African American

The Beauty of Witness

Memorial sculpture commemorating the Martyrs of Memphis

This week, on September 9, we observed a significant date on our personal calendar by celebrating the birthday of one of our sons. September 9 was already a notable date for us beginning some years before his birth, after our move to Memphis in the summer of 1983. During those years, the date became associated with an addition to the Episcopal Church Calendar that has readings appointed for it in our Lectionary. September 9 is designated as the feast of The Martyrs of Memphis: Constance, Thecla, Ruth, Frances, Charles Parsons, and Louis Schuyler.

To those unfamiliar with its history, the official title for this feast day may suggest dramatic images of early Christian saints contending with ferocious animals and or human adversaries in the name of the Faith. Which then raises questions about whether, perhaps, the Memphis in question was the one in ancient Egypt. Yet, the name designation for this day can be instructive for all of us because it may remind us of something we once learned – that the etymological root of the word martyr lies in the ancient Greek word meaning ‘witness.’ Hence, those persons we commemorate on the Church’s Calendar because of their examples of Faith are remembered for being especially compelling witnesses to God’s redemptive mission in Christ, regardless of whether they faced circumstances that might have led to a heroic death.

The Martyrs of Memphis provides an occasion for us to remember the men and women who remained in Memphis to minister to those with whom they faced together the ravages of a severe Yellow Fever epidemic, from which they could have fled to safer places elsewhere. Unknown to them was the fact that this horrible plague was a mosquito-borne infectious virus, and not something arising from ‘swamp vapors’ or bad city air. Among the faithful persons who succumbed to the fever, and who are remembered on the feast day of September 9, are the four women named in the feast’s title who were community members of the Sisters of St. Mary, Father Charles Parsons, the last remaining Episcopal priest in the city, and Father Louis Schuyler, who came as a volunteer from New Jersey to take Parsons’ place and join the Sisters in ministry.

Monument by Harris Sorrelle, in the Memphis Martyrs Park, overlooking the Mississippi River

Words from the collect (or principal prayer) for the feast day of the Martyrs of Memphis capture well why these particular individuals are named among so many others – known and unknown – who shared their faith as well as fate: “We give you thanks and praise, O God of compassion, for the heroic witness of the Martyrs of Memphis, who, in a time of plague and pestilence, were steadfast in their care for the sick and dying, and loved not their own lives, even unto death…”

The generic character of the title for this significant feast day was chosen to help us also remember that the number of those who died in the epidemic, not only in Memphis, but up and down the Mississippi River and beyond, numbered in the thousands. Memphis’s historic Elmwood Cemetery, its oldest, has a particularly moving monument that complements the contemporary riverside sculptural composition by Harris Sorrelle (displayed above). At Elmwood, instead of having an impact upon the use of anonymous and aptly dark-colored figurative silhouettes, as Sorrelle’s sculpture does, the cemetery monument provides just paragraphs of words, stating in plain but moving terms the reality that lies below where cemetery visitors walk (as the following image attests). As the Elmwood monument notes, at least 1,400 Yellow Fever victims are buried in nearby unmarked mass graves.

Martyrs monument in Elmwood Cemetery (clicking the photo will provide an expanded view of it)

The faithful witness of those who died ministering to and with others among the Yellow Fever victims in Memphis in the 1870’s can have the effect of prompting us to reflect on the very different circumstances in which we live, with our advances in medicine, healthcare, and social services. Nevertheless, the COVID crisis of 2020, and its lingering legacy, can also remind us of our mortality, our higher calling to seek godly life in its fulness, and to be faithful companions with and to those less fortunate than ourselves.

A state-provided historical marker that includes use of the word ‘martyr’

Additional note: a tragic-comic aspect of the Yellow Fever’s impact upon Memphis was another pre-scientific belief (in addition to the ‘swamp vapors’ theory regarding its origin) amongst those who remained in the city. It is said that those who seemed to have the lowest mortality rate were corpulent men who smoked cigars, the smoke from which may have warded off the mosquitos responsible for the plague’s transmission.

