In 1861, Confederate Brigadier General Henry Sibley led his Army of New Mexico, 3 regiments of Texas Mounted Volunteers, into New Mexico Territory. It was the first step in his plan to capture the entire southwest, including the Colorado goldfields and California’s deep-water ports. But things didn’t go as planned. Instead of taking the territory for the Confederacy, the campaign was an unmitigated disaster. Sibley’s starved soldiers retreated back to Texas, littering the desert and mountains with debris that souvenir hunters are still uncovering. Of the original 2,500-man brigade, only 1,500 made it back to San Antonio by the fall of 1862. Like elsewhere in the Civil War, disease took more of Sibley’s soldiers than battle did. Altogether, two-thirds of the approximately 660,000 deaths of soldiers in the Civil War were caused by uncontrolled infectious diseases. Although malaria, common in the south, was less prominent in the dry desert, pneumonia, typhoid, diarrhea and dysentery were common among his troops. Sibley’s men were burying the dead before they even crossed the border into Union territory. Jemmy Martin, a young Texan in my historical novel, Where Duty Calls, is not a soldier, but a packer, in charge of making sure the army’s supplies are loaded into his wagon correctly. Jemmy has a big heart that breaks every time he sees an animal or person die. He is particularly affected when William Kemp dies. On Jemmy’s first day in Sibley’s camp, William had cut his own bar of soap in two so that Jemmy would have some. When William dies of pneumonia, Jemmy is overcome with sorrow and guilt. While Jemmy is fictitious, William Kemp is not. Official Confederate records show that a private William Kemp died of pneumonia on February 12, 1862. He was buried at the side of the trail somewhere south of Fort Craig, New Mexico. His grave was unmarked and has never been found or identified. In Where Duty Calls, Jemmy breaks apart wooden food crates to build William’s coffin. Although he wants to carefully pull out the nails so he can reuse both the wood and the nails, his grief gets the better of him. In his frustration, Jemmy pounds the nails so hard that he bends them and splits the wood. Just as William Kemp is based on a real person, the idea of making a coffin from food crates is not a figment of my imagination. Wood was a rare and precious commodity in New Mexico Territory. Burying every dead person in a coffin would be a terrible waste in the desert, where wood was needed for fires to cook food and keep the troops warm. In I Married A Soldier, a memoir of Army life in the Southwest during the 1850s-1870s, Lydia Spencer Lane explains that wood was so scarce that it was customary for those who lived in New Mexico to not bury their dead in coffins. She explains that in Santa Fe, the dead were carried to church in a coffin, but before burial the body was removed and rolled in old blankets. Thus, coffins could be used and reused indefinitely. However, Ms. Lane elaborates that the practice of burying the dead without a coffin was not acceptable to people who had been raised in the East, who did everything within their power to create coffins for their dead. When there was not enough lumber at hand to make a coffin, she explains, packing boxes and commissary boxes were used. She relates the story of one officer who died at a post in Texas and was carried to his final resting place in a very rough coffin which had marked, in great black letters along the side, "200 lbs. bacon." In Where Duty Calls, when the grave is deep enough and the coffin complete, the entire troop follows Willie the drummer boy out of camp as he drums a funeral march. They lower William Kemp’s coffin into the hole, then sing When I can read my title clear. Written by Isaac Watts, an English Congregational minister, hymn writer, theologian, and logician who lived between 1674 and 1748, it was very popular at the time of the Civil War. Other hymn written by Watts, among them When I Survey the Wondrous Cross, Joy to the World, and Our God, Our Help in Ages Past have better endured the passing of time. When I can read my title clear Jennifer Bohnhoff, a former high school and middle school history teacher, is the author of several middle grade historical fiction novels. Where Duty Calls is the first in a trilogy of novels set in New Mexico during the Civil War and is published by Kinkajou Press, a division of Artemesia Publishing.
