Honestly at this point I think someone just needs to come and confiscate Rowling's writing tools
- Because this is appalling
- Salem Witch Trials
- мар 9th, 2016
- 136 заметок
Step into the Salem Witch Trials Era with PEM’s Spellbinding New Tour
Drawing on the Peabody Essex Museum’s vast archives and expansive campus in Salem, Massachusetts, the Salem Witch Trials Walk tells the real story behind one of New England’s most notorious events.
By Ian Aldrich
Sep 24 2023
The Salem Witch Trials Walking Tour at the Peabody Essex Museum in Salem, Massachusetts.
Photo Credit : Kathy Tarantola/PEM
What does it mean to revisit an uncomfortable history? It’s a question that museums across the country have been wrestling with over the past several years, none more so than the Peabody Essex Museum (PEM) in Salem, Massachusetts. One of the largest art museums in North America, PEM has long been lauded for the international reach of its ambitious exhibitions. But recently the museum has turned its focus onto its home turf and one period in particular: the Salem Witch Trials.
If there ever were a museum ideally suited to tell this story, it’s PEM — and not just because it’s based in Salem. The museum was home to the biggest collection of materials related to the Salem Witch Trials, including more than 500 original documents on deposit from the Massachusetts Supreme Judicial Court. In 2020, PEM debuted the exhibition “The Salem Witch Trials 1692,” which marked the first time in nearly three decades that it had displayed artifacts from those holdings. A follow-up exhibition the following year, “The Salem Witch Trials: Reckoning and Reclaiming,” fleshed out the lives of the witch trials’ victims as well as highlighted those who were brave enough to speak out against the proceedings.
A gem of the Salem Witch Trials collection at PEM is this dramatic painting, “Trial of George Jacobs, August 5, 1692,” by Tompkins Harrison Matteson. The elderly Jacobs is shown at lower right, his cane at his feet as he pleads with the judges.
Photo Credit : Mark Sexton and Jeffrey R. Dykes/PEM
Now, PEM has once again showcased the expertise of its curators with the Salem Witch Trials Walk, a self-guided audio tour that brings visitors through museum galleries and to key sites around downtown Salem related to the witch trials, including PEM’s historic Ropes Mansion, made famous by its appearance in the 1993 Disney film Hocus Pocus. The tour, which is accessed through a visitor’s own smartphone or other Wi-Fi–enabled device, takes about an hour to complete and is free with museum admission.
The drawings captured the fear and hysteria that gripped the community during this time, as well as the intensity of the proceedings. One notable drawing from the Salem witch trials is the "Witch Hill" illustration. It shows Gallows Hill, where several accused witches were hanged.
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By letting visitors soak up curators’ insights while exploring at their own pace, the Salem Witch Trials Walking Tour brings new depth to experiencing PEM’s collection as well as local historical landmarks.
Photo Credit : Kathy Tarantola/PEM
The new tour artfully builds upon PEM Walks, a series of self-guided tours that the museum developed during the pandemic, when traditional visits were limited. Those walks shone a light on the museum’s 22 historic properties — the largest historic house collection of any art museum in North America — and their success shifted how PEM thought about its overall museum campus and the visitor experience.
“It was a new way to showcase the full breadth of our museum, and it was a new way for us to engage with people coming to the museum,” says Dinah Cardin, PEM’s Content Producer, who oversaw the development of both PEM Walks and the Salem Witch Trials Walk. “With the interest in the witch trials, we had seen how many people would come to Salem for a tour. Maybe they’d come away with an understanding of what happened — but on a lot of these tours, if you listened closely, you’d hear the craziest things from operators who had just come here for the month of October to run their tours, and then they’d leave. We’re here. We have the objects. We know the real story. And so we felt we had to do this.”
PEM Associate Curator Sarah Chasse points out details on the back of a chair owned by Philip and Mary English, who were able to escape the witch trial hysteria and come back to Salem after it was all over.
Photo Credit : Kathy Tarantola/PEM
The actual time span of the Salem Witch Trials — involving more than 400 people and leading to the deaths of 25 innocent men, women, and children — was 11 harrowing months. But the reverberations of that period are still being felt today, says Cardin. “I hope that visitors come away from the PEM tour with the seed for a real conversation and a greater understanding that these were real people, and that the lessons from 1692 are relevant today,” she says.
LEFT: Tape loom owned by Rebecca Putnam, sister of Salem Witch Trials accuser Ann Putnam. RIGHT: Oak walking stick owned by George Jacobs Sr., whose trial is immortalized in Tompkins Harrison Matteson’s 1855 painting; Jacobs was found guilty of witchcraft and executed on August 19, 1692.
Photo Credit : Kathy Tarantola/PEM (loom); Walter Silver/PEM (walking stick)
Encompassing 22 different stopping points, the Salem Witch Trials Walk tells one of the most complete accounts of what happened before, during, and after the events of 1692–1963. Beginning in the museum itself, visitors are immersed in the period that led up to the trials, when economic uncertainty gripped the colonies. Local history is brought to life in text, paintings, and, most notably, the personal objects of the accused and the accusers: a walking stick, a valuables chest, a sundial. There is even an original window from a house not far from where the executions were held.
