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Example of the early plain style on this tombstone carved by George Griswold dated 1675. Hartford Ancient Burying Ground. The earliest known New England stonecutters were George Griswold and his uncle Matthew, who settled in Windsor, Connecticut around 1640. Matthew carved the oldest known grave marker in the New World, a table monument made of ...
There was no Puritan view against beauty in the arts, and therefore no objection to visual fineries; however, the pragmatism intrinsic to the Puritan mindset limited the amount of art produced in the Americas. [1] The practical activities of life generally outweighed any sort of extravagance in the Puritan community.
'The Puritan Portrait: Its Function in Old and New England', in Seventeenth-Century New England, ed. David D. Hall and Philip Chadwick Foster Smith. Boston: The Colonial Society of Massachusetts, 1984, 153–84; Promey, Sally, 'Seeing the Self "in frame": Early New England Material Practice and Puritan Piety', Material Religion 1 (2005), 10–46
The subject of "A fair Puritan" wearing typical subdued "sadd" colors. Sadd colors or sad colors were the colors of choice for the clothing of the members of the Massachusetts Bay Colony in seventeenth century America ("sadd"/ "sad" carried the meaning of "seriousness" rather than "sorrowfulness").
The Old Ship Church, a Puritan meetinghouse in Hingham, Massachusetts. The plain style reflects the Calvinist values of the Puritans. In the years after the Antinomian Controversy, Congregationalists struggled with the problem of decreasing conversions among second-generation settlers.
Playwrights noticed their audience would be more responsive to clear messages rather than innuendos, double-entendres and hidden meanings, and thus altered their style of writing accordingly. The plain style was also used widely in Puritan practice, as sermons and poems were written and delivered in the plain style. This introduced the style to ...
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Published by Boston University and The Currier Gallery of Art for The Dublin Seminar for New England Folklife, 1979. An exhibition catalog for a Loan Exhibition held at the Currier Gallery of Art, Manchester, NH. ISBN 0-87270-050-X. Bliss, William Root: Side Glimpses from the Colonial Meeting House. Houghton, Mifflin, and Company, New York, 1894.