Fence Post Finial from the Jerathmeel Peirce House, Salem, Massachusetts 1770 - 1800

Editor: Here we have a fence post finial carved by Samuel McIntire sometime between 1770 and 1800. Its bright whiteness and formal structure give it such an imposing air, even though it's meant to sit atop a fence post. I am curious, what historical narratives do you see at play in this work? Curator: The neoclassical style, so evident here, signals a conscious reaching back to the ideals of ancient Greece and Rome. But it's vital to remember that in the context of early America, this embrace of classical forms occurred alongside the ongoing subjugation and exploitation of enslaved Africans. Editor: How do you reconcile that? Curator: It forces us to confront uncomfortable truths. This finial, while aesthetically pleasing, embodies the contradictions inherent in a society that proclaimed liberty while simultaneously denying it to so many. Think of the material conditions required to produce this object, the potential exploitation of labor, and whose freedom allowed them to contemplate these ideals in the first place. What does the 'torch' represent in the context of a slave-owning society? Editor: So, it's not just about beauty or admiration for the past... it reveals power structures. Curator: Precisely! It reflects elite desires to connect with historical precedent while simultaneously asserting dominance in their own society. These kinds of decorative arts become artifacts deeply entwined with social hierarchy, race, and gender. The Jerathmeel Peirce House, from whence this came, almost certainly was maintained through exploitative labor practices, that this sculpture would have symbolized the owner’s power and wealth to all passers-by. Editor: This gives me so much to think about! It's changed how I see this piece. Curator: Exactly, it's not enough to consider it as a mere ornament. Its existence, its style, and even its purpose speak volumes about the complexities of the world it inhabited.