This circa-1644 brass sundial once belonged to John Proctor Sr., whose son, John Proctor Jr., was executed during the Salem Witch Trials and later made famous as the protagonist in Arthur Miller’s The Crucible.
Photo Credit : Jeffrey Dykes/PEM
“Windows were a sight of fear that relates to why the Salem Witch Trials happened,” explains PEM Curator Paula Richter in the tour. “First of all, in a number of documents in testimony that people gave about apparitions, these are visionary or dreamlike experiences where in the night, in the dark, some would suddenly feel like they were seeing something coming in the window.”
The walking tour is enriched by themed exhibitions along the way, too. In “The Salem Witch Trials: Restoring Justice,” PEM explores the many ways that the local community worked to make amends in the aftermath of the trials. And in “Stories of Salem, From A to Z,” the displays include a sampling of 19th-century souvenirs and kitsch — from face creams to tarot cards — that demonstrates that the city’s witchy tourist economy isn’t a new phenomenon.
PEM Curator Paula Richter at the “Salem Stories: From A to Z” exhibition, whose “O Is for October” panel highlights Salem’s witch-centric image in popular culture.
Photo Credit : Kathy Tarantola/PEM
Venturing beyond the museum walls, the tour brings visitors to the tombstone of Judge John Hathorne, great-great-grandfather of author Nathaniel Hawthorne and one of the most vocal participants in the Salem Witch Trials. Another highlight is the c. 1675 home of Judge Jonathan Corwin, a structure nicknamed “the Witch House” on account of its being one of the last surviving structures directly connected to the trials.
All in all, the Salem Witch Trials Walk offers an unforgettable immersion in a subject that’s too often explored only in the broadest of outlines. What PEM has put together is not garish or sensational, but rather a stirring and authentic account that makes you think about both the past and the present a little differently. It is, in other words, the perfect PEM exhibition.
With roots going back to the 1799 founding of the East India Marine Society, the Peabody Essex Museum today is the oldest continuously operating and collecting museum in the United States.
Photo Credit : Photo by Aislinn Weidele of Ennead Architects
The Peabody Essex Museum is located at East India Square, 161 Essex St., Salem, MA. It is currently open 10 a.m.–5 p.m. Thursday through Monday; closed on Tuesdays and Wednesdays, as well as Thanksgiving, Christmas, and New Year’s Day. Reserve tickets in advance at pem.org/tickets or by calling 978-542-1511. To listen to PEM’s two riveting podcast episodes about the Salem Witch Trials, go to pem.org/pemcast.
The drawing portrays a tumultuous scene, with a crowd of people watching as the accused are led to their execution. The artist used shading and perspective to create a sense of depth and atmosphere, conveying the gravity of the situation. Another famous drawing is the "Witch Trial" illustration, which depicts the courtroom where the accused witches were tried. This drawing showcases the judge, jury, and accusers, as well as the accused witches. It shows the tension and anxiety in the room, as the accused women face their accusers and defend themselves against the allegations of witchcraft. The artist captured the emotions and facial expressions of the individuals involved, showcasing their fear, anger, and desperation. The Salem witch trials drawings serve as a historical record of this significant event, providing a visual depiction of the atrocities committed during this period. They offer a glimpse into the beliefs, fears, and mindset of the people involved. These illustrations continue to be studied and analyzed by historians, artists, and scholars, as they provide valuable insights into the cultural and social context of the Salem witch trials. In conclusion, the Salem witch trials drawings are powerful visual representations of the events and individuals involved in one of the darkest chapters in American history. They convey the fear, hysteria, and turmoil that swept through the community during this time. These illustrations serve as important historical records, shedding light on the beliefs and mindset of a society gripped by a fervent belief in witchcraft..
Reviews for "The Salem Witch Trials in Art: Portraying Fear and Hysteria"
1. Emily - 2 stars - I found the Salem witch trials drawing to be quite disturbing and grotesque. The artist depicted the witches with twisted and contorted faces, giving me an eerie feeling. The overall atmosphere of the drawing was dark and unsettling, which made it difficult for me to appreciate the artistic aspects. While I understand that the Salem witch trials were a dark period in history, I believe there could have been a more tasteful way to capture the essence of that time without resorting to such unsettling imagery.
2. Michael - 3 stars - As a history enthusiast, I was intrigued by the concept of the Salem witch trials drawing. However, upon closer examination, I was disappointed by the lack of historical accuracy. The artist seemed to rely more on sensationalism and exaggerated stereotypes rather than capturing the true essence of the events. The characters depicted in the drawing appeared more like caricatures rather than real people involved in a tragic historical event. I feel that a more thorough research and attention to detail could have made this drawing more informative and respectful to the victims of the witch trials.
3. Sarah - 2 stars - I found the Salem witch trials drawing to be highly disturbing and offensive. The artist chose to depict the accused witches in a stereotypical and exaggerated manner, reinforcing harmful stereotypes and perpetuating the notion that these women were inherently evil. This kind of portrayal only serves to demonize and dehumanize these individuals, who were already subjected to immense suffering and injustice. I understand that art can be subjective, but I believe it is important to approach historical events with sensitivity and respect, especially when dealing with such a tragic chapter in history. This drawing missed the mark in that regard.