Maria Mitchell In Her Own Words

Jascin N. Leonardo Finger • Mar 23, 2015

March 16, 1885. In February, 1831, I counted seconds for father, who observed the annular eclipse at Nantucket. I was twelve and a half years old. In 1885, fifty-four years later, I counted seconds for a class of students at Vassar; it was the same eclipse, but the sun was only about half-covered. Both days were perfectly clear and cold.


In the 1850s, this eclipse observation was “documented” post-eclipse by Herminia B. Dassel, an artist who had come to the island to paint Abram Quary, the last male Wampanoag on the island. One of the portraits is at the Atheneum, the other at the Nantucket Historical Association. The interesting thing about the Mitchell eclipse double portrait is that it is not Maria posed with her father but instead the youngest Mitchell sister, Kate (Eliza Katherine). Maria refused to sit for the portrait. The artist would take many liberties in her interpretation of the event, the equipment, and Kate’s appearance (she looks like her eighteen year old self, not twelve year old Maria, and is not dressed as a Quaker would be). William Mitchell and the artist were finally able to convince Maria to sit for a portrait. You will find this portrait on our website, the more recognized one of her peering through a telescope and dressed as a Quaker. Maria would become close to the artist, becoming the godmother of the artist’s daughter. Dassel would also paint a portrait of William Mitchell. We have a photograph of the portrait but sadly the portrait was lost within the family.



JNLF

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To me, Nantucket was always tumbledown fences. Covered in lichens, worn with wind and salt spray – grooved even – and a deep grey. Pieces broken, swinging in the wind as this broken one was with the 50mph gusts. Held together by vines – ivy or rambling climber vines, or honeysuckle. You do not see as many nowadays. This one is in town along a lane – possibly older than the house it wraps around as there was once a much older house there in the 1950s/1960s. Taken down to make room for this one – in a not so kosher manner – but that’s a story for another day. The lichens and mosses that grow on them, the vines that cover them, provide food and shade and coverage for a myriad of life – from the tiniest insects to small birds hiding from red-tailed hawks or even people and cats. Architecturally they speak of our past. While this one is very simple and not as old as others, it hearkens to a time in which cars were fewer, the island was quieter, and life was simpler. A fix was one picket not a whole fence. And some of the much. much older fences make me think of Maria Mitchell and her day when there were a lot of fences too – but not to keep people out or to create a “privacy screen.” They were there to keep animals in the yard – and more often to keep wandering animals OUT of the yard. JNLF
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