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The retablo behind the altar in San Miguel Chapel, the oldest church in the United States, is a unique work of art that reflects New Mexico’s multi-cultural heritage. The word retablo comes from the Latin retro-tabula, literally meaning behind the table, or altar. Originally, the word retablo referred to paintings placed behind the altar of churches in the early Middle Ages. Sometime during the 12th and 13th centuries, the term came to mean any painted sacred image, including those kept in private homes. Santos, one form of retablos, are representations of holy figures, such as members of the Holy Family, or saints. In the first years of Spanish occupation, religious art was either imported into New Mexico from Mexico or created in New Mexico by the Franciscan Friars. The art that was imported was influenced by European art, particularly the art of the Renaissance and Baroque periods, while the art created by local monks was often less sophisticated. By the late eighteenth century, local New Mexicans began making their own religious art. Local santeros, or saint makers like José Rafael Aragón (active 1820-1862) developed a simple, primitive style that is distinctively New Mexican. The retablo in San Miguel Chapel, a carved and painted wooden altar screen studded with paintings and sculptures, was given to the chapel in 1798, by Don Antonio José Ortiz, who had become a devout benefactor of the church after his father was killed by Comanches in 1769. It contains nine works of art, arranged in three rows of three pieces each, and is flanked by columns. The style of the art is varied, demonstrating the different schools of art that have melded into New Mexican tradition over the centuries. The altar screen itself is believed to have been created by an unnamed artist referred to as the Laguna Santero. Active between 1776 and 1815, scholars think he may have been from southern Mexico, as his work reflects the Baroque style popular there. He is credited with seven other altar screens including the one in Laguna Pueblo’s Chapel de San Jose de Gracia, and the one in Acoma Pueblo’s San Esteban Church. The bottom row contains three bultos, or painted wooden statues. The bulto on the left is of an unidentified saint and is believed to have been carved in New Mexico in the nineteenth century. Scholars know that the center bulto, a Statue of the Archangel Michael, predates 1709, because records indicate it was carried throughout New Mexico to solicit donations for the Chapel’s 1710 reconstruction. It was most likely carved in Mexico and is much more ornate than the other bultos. The bulto on the right is New Mexican, from the early nineteenth century, and depicts San Antonio, or Saint Anthony, the saint whose name graces more place names in New Mexico than any other. The retablo has four oval paintings that are far more European looking than New Mexican. These four paintings might be part of a set of eight that were listed in a 1776 inventory and were presented to the Chapel by the Viceroyalty of New Spain. The one above the bulto of San Antonio depicts San Luis Rey, Saint Louis, or Lois IX, who was King of France from 1226 to 1270 and participated in both the Seventh and Eighth Crusades. Above him is Santa Clara, or Saint Clare of Assisi. A contemporary of Saint Francis, Clare was the co-founder of the Franciscan order of nuns, the Poor Clares. On the other side of the altar screen is an oval depicting San Francisco, or Saint Francis of Assisi, whose name graces the cathedral in Santa Fe. A painting of Santa Teresa, or Saint Teresa of Avila is above the one of St. Francis.. The center of the altar screen has two larger paintings the one on the top is of San Miguel or the Archangel Michael and was painted by Bernardo Miera y Pacheco, a Spanish-born artist, mapmaker, and civic leader, in 1755. Below it is a nineteenth century Mexican painting of Christ the Nazarene. Both of these paintings are a little more primitive in style than the oval paintings. Although New Mexican religious art may have begun with imports from Europe and Mexico, the isolation of this northern outpost of the Spanish realm soon developed an art that was specific to it. New Mexican art is unique, and both beautiful in its simplicity and generous in its acceptance of outside influences. Jennifer Bohnhoff is a native New Mexican who taught New Mexico History at the Middle School level. She is now retired and writing. Her next novel, Where Duty Calls, is historical fiction set in New Mexico during the Civil War, and will be published by Kinkajou, a division of Artemesia Publishing, In June 2022. Homespun is cloth that is made entirely at home. It is an incredibly labor intensive project, but it became very popular in the South during the Civil War for both practical and patriotic reasons. To make cotton homespun, the first thing that must be done is to pull the seeds from the cotton, either by hand or with the use of cards. Then, the carded cotton needs to be spun, dyed, and woven. It is estimated that it would take an estimated 360 hours of labor to make 30 yards of homespun fabric. By the time of the Civil War, home spinning and weaving had fallen out of common practice. Diaries and newspapers of the time mention women taking spinning wheels out of the attic and learning to spin and weave. In the South, many of the larger homes had slaves who did their spinning and weaving. . The homespun dress became one of the symbols of the hard scrabble life many Southerners experienced during the Civil War. But before the Union blockade made homespun imperative, it was a sign of pride. Just as Americans had shown their opposition to the British by producing homespun fabrics during the American Revolution, Southern women made their homespun into a statement of their patriotism to the south. The song “The Southern Girl or The Homespun Dress” became one of the most popular songs in the Confederacy. Attributed to Carrie Belle Sinclair, the song praises women for wearing homespun dresses in support of the South during the Civil War. In Where Duty Calls, my middle grade novel set in New Mexico during the Civil War, the Confederates encamped near Fort Craig a few nights before the Battle of Valverde are sitting around a campfire when they sing “The Homespun Dress.” One of the soldiers brags that he is going to pull down the Union flag from Fort Craig and make a dress out of it to present to his wife. While that wouldn’t strictly be a homespun dress, it surely would have been a source of great pride for the soldier and wife. THE HOMESPUN DRESS by Carrie Belle Sinclair (born 1839) Oh, yes, I am a Southern girl, And glory in the name, And boast it with far greater pride Than glittering wealth and fame. We envy not the Northern girl Her robes of beauty rare, Though diamonds grace her snowy neck And pearls bedeck her hair. CHORUS: Hurrah! Hurrah! For the sunny South so dear; Three cheers for the homespun dress The Southern ladies wear! The homespun dress is plain, I know, My hat's palmetto, too; But then it shows what Southern girls For Southern rights will do. We send the bravest of our land To battle with the foe, And we will lend a helping hand-- We love the South, you know CHORUS Now Northern goods are out of date; And since old Abe's blockade, We Southern girls can be content With goods that's Southern made. We send our sweethearts to the war; But, dear girls, never mind-- Your soldier-love will ne'er forget The girl he left behind.-- CHORUS The soldier is the lad for me-- A brave heart I adore; And when the sunny South is free, And when fighting is no more, I'll choose me then a lover brave From all that gallant band; The soldier lad I love the best Shall have my heart and hand.-- CHORUS The Southern land's a glorious land, And has a glorious cause; Then cheer, three cheers for Southern rights, And for the Southern boys! We scorn to wear a bit of silk, A bit of Northern lace, But make our homespun dresses up, And wear them with a grace.-- CHORUS And now, young man, a word to you: If you would win the fair, Go to the field where honor calls, And win your lady there. Remember that our brightest smiles Are for the true and brave, And that our tears are all for those Who fill a soldier's grave.--CHORUS from http://www.civilwarpoetry.org/confederate/songs/homespun.html Where Duty Calls will be published by Kinkajou Press in June 2022.
