Catalogue Entry

During the years after the war of 1812 and before the Civil War, the port of Boston was a center of American deep-water shipping. Trading with China, India, and the West Indies, which had fueled maritime growth in the early years of the century gave way to re-exporting these goods and foreign trade based on the shoe and textile trades. Although second to New York in terms of shipping tonnage, many of New York's shipbuilders and merchants were Boston based. In addition, ship building continued in Boston. Also, the coastal trade (the domestic trade up and down the coast) was still the most efficient way to transport goods and passengers, and accounts for much of the tonnage and shipping traffic.

Although dwarfed by New York, Boston was an active port in the 1840s and 1850s. Its registered tonnage rose from 149,186 in 1840 to 270,510 in 1850. The harbor was a crowded place. For example, on September 18, 1850, 32 ships, 49 barks, 47 brigs, and 52 schooners were reported at Boston.(1)

In 1849, foreign entries at Boston included 215 ships, 305 barks, 908 brigs, and 52 schooners. Coastwise arrivals included 193 ships, 488 barks, 1087 brigs, 4287 schooners, 89 sloops, and 65 schooners.(2)

(1) W.H. Bunting, p.8.

(2) Ibid.

For more information:

Samuel Eliot Morrison, The Maritime History of Massachusetts, 1783-1860

W.H. Bunting, Portrait of a Port, Boston 1852-1914 Cambridge: The Belknap Press of Harvard University, 1971.

The "new" State House is located across from the Boston Common on the top of Beacon Hill, and serves as the Massachusetts state capital. The land was once owned by Massachusetts's first elected governor, John Hancock. Charles Bullfinch was the architect of the building, which was completed in 1798.

The dome was originally roofed with wood shingles, which leaked. In 1802 it was covered with copper by Paul Revere's Revere Copper Company. The dome was first painted gray and then light yellow before being gilded with gold leaf in 1874.

The medium clipper ship "Southern Cross" was built in 1851 by E. and H.O. Briggs at their shipyard in South Boston for the shipping firm of Baker & Morrill of Boston. She was named for what her owners regarded as the most beautiful constellation in the Southern Hemisphere. Recent claims that the Briggs yard was in East Boston are not supported by a very detailed contemporary newspaper account (very likely The Boston Atlas), which gave South Boston as the yard's location.

"Southern Cross" experienced more than her fair share of adversity, with contrary winds, dismastings, and a fire, preventing her from making the quick passages her owners expected. Her career ended abruptly when the Confederate cruiser "Florida" captured and burned her in June, 1863.

– Erik Ronnberg

Reference:

Octavius T. Howe, and Frederick C. Matthews. American Clipper Ships: 1833–1858 (Salem, MA: Marine Research Society, 1927).

The medium clipper ship "Winged Arrow" was built at South Boston in 1852 by E. and H. O. Briggs for Baker and Morrill of Boston.

The term "ship," as used by nineteenth-century merchants and seamen, referred to a large three-masted sailing vessel which was square-rigged on all three masts. (1) In that same period, sailing warships of the largest classes were also called ships, or more formally, ships of the line, their size qualifying them to engage the enemy in a line of battle. (2) In the second half of the nineteenth century, as sailing vessels were replaced by engine-powered vessels, the term ship was applied to any large vessel, regardless of propulsion or use. (3)

Ships were often further defined by their specialized uses or modifications, clipper ships and packet ships being the most noted examples. Built for speed, clipper ships were employed in carrying high-value or perishable goods over long distances. (4) Lane painted formal portraits of clipper ships for their owners, as well as generic examples for his port paintings. (5)

Packet ships were designed for carrying capacity which required some sacrifice in speed while still being able to make scheduled passages within a reasonable time frame between regular destinations. In the packet trade with European ports, mail, passengers, and bulk cargos such as cotton, textiles, and farm produce made the eastward passages. Mail, passengers (usually in much larger numbers), and finished wares were the usual cargos for return trips. (6) Lane depicted these vessels in portraits for their owners, and in his port scenes of Boston and New York Harbors.

