Category: content-midright

  • National Monument to the Forefathers

    National Monument to the Forefathers

    Faith, 36 foot sculpture

    The National Monument to the Forefathers #27, formerly known as the Pilgrim Monument, commemorates the Mayflower Pilgrims. Dedicated on August 1, 1889, it honors their ideals as later generally embraced by the United States. It is thought to be the nation’s largest solid granite monument.

    Carved of local granite in Hallowell in the site of the current Camden National Bank

    The “Faith” statue, modelled after the sculptor Hammatt Billings’ mother, stands atop a 45 foot pedestal and ringed by 4 additional figurative sculptures.

    This sculpture was central to the early sketches of the mural.

    artist, Chris Cart

    Carved in Hallowell

    Located at 72 Allerton Street in Plymouth, Massachusetts, the 81-foot-tall (25 m) monument was commissioned by the Pilgrim Society. The 36 foot solid granite Faith figure stands on a 45 foot granite pedestal. The original concept dates to around 1820, with actual planning beginning in 1850. The cornerstone was laid August 2, 1859 by the Grand Lodge of Masons in Massachusetts, under the direction of Grand Master John T. Heard. The monument was completed in October 1888, and was dedicated with appropriate ceremonies on August 1, 1889.

    Photo by By T.S. Custadio aka ToddC4176 at en.wikipedia – Transferred from en.wikipedia to Commons by User:Kelly using CommonsHelper., Public Domain, https://commons.wikimedia.org/w/index.php?curid=16091399

    Hallowell stonecutters, Hallowell Granite

    Statuary cutter Joseph Archie stands on Faith’s outstretched arm. He was the primary cutter and Italian immigrant, Prostasio Neri, supervised the carving of base statues Morality, Education, Law and Liberty. Although the statue appears solid, it was carved in sections and most likely transported to Plymouth in one of the two large ships owned by the Hallowell Granite Works.

    The photo was taken in the cutting yard on Franklin Street and the one-time steeple of the Baptist church can be seen in the background.

    Creating the granite texture in this large sculpture and the other granite elements in the mural design took a lot of work layering close colors and splattering fine paint drips. Any simpler rolled or brushed texture technique ended up looking like concrete rather than Hallowell’s elegant white granite.

    …a lot of work but I think worth it.

    artist, Chris Cart

    local heritage

    Tony Masciadri, #26, shown on the right with the heavy hammer is the owner of S Masciadri & Sons Monuments in Hallowell. Tony is the direct descendant of some of Hallowell’s original stone carvers from Italy, Settimio Masciadri. The family stone carving business was passed from grandfather to father to Tony, who has spent his life carving granite in Hallowell.

    Jon Doody, #28, on the left, is a local stone sculptor who carved the granite sturgeon that can be seen today in Granite City Park in Hallowell.

    Jon Doody on left with mallet and chisel, Tony Masciadri on right with heavy stone hammer.

    stone cutters from Italy, Spain and Scotland

    Settimo Masciadri came from Italy near Lake Como, in 1895 when Governor Joseph Bodwell’s company Hallowell Granite Works sent out a worldwide call for stone carvers.

    Settimio worked for Bodwell for 5 years and got his United States citizenship. He returned to Italy and married his girlfriend. They returned in 1902 where their son Americo, Tony Masciadri’s father, was born.

    Americo grew up working stone like his father. He also worked for the WPA for a time. Then Americo and Joe Perrazi bought Kennebec Monument which eventually became the Masciadri & Sons Monument that we know today.

    In the 1970’s Tony Masciadri came back to town to assist his father in the family stone monument business. He stayed on to take over the business. He only recently retired in 2023. Though he still does some work at the shop.

  • Martha Ballard

    Martha Ballard

    midwife and healer

    Martha Ballard #10, (February 9, 1735 – June 9, 1812) was a midwife and healer in early Hallowell .  Born in colonial Massachusetts, not much is known of her early life but at age 50 she began keeping a diary of her midwifery and healing efforts in the Hallowell/Augusta area.

    With thousands of entries over the 27 years she kept a diary, Ballard writes of delivering 816 babies and being present at more than 1,000 births—amazing when you think the entire population of Hallowell in 1790 was 1194 and the end of her life was only just over 3800. Ballard must have delivered or attended births in most families of the time. 

