{"object":[{"sourceId":{"label":"Source ID","value":"3392"},"altNumsArchivespace":{"label":"ArchiveSpace","value":"P1.2001.191"},"copyright":{"label":"Copyright","value":"The American Folk Art Museum believes this work to be in the public domain."},"creditline":{"label":"Credit Line","value":"Gift of Ralph Esmerian"},"endDate":{"label":"End Date","value":"1750"},"sortNumber":{"label":"Sort Number","value":"2005     8   32"},"invno":{"label":"Accession number","value":"2005.8.32"},"description":{"label":"Description","value":"Hymnal with illustration iron gall ink. With handwritten genealogy inside on loose-leaf paper, pen and ink design, mostly blue and brown ink. 300 handwritten pages, each with musical staff, roughly ten illuminations in the form of flowers, birds, crowns, and the figure of an Ephrata sister"},"medium":{"label":"Medium","value":"Watercolor and ink on paper, with cloth and leather binding"},"geographyPlaceregion":{"label":"Place/Region","value":"Ephrata"},"media":{"label":"Media","value":[{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/5151/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"5151"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/5152/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"5152"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/4253/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"4253"},{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/4254/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"4254"}]},"title":{"label":"Title","value":"Ephrata Cloister Tunebook"},"geographyCity":{"value":"Ephrata"},"textEntriesWebsitedisplaytext":{"value":["Ephrata Cloister was founded by Conrad Beissel, a Pietist dissenter who left Germany to seek religious freedom in Pennsylvania. The monastery he established for men and women on the banks of the Cocalico Creek in northern Lancaster County was based on a synthesis of pietism and mysticism. Largely celibate, the community also welcomed families. In monastic tradition, members prayed many times each day, but there was still time for creative production. Ephrata is especially celebrated for its extensive hymnody, composed by Beissel and other members of the cloister. As the hymns were constantly being renewed and replaced, Ephrata also achieved fame for its illuminated tunebooks and established a publishing center complete with a paper mill, printing office, and bookbindery. None of the ink drawings in the several dozen tunebooks that survive are signed, and it is believed that various members contributed the embellishments. This and several other tunebooks show an Ephrata sister wearing the signature long white garment with an apron-like piece of cloth known as a scapular and a rounded hood. She stands under a crowned and arched bower, a motif that is thought to have influenced the development of fraktur in the Schwenkfelder community.Stacy C. Hollander, \"Ephrata Cloister Tunebook,\" exhibition label for Jubilation|Rumination: Life, Real and Imagined. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2012.Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","In 1732, Ephrata Cloister was founded on the banks of the Cocalico Creek in northern Lancaster County under the charismatic leadership of Conrad Beissel (1691\u20131768). A Radical Pietist dissenter who arrived in Pennsylvania in 1720, Beissel and a small group of disciples established a celibate monastery for men and women based on a synthesis of pietism, asceticism, and mysticism. Like the Shakers, Beissel believed in the dual nature of God; sisters would be spiritually joined with Jesus and brothers with Sophia, the female aspect of God. The brothers and sisters were organized into two orders known collectively as the Solitary, and also welcomed families, known as Householders, who participated in worship and contributed to the self-sufficiency of the community. In monastic tradition, members prayed and meditated throughout the day and at midnight, and lived in cells sparsely furnished with narrow wood benches for sleeping and blocks for pillows. They ate one main vegetarian meal a day from produce grown in their gardens. Brothers and sisters were garbed in simple linen, cotton, or wool robes, girdled around the waist, women further wearing an apron known as a scapular and a rounded hood, as seen in this illumination. The cloister established a publishing center with a paper mill, printing office, and bookbindery largely operated by the brothers. Hymnody, the singing of hymns, was an essential part of the worship. The cloister is especially celebrated for its original hymn texts and music, and the handwritten and printed books that preserve this legacy. Beissel composed many of the early hymns, developing a unique theory of harmonics that named the heavenly choirs as the source for his compositions. He established a vigorous singing school where he instituted his idiosyncratic style that he explicated in the 1747 edition of the Turtel-Taube hymnal, one of three primary hymnal texts to accompany tunebooks that were hand-scribed and illuminated by sisters in the Scriptorium, or writing room. Although none of the illuminations are signed, sisters Annastasia and Iphegenia are sometimes credited as the primary ornamental writers and the overseers of the Scriptorium. Illuminating and writing the musical scores was considered a meditative act. In Beissel\u2019s words, whoever can lose himself is found in God.