Ships in specific trades were often identified by their cargos: salt ships which brought salt to Gloucester for curing dried fish; tea clippers in the China Trade; coffee ships in the West Indies and South American trades, and  cotton ships bringing cotton to mills in New England or to European ports.  Some trades were identified by the special destination of a ship’s regular voyages; hence Gloucester vessels in the trade with Surinam were identified as Surinam ships (or barks, or brigs, depending on their rigs). In Lane’s Gloucester Harbor scenes, there are likely (though not identifiable) examples of Surinam ships, but only the ship "California" in his depiction of the Burnham marine railway in Gloucester (see Three Master on the Gloucester Railways, 1857 (inv. 29)) is so identified. (7)

– Erik Ronnberg

References:

1. R[ichard)] H[enry] Dana, Jr., The Seaman’s Friend, 13th ed. (Boston: Thomas Groom & Co., 1873), p. 121 and Plate IV with captions.

2. A Naval Encyclopaedia (Philadelphia: L. R. Hamersly & Co., 1884), 739, 741.

3.  M.H. Parry, et al., Aak to Zumbra: A Dictionary of the World’s Watercraft (Newport News, VA: The Mariners’ Museum, 2000), 536.

4. Howard I. Chapelle, The History of American Sailing Ships (New York: W.W. Norton & Co., 1935), 281–87.

5. Ibid.

6. Howard I. Chapelle, The National Watercraft Collection (Washington, DC: Smithsonian Institution, 1960), 26–30.

7. Alfred Mansfield Brooks, Gloucester Recollected: A Familiar History (Gloucester, MA: Peter Smith, 1974), 67–69.

The ensign of the United States refers to the flag of the United States when used as a maritime flag to indentify nationality. As required on entering port, a vessel would fly her own ensign at the stern, but a conventional  token of respect to the host country would be to fly the flag of the host country (the United States in Boston Harbor, for example) at the foremast. See The "Britannia" Entering Boston Harbor, 1848 (inv. 49) for an example of a ship doing this. The American ensign often had the stars in the canton arranged in a circle with one large star in the center; an alternative on merchant ensigns was star-shaped constellation. In times of distress a ship would fly the ensign upside down, as can be seen in Wreck of the Roma, 1846 (inv. 250).

 The use of flags on vessels is different from the use of flags on land. The importance and history of the flagpole in Fresh Water Cove in Gloucester is still being studied.

The modern meaning of the flag was forged in December 1860, when Major Robert Anderson moved the U.S. garrison from Fort Moultrie to Fort Sumter in Charleston Harbor. Adam Goodheart argues this was the opening move of the American Civil War, and the flag was used throughout northern states to symbolize American nationalism and rejection of secessionism.

Before that day, the flag had served mostly as a military ensign or a convenient marking of American territory, flown from forts, embassies, and ships, and displayed on special occasions like American Independence day. But in the weeks after Major Anderson's surprising stand, it became something different. Suddenly the Stars and Stripes flew—as it does today, and especially as it did after the September 11 attacks in 2001—from houses, from storefronts, from churches; above the village greens and college quads. For the first time American flags were mass-produced rather than individually stitched and even so, manufacturers could not keep up with demand. As the long winter of 1861 turned into spring, that old flag meant something new. The abstraction of the Union cause was transfigured into a physical thing: strips of cloth that millions of people would fight for, and many thousands die for.

– Adam Goodheart, Prologue of 1861: The Civil War Awakening (2011).

The use of signal flags, for ship-to-ship communication, generally preceded land-based chains of maritime semaphore stations, the latter using flags or rotating arms, until the advent of the electric or magnetic telegraph.

Until the end of the Napoleonic wars, merchant ships generally sailed in convoy as ordered by the escorting warship(s) using a few simple flags. Peace brought independent voyaging, the end of the convoy system, and the realization by various authorities that merchant vessels now needed their own separate means of signaling to each other. This resulted in a handful of rival codes, each with its individual flags and syntax. In general, they each had a section enabling ship identification and also a "vocabulary" section for transmitting selected messages. It was not until 1857 that a common Commercial Code became available for international use, only gradually replacing the earlier ones. All existed side by side for a decade or two.