    Behind Ballard in the mural I included a small writing desk with oil lamp, quill pen and paper to commemorate her writings in her diary, which give us a detailed insight into the daily life of the early nation.

    artist, Chris Cart

    In her diary, Ballard also made note of the daily happenings of her patients, their health, sometimes the weather. It is a great resource for minutia of the day to day lives of 18th century Hallowell people.

    local descendant

    The older woman in the glasses is Alice Ballard Buck #9, a local resident who was a direct descendant of Martha Ballard.

    I wanted to have Alice helping her ancestor Martha Ballard with the delivery in this birthing scene. When I asked Alice if she would mind my including her, her whole face lit up—the biggest smile you can imagine.

    artist, Chris Cart

    For further reading Ballard’s diary is a fascinating read, The Diary of Martha Ballard 1785-1812, as is A Midwife’s Tale: The Life of Martha Ballard by Laurel Thatcher Ulrich, based on Ballard’s diary. Both available at libraries and bookstores.

    developing an idea

    I worked a lot in the early sketches of this scene with Martha Ballard. I wanted to show the drama and importance of the days of her life. The crescent shaped space next to the river was challenging to depict the birth scene.

    I painted both Martha Ballard and Benjamin Vaughan in the top center of the mural, opposite each other. This placement was no accident. I felt they both represented different, yet essential aspects of the early life in Hallowell on the wild shores of the Kennebec. Vaughan brought his wealth, his vast library and his associations with the important minds of the time. Ballard’s life was no less important to the daily life with her knowledge of healing, herbal medicines and vast experience as a midwife. Her diary gives us a window into the daily life with all its joy, grief and the neighborly gestures of community.

    artist, Chris Cart

    history of the diary

    Ballard’s diary was more than 1400 pages long, some early entries very short but in her later years her writings became longer and more detailed.

    The last entry, dated May 7th, 1812, a month before her death, ends with the words: “Revd mr Tippin Came and Converst Swetly and made A Prayer adapted to my Case.”

    After her death the diary was kept by the Lambard family for 2 generations, when Sarah and Hannah Lambard gifted the diary to Martha Ballard’s great-great-granddaughter Mary Hobart.

    Mary Hobart was one of the first female physicians to be graduated from the New York Infirmary for Women and Children in 1884. This was the year she was given her ancestor’s diary.

    In 1930 Hobart donated the diary to the Maine State Library, in Augusta, Maine. The diary was referenced in a history of the area in 1961.

    Robert R. McCausland and Cynthia MacAlman McCausland spent ten years transcribing the handwritten diary.

    Historian  Laurel Thatcher Ulrich, seeing the importance of Ballard’s diary as a record of the day to day life of early America, spent 8 years working with the diary. She published A Midwife’s Tale: The Life of Martha Ballard in 1989. The book received much acclaim:

    In 1991, A Midwife’s Tale received the Pulitzer Prize, the Bancroft Prize, the John H. Dunning Prize, the Joan Kelly Memorial Prize in Women’s History, the Berkshire Conference of Women Historians Book Prize, the Society for Historians of the Early Republic Book Prize, the William Henry Welch Medal of the American Association for the History of Medicine, and the New England Historical Association Award.

    In 1997, the PBS series The American Experience aired A Midwife’s Tale a movie documentary based on Martha Ballard’s life and diary and Ulrich’s book.

    Hallowell’s official Historian Sam Webber #41 was a consultant for the movie.

    early study of historian Sam Webber for the mural.
  • Hallowell Academies

    Hallowell Academies

    An educated youth

    Education for the children #13 was important to the early settlers of Hallowell, Maine. The first Academy was founded on August 31, 1791 in an Act signed by Governor Hancock. This academy was very successful teaching students from the Hallowell, Augusta and Gardiner region.

    “Here I show a youth running with school books to symbolize the enthusiasm for education #13.

    The model was a young kid I saw running on Front Street one day. I asked him to run back and forth while I took photos . Great kid. I neglected to write down his name. “ ~ Chris Cart

    In the 1800’s The Hallowell Lyceum, a debating forum for education and entertainment, met at the old Hallowell Town House, the building on Second Street and Perley’s Lane, which later became the Hallowell Fire Department. At the lyceum debating “club” youths were expected to debate the important matters of the day.

    Hallowell’s ship-owning merchants, wanting capable officers and crews, established a Navigation School at the Academy to teach advanced mathematics to boys who wished to pursue careers at sea.

    a classical education

    The Classical and Scientific Academy was chartered in 1872 to teach youth of both sexes. It was a high school level boarding as well as day school. Its board of trustees and management, some of them clergymen, were affiliated with the Congregational denomination in Maine. Hallowell secondary level students attended day school.