\" He did not permit drawings to be copied or duplicated, believing that the deepest devotion to the act of illuminating the sacred hymns would unleash a divine spark. The drawings in homemade inks and watercolors follow a number of conventions. Many are floral, expressing the cloister\u2019s belief in all natural creation as an outflowing of God\u2019s divine self and drawn from such texts as the Song of Solomon: \"I am the rose of Sharon and the lily of the valleys.\" Their relationship to established needlework motifs suggest the designs are derived in part from the many European needlework patternbooks that were widely circulated. Occasionally, names appear within elaborate cartouches on some pages in the more than 124 Ephrata tunebooks that have survived. These seem to indicate authorship of the musical compositions to which they are appended. According to musicologist Christopher Herbert, this includes the names of three sisters, Föben, Hanna, and Ketura, and may constitute the earliest identified works composed by women in the American colonies. Stacy C. Hollander, \"Ephrata Cloister Tunebook, c. 1745\" exhibition copy for American Perspectives: Stories from the American Folk Art Museum Collection. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2020. Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","manuscript","fraktur","Gorgas lifedates 1728-1798; Married Christina Mack; purchased 16 acres and building on W. Main St., Ephrata, 1767, where he and his sons Solomon and Joseph made clocks; sergeant, Peter Grubb's battalion, organized Aug. 1776 (Garvan).  Was closely associated with the Brethren of the Cloisters but never joined them as he differed on their beliefs on celibacy; is buried in the cemetery at the Cloisters (Hartman)"]},"bibliography":{"label":"Bibliography","value":""},"collections":{"label":"Collections","value":["Books","eMuseum - Collection Highlights"]},"geography":{"label":"Geography","value":"Ephrata"},"id":{"label":"Id","value":"154550"},"geographyState":{"value":"Pennsylvania"},"markings":{"label":"Markings","value":""},"geographyCountry":{"value":"United States"},"onview":{"label":"On View","value":"0"},"people":{"label":"Artist / Maker","value":{"displayOrder":"1","personRole":"Artist","personID":"1947","content":"Artists unidentified"}},"classifications":{"label":"Classification(s)","value":"Books/Manuscripts/Information Artifacts"},"textEntries":{"label":"Text Entries","value":["Ephrata Cloister was founded by Conrad Beissel, a Pietist dissenter who left Germany to seek religious freedom in Pennsylvania. The monastery he established for men and women on the banks of the Cocalico Creek in northern Lancaster County was based on a synthesis of pietism and mysticism. Largely celibate, the community also welcomed families. In monastic tradition, members prayed many times each day, but there was still time for creative production. Ephrata is especially celebrated for its extensive hymnody, composed by Beissel and other members of the cloister. As the hymns were constantly being renewed and replaced, Ephrata also achieved fame for its illuminated tunebooks and established a publishing center complete with a paper mill, printing office, and bookbindery. None of the ink drawings in the several dozen tunebooks that survive are signed, and it is believed that various members contributed the embellishments. This and several other tunebooks show an Ephrata sister wearing the signature long white garment with an apron-like piece of cloth known as a scapular and a rounded hood. She stands under a crowned and arched bower, a motif that is thought to have influenced the development of fraktur in the Schwenkfelder community.Stacy C. Hollander, \"Ephrata Cloister Tunebook,\" exhibition label for Jubilation|Rumination: Life, Real and Imagined. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2012.Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","In 1732, Ephrata Cloister was founded on the banks of the Cocalico Creek in northern Lancaster County under the charismatic leadership of Conrad Beissel (1691\u20131768). A Radical Pietist dissenter who arrived in Pennsylvania in 1720, Beissel and a small group of disciples established a celibate monastery for men and women based on a synthesis of pietism, asceticism, and mysticism. Like the Shakers, Beissel believed in the dual nature of God; sisters would be spiritually joined with Jesus and brothers with Sophia, the female aspect of God. The brothers and sisters were organized into two orders known collectively as the Solitary, and also welcomed families, known as Householders, who participated in worship and contributed to the self-sufficiency of the community. In monastic tradition, members prayed and meditated throughout the day and at midnight, and lived in cells sparsely furnished with narrow wood benches for sleeping and blocks for pillows. They