Signal systems for American ships were originally intended to identify a vessel by name and owner; only later were more advanced systems developed to convey messages. Most basic were private signals, or "house flags", each of a different design or pattern, identifying the vessel's owner; identification charts were local and poorly distributed, limiting their usefulness. A secondary signal, a flag or large pennant bearing the vessel's name, was sometimes flown by larger ships, but pictorial records of them are uncommon. These private signal flags usually flew from the foremasthead or main masthead if a three master ship. Pilot boats had their own identifying flags, blue and white as seen in Spitfire Entering Boston Harbor, n.d. (inv. 536). Small vessels, such as schooners, often had a "tell-tale" pennant, an often-unmarked and often red flag, that was used to determine wind direction.

A numerical code flag system, identifying vessels by the code numbers, was introduced by Captain Frederick Marryat R.N. in 1817 for English vessels. American vessels soon adopted this system. Elford's "marine telegraphic system" was the first American equivalent to the Marryat code flags, first issued in 1823, and with changes, remaining in use until the late 1850s. Most of the signal flags on vessels depicted by Lane use Elford's; Brig "Antelope" in Boston Harbor, 1863 (inv. 43) is a noteworthy example of his depiction of Marryat's. The Elford's Code was popular in America on account of its simplicity and only required six blue and white flags. Eventually these changed to red and white, although it is unclear exactly when this happened. Instructions and a key ot the Elford's Code's use are included in successive editions of the Boston Harbor Signal Book.

Whereas the other codes employ at least ten flags of diverse shapes and colours, there are only six Elford flags in total, representing the numbers one to six. All are uniformly rectangular and monochrome in colour (either blue and white or red and white—or even black and white as in an early photograph). Selected from these six flags each individual vessel is allotted a combination of four flags to be prominently displayed as a vertical hoist. Reading from above down these convey its "designated number." Armed with this number and the type of vessel (e.g. ship, bark, brig, schooner /or steamer) the subject can be uniquely identified by reference to a copy of the Boston Harbor Signal Book for the appropriate year.

– A. Sam Davidson 

Vessel ornamentation assumed two forms: carvings and color schemes. Carvings, or "ship carvings," as they are called by maritime scholars, are usually crafted in wood and painted or gilt. Many vessels were too small or their owners too frugal to permit carved embellishments, in which cases the enhancement of the vessel's color scheme was a practical alternative. This can be seen in many of the coastal vessels along the new England coast. Pinkies and Chebacco boats had handsome color schemes using only black and green with white sheer lines and limited use of red and yellow. Other combinations of inexpensive pigments were used to improve the simple looks of sloops and schooners in the packet trade, while small pleasure craft and pilot schooners enhanced their appearance in similar ways. Clipper ship owners, finding their vessels' appearance impressive without adding color, settled for unrelieved black hulls. Naval vessels as well preserved their formidable looks with black, relieved only with a white belt in way of the gunports. 

The more elaborate ship carvings can be classified in the following categories:

Billetheads: mounted on the bow, at the end of a simple gammon knee, or on the forward end of an elaborate stem-head, they can be scrolls of less or greater intricacy, or sometimes the heads of animals, eagles being the most common. Examples of a sea serpent's head, a pointing hand, and other animal heads have been found. (See Brig "Cadet" in Gloucester Harbor, late 1840s (inv. 13); Brig "Antelope" in Boston Harbor, 1863 (inv. 43); and Brig Off the Maine Coast, 1851 (inv. 241))

Figureheads: mounted on bows of larger vessels, often with elaborate stem joinerwork (trailboards and headboards with associated knees and rails). Usually these were full-length figures representing the ship's owner, a famous citizen, a mythological person or animal, or an eagle. (See Portrait of the "National Eagle", 1853 (inv. 35) (eagle); New York Harbor, c.1855 (inv. 46); The "Britannia" Entering Boston Harbor, 1848 (inv. 49) (female figures); The Ships "Winged Arrow" and "Southern Cross" in Boston Harbor, 1853 (inv. 54) (dragon and eagle); "Starlight" in Harbor, c.1855 (inv. 249) (dragon); and Steam demi bark Antelope, 615 tons, c.1855 (inv. 375) (antelope))

