Religion

One hallmark of the American experience captured in the Museum's collections is the nation's broad diversity of religious faiths. Artifacts range from Thomas Jefferson's Bible to a huge "Sunstone" sculpture carved for a Mormon temple in Illinois in 1844 to a household shrine from the home of a Pueblo Indian in the 1990s. Furniture, musical instruments, clothing, cooking ware, and thousands of prints and figures in the collections have all played roles in the religious lives of Americans. The most comprehensive collections include artifacts from Jewish and Christian European Americans, Catholic Latinos, Protestant Arab Americans, Buddhist and Christian Asian Pacific Americans, and Protestant African Americans. One notable group is the Vidal Collection of carved figures known as santos and other folk religious material from the practice of Santeria in Puerto Rico.

Currently not on view
Location
Currently not on view
Date made
1884
maker
Kaufmann, Ernst
ID Number
2007.0076.01
date made
1940s
maker
United States. Office of War Information
Federal Works Agency
ID Number
2013.0327.0559
catalog number
2013.0327.0559
accession number
2013.0327
Currently not on view
Location
Currently not on view
Date made
1952
series
Little Golden Books
visual artist
Wilken, Eloise
publisher
Golden Press
Maker
Golden Books
Mitchell, Lucy Sprague
Golden Press
Stanton, Jessie
Simon and Schuster
Little Golden Books
Little Golden Books
Little Golden Books
Little Golden Books
maker
Wilken, Eloise
ID Number
1992.0634.035
accession number
1992.0634
catalog number
1992.0634.035
This redwork embroidered counterpane was most likely made as a fund raiser for the Clarksville Reformed Church. It is dedicated to “Rev. Boyce Pastor.
Description
This redwork embroidered counterpane was most likely made as a fund raiser for the Clarksville Reformed Church. It is dedicated to “Rev. Boyce Pastor. Peggy His wife, Rex Their dog.” According to further inscriptions on the quilt, the occasion was the “Clarksville Reformed Church Fair Dec. 8th 1922.”
A twelve-petal daisy is the motif of the forty-eight blocks, the petals providing spaces for over 500 embroidered names. First, the names were written in pencil, and then embroidered with red cotton. In a few instances, a different name is embroidered over the original penciled name. One block utilized the spaces for advertising: “Priced / Lowest / The / Transportation / Economical / Motor Cars / Chevrolet / Wright / Gardner / Automobile / Equipped / Fully.” Presumably a small donation, maybe ten or twenty-five cents, assured one’s name embroidered on the counterpane. Further funds may have been secured by a raffle at the December fair. Or it may have been given to Pastor Boyce as a token of appreciation. Quilts or counterpanes such as this are still used, as they have been for more than 150 years, to raise funds for worthy causes.
The Clarksville Reformed Church was established in 1853, when a building was erected to serve the congregation. Sadly, this church was destroyed by fire on a cold February Sunday in 1912. The congregation rallied to rebuild and less then a year later, in January 1913, they were able to hold services in a new church. Clarksville in the 1920s, when this counterpane was made, was a small village in Albany County, New York. Reverend Boyce was the pastor for the Clarksville Reformed Church from 1919 to 1926 and also the Reformed Church in Westerlo, New York. In the 1950s Clarksville was still a small village and it became increasingly difficult to support the church. Another church in Clarksville, the Methodist Episcopal Church, also faced similar problems, and the