ate one main vegetarian meal a day from produce grown in their gardens. Brothers and sisters were garbed in simple linen, cotton, or wool robes, girdled around the waist, women further wearing an apron known as a scapular and a rounded hood, as seen in this illumination. The cloister established a publishing center with a paper mill, printing office, and bookbindery largely operated by the brothers. Hymnody, the singing of hymns, was an essential part of the worship. The cloister is especially celebrated for its original hymn texts and music, and the handwritten and printed books that preserve this legacy. Beissel composed many of the early hymns, developing a unique theory of harmonics that named the heavenly choirs as the source for his compositions. He established a vigorous singing school where he instituted his idiosyncratic style that he explicated in the 1747 edition of the Turtel-Taube hymnal, one of three primary hymnal texts to accompany tunebooks that were hand-scribed and illuminated by sisters in the Scriptorium, or writing room. Although none of the illuminations are signed, sisters Annastasia and Iphegenia are sometimes credited as the primary ornamental writers and the overseers of the Scriptorium. Illuminating and writing the musical scores was considered a meditative act. In Beissel\u2019s words, whoever can lose himself is found in God.\" He did not permit drawings to be copied or duplicated, believing that the deepest devotion to the act of illuminating the sacred hymns would unleash a divine spark. The drawings in homemade inks and watercolors follow a number of conventions. Many are floral, expressing the cloister\u2019s belief in all natural creation as an outflowing of God\u2019s divine self and drawn from such texts as the Song of Solomon: \"I am the rose of Sharon and the lily of the valleys.\" Their relationship to established needlework motifs suggest the designs are derived in part from the many European needlework patternbooks that were widely circulated. Occasionally, names appear within elaborate cartouches on some pages in the more than 124 Ephrata tunebooks that have survived. These seem to indicate authorship of the musical compositions to which they are appended. According to musicologist Christopher Herbert, this includes the names of three sisters, Föben, Hanna, and Ketura, and may constitute the earliest identified works composed by women in the American colonies. Stacy C. Hollander, \"Ephrata Cloister Tunebook, c. 1745\" exhibition copy for American Perspectives: Stories from the American Folk Art Museum Collection. Stacy C. Hollander, curator. New York: American Folk Art Museum, 2020. Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org","manuscript","fraktur","Gorgas lifedates 1728-1798; Married Christina Mack; purchased 16 acres and building on W. Main St., Ephrata, 1767, where he and his sons Solomon and Joseph made clocks; sergeant, Peter Grubb's battalion, organized Aug. 1776 (Garvan).  Was closely associated with the Brethren of the Cloisters but never joined them as he differed on their beliefs on celibacy; is buried in the cemetery at the Cloisters (Hartman)"]},"beginDate":{"label":"Begin Date","value":"1740"},"inscribed":{"label":"Inscribed","value":"Inside cover, pen and ink cursive: \"Jacob Gorgas his Book/in the Year 1783/Jacob Gorgas/his Book\"   Fly leaf: \"Jacob Gorgas His Book/Wm. R. Gorgas AD 1838\" On a loose bookmark: \"Peter Fahnestock, His Book\""},"culture":{"label":"Culture","value":"Pennsylvania German"},"displayDate":{"label":"Date","value":"c. 1745"},"exhibitions":{"label":"Exhibitions","value":[{"exhibitionDisplayDate":"Tuesday, January 17, 2012 - Sunday, September 2, 2012","exhibitionEndISODate":"2012-09-02","exhibitionID":"149","exhibitionISOBeginDate":"2012-01-17","exhibitionBeginDate":"2012","exhibitionTitle":"JUBILATION an act of rejoicing | RUMINATION an act of contemplation","exhibitionEndDate":"2012"},{"exhibitionDisplayDate":"Tuesday, February 11, 2020 - Sunday, January 3, 2021","exhibitionEndISODate":"2021-01-03","exhibitionID":"239","exhibitionISOBeginDate":"2020-02-11","exhibitionBeginDate":"2020","exhibitionTitle":"American Perspectives","exhibitionEndDate":"2021"},{"exhibitionDisplayDate":"Saturday, July 2, 2016 - Monday, September 19, 2016","exhibitionEndISODate":"2016-09-19","exhibitionID":"159","exhibitionISOBeginDate":"2016-07-02","exhibitionBeginDate":"2016","exhibitionTitle":"AMERICAN MADE","exhibitionEndDate":"2016"},{"exhibitionDisplayDate":"Saturday, May 22, 2021 - Sunday, October 8, 2023","exhibitionEndISODate":"2023-10-08","exhibitionID":"245","exhibitionISOBeginDate":"2021-05-22","exhibitionBeginDate":"2021","exhibitionTitle":"American Perspectives (Travel)","exhibitionEndDate":"2023"},{"exhibitionDisplayDate":"Tuesday, December 11, 2001 - Sunday, June 2, 2002","exhibitionEndISODate":"2002-06-02","exhibitionID":"207","exhibitionISOBeginDate":"2001-12-11","exhibitionBeginDate":"2001","exhibitionTitle":"American Radiance","exhibitionEndDate":"2002"}]},"altNums":{"label":"Alternative Numbers","value":"P1.2001.191"},"dimensions":{"label":"Dimensions","value":"8 1/4 × 6 3/4 × 1 3/16\" (closed)"}}]}