The Beauty of Clay at The Bray

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A studio courtyard at the Archie Bray Foundation in Helena, MT

Pottery and the wider field of ceramics represent an historical art form focused on the production of useful objects even when they are prized and collected for their beauty. This wide area of engagement with clay, and with products made from clay, is now fully a part of the Fine Arts curriculum of most college art departments. An evolution in the practice of ceramics from a primary focus upon utility to an unhindered exploration of the possibilities inherent in the medium was surely a logical result of two things. First, there has been a significant increase in the number of practitioners who work with clay out of a sheer love for what can be done with it, and who have pushed beyond traditional parameters of the art. A second factor has been the general influence of the ‘modernist’ trend in the fine arts, encouraging painting, sculpture, and printmaking to transcend representation. This has yielded such recognizable examples as abstract expressionism in painting, and more broadly what has been called ’conceptual art.’ I have touched upon an example of this broad transition in my prior posts featuring the work of David Shaner.

Given my appreciation for Shaner’s work, we visited the Archie Bray Foundation in Helena on a recent trip to western Montana, where he had been a resident artist as well as the Foundation Director. The Bray, as it is now known, will celebrate 75 years of service in 2026 as a non-profit center for the support and promotion of the ceramic arts. It provides studios and technical facilities, as well as residential fellowships, enabling aspiring ceramicists from across our country and beyond to pursue and develop their artwork. Visitors are welcome to come and see the well-equipped studios while engaging with the resident artists, view and purchase examples of work created at the facility, and explore the grounds of the historic brickyard.

Structures from the former Western Clay Company brickyard at The Bray

In its early days, the Archie Bray Foundation was associated with the pursuit of ceramics as an artform influenced by both western and eastern folk art traditions. Particularly influential in this regard was a visit to The Bray by the English potter, Bernard Leach, and Japan’s Shoji Hamada, later designated as a Living National Treasure by the Japanese government. Leach and Hamada’s presence at The Bray in 1952, along with that of the Japanese philosopher and art critic, Soetsu Yanagi, encouraged attention to the aesthetics of the Mingei tradition of Japanese folk art. David Shaner numbered among those receiving significant creative inspiration from this influence.

Soetsu Yanagi, Bernard Leach, and Shoji Hamada, with two early resident potters at The Bray in 1952

The Bray is situated in the foothills of the Rocky Mountains on the western edge of Helena, in a setting incorporating an attractive blend of historic and modern buildings. While visiting this center of creativity, Martha and I met and were able to visit with a young woman named Lexus Giles, from Jackson, Mississippi, whose home is just a few hours north of our own. Her work epitomizes that of many of her fellow artists in residence in her exploration of ideas and forms unique to her own imaginative vision. This reflects The Bray’s laudable encouragement and support for resident artists, for periods up to two years, freely to pursue artistic work reflecting their different backgrounds and particular interests.

Lexus Giles in her studio at The Bray

For Lexus, this means the opportunity to explore aspects of African American culture through experimentation with the tradition of making face jugs or face vessels. Lexus explained this relatively unfamiliar art form as having origins in the Carolinas among enslaved people, who may have had access to clay and a simple means of firing it, and who used the results to mark graves when headstones and the like were impossible for them to acquire.

Face Jugs by Lexus Giles

Face Jug with a ‘church lady’ motif, as noted by the artist

While we met and were able to learn from Lexus Giles about her work, we also appreciated the opportunity to view ceramic creations by other resident artists at The Bray, displayed in a gallery in the administrative building. Some examples are featured in the photos below.

We came away from our visit at The Bray impressed with the quality of the work by the resident artists, and by the positive atmosphere of creativity evident in the studio spaces. Visitors are welcome to the facility and to tour the studios without an appointment, and to walk among the remaining structures within the former brickyard. Back when I was an art student, The Bray is just the sort of place where I would like to have had the opportunity to pursue my interests and develop my skills.

 

Additional note: Those interested in learning more about Lexus Chiles may wish to see the following brief biography that is posted outside her studio at The Bray.

Once again, in anticipation of this coming Lenten Sunday, I offer a homily I prepared in a prior year, which may be accessed by clicking here.