Trailboards: carved vines or scrollwork abaft the figurehead which trail aft along the stem head in a graceful descending arc, terminating at the hawse pipes. They are usually gilt and frequently ornamented with carved rosettes and other devices. (See Brig "Cadet" in Gloucester Harbor, late 1840s (inv. 13); Portrait of the "National Eagle", 1853 (inv. 35); Brig "Antelope" in Boston Harbor, 1863 (inv. 43);  New York Harbor, c.1855 (inv. 46); and The Ships "Winged Arrow" and "Southern Cross" in Boston Harbor, 1853 (inv. 54))

Headboards: boards mounted to headrails connecting the figurehead to the ship's mainrail at the catheads. While seldom given any decorative carvings, the vessel's nameboards were often mounted to them. (See Brig "Cadet" in Gloucester Harbor, late 1840s (inv. 13); Portrait of the "National Eagle", 1853 (inv. 35); Brig "Antelope" in Boston Harbor, 1863 (inv. 43); The Ships "Winged Arrow" and "Southern Cross" in Boston Harbor, 1853 (inv. 54); Clipper Ship "Southern Cross" in Boston Harbor, 1851 (inv. 253); and Mary Ann, 1846 (inv. 309))

Catheads: Carved lion heads mounted on the outboard ends of the cathead knees. This term is so archaic that the knees and carvings are treated as one and the same, as in their use, i.e. "catting the anchor" (securing the anchor ring to the cathead). (See Brig "Antelope" in Boston Harbor, 1863 (inv. 43); and An American Frigate Hove-to Off the New England Coast, n.d. (inv. 535))

Quarterboards: Name boards mounted to the vessel's side near the stern, they usually had ornamental edge moldings and sometimes stars or simple scrollwork at each end of the name. (See Portrait of the "National Eagle", 1853 (inv. 35); Mary Ann, 1846 (inv. 309); and Spitfire Entering Boston Harbor, n.d. (inv. 536))

Transom arches: arch-form panels fitted to the transom, often over gallery lights (windows) or other carvings. They usually have edge moldings, decorative scrollwork, and sometimes a bust or other carved figure at the center.

Other transom carvings: carved eagles, busts, scrollwork and coats of arms can occupy the space between the transom arch and the sternboard. If galleries are present, carved scrollwork may be fitted between the frames of the gallery lights. (See Boston Harbor, c.1850 (inv. 48); The Topsail Schooner "Kamehameha III" in Boston Harbor, 1846 (inv. 301) (eagle); Baltimore Harbor, 1850 (inv. 400) (eagle); and (eagle and flags))

Sternboard: often the bottom plank of the transom on which the vessel's name is carved or painted, seldom with decoration (stars or scrollwork). There is usually simple protective molding above and below the lettering.

Sideboards, or gangway boards: boards on either side of an entry way at main rail level on a large ship, usually between the main and mizen masts. They are carved and painted or (if of fine hardwood) varnished. Most commonly seen on larger vaval vessels, packet ships, and clipper ships.

– Erik Ronnberg

References:

1. Brewington, M. V., Shipcarvers of North America, (Barre, MA: Barre Publishing Co., 1962).

2. The American Neptune, Pictorial Supplement XIX, "The Art of the Shipcarver" (Salem, MA: The Peabody Museum, 1977).

3. Ship Figureheads (Boston: State Street Trust Co., n.d.).

4. Edouard A. Stackpole, Figureheads & Carvings at Mystic Seaport (Mystic, CT: The Marine Historical Association, Inc., 1964).  

Benjamin Kent Hough (1805-1875) was a Gloucester and Boston merchant who imported exotic woods for the manufacture of pianos and fine furniture. He was one of the founders of the Gloucester Lyceum and posted membership sign-up sheets in his Main Street Dry Goods store. He later owned houses on Main Street, one of which was occupied by Ignatius Winter, F. H. Lane's brother-in-law.

At the time of the 1864 fire, Mr. Hough and his wife Elizabeth Pearce (1811–99) lived on Church Street. They had four daughters alive in 1863. Hough was involved in the development of the Cut, the economically important opening of a canal between the Outer Harbor and the Annisquam River. He was also an investor in the Ropewalk, and owned land near Stage Fort.