For more information on homespun, see txcwcivilian.org/homespun/ Last week I drove to Santa Fe and visited some of the oldest buildings in the United States. One of those building was San Miguel Chapel. Don Pedro de Peralta established Santa Fe in 1610, when he moved New Mexico’s capital south from San Juan de los Caballeros, near the modern city of Española. The site he chose was on the north side of the Santa Fe River. As was common in that period, Peralta built a rectangular set of buildings that faced inward toward a central plaza. This plan resulted in the Palace of the Governors and the city plaza, both of which remain at the center of Santa Fe. The Palace of the Governors is the oldest public building in the continental United States that was constructed by European settlers and has been in continuous use. Across the river from the Palace, Peralta allowed the Tlaxcalans who accompanied him into New Mexico to found a neighborhood of their own, which also still exists. This neighborhood, or barrio, is called El Barrio de Analco. Analco” is a Nahuatl word which became incorporated into the Castilian of New Spain. It means “on the other side” or “beyond the river.” The Tlaxcalans lived east of Mexico City, in what is now the state of Tlaxcala. They had never been conquered by the Aztecs. They spoke Nahuatl. In 1521, they allied themselves with Cortes to defeat the Aztecs. Afterwards, those Tlaxcalans who agreed to settle in the north were given the right to live in their own neighborhoods (barrios), free from tributes, taxes, and personal service. To protect the Tlaxcalans, Spaniards were not allowed to buy their property. Unlike other Native Americans, Tlaxcalans who went to the new settlements were permitted to carry arms and ride saddled horses without penalty. According to some sources, as many as 700 Tlaxcalans came north into New Mexico with Don Pedro de Peralta. The Barrio de Analco became the northernmost of the Tlaxcalan barrios. Although the earliest surviving historical written record dates from 1628, it is likely that the Franciscans who accompanied Peralta began designing and supervising the construction of the San Miguel Chapel in the Barrio de Analco soon after they arrived in 1610. Archaeologists say that its foundations were laid directly over an early Pueblo settlement that existed between 800 and 1300 CE. In addition to serving the Tlaxcalans, the chapel was used by the Spanish middle class, which consisted of laborers, artisans, tradesmen, and farmers. Spanish soldiers also attended mass in the chapel. In 1680, the Indigenous Puebloans revolted in a coordinated attack. On the first day of the revolt, the Puebloans, jealous of the special treatment the Spaniards accorded their Tlaxcalan allies, and angry that Tlaxcalans had Puebloan servants, burned the church of San Miguel and almost wiped out the Analco Barrio. The Tlaxcalans joined the more than 2000 Spanish in their retreat south to El Paso. Twelve years later, in 1692, they returned and began rebuilding the chapel. Although it has undergone significant structural changes, the present building dates from 1710. In 1859, a decade after the US took New Mexico and Upper California from Mexico in the Mexican American War, Archbishop Lamy purchased the Chapel and adjacent land for the De LaSalle Christian Brothers. The Brothers built a three-story school building next to the Chapel. The school continued to teach students until 1968, when St Michael’s High School was built. The third story burned, but two stories of the old school building, which is the largest all-adobe building in the state, still stands and now houses State Government offices. Jennifer Bohnhoff taught New Mexico History to 7th graders at two different school. Now retired, she tours places of historical importance within the state as research for historical novels written for middle grade readers through adults. Her next novel, Where Duty Calls, is about the Civil War in New Mexico, and will be published by Kinkajou Press, a division of Artemesia Publishing, in June 2022. |
ABout Jennifer BohnhoffI am a former middle school teacher who loves travel and history, so it should come as no surprise that many of my books are middle grade historical novels set in beautiful or interesting places. But not all of them. I hope there's one title here that will speak to you personally and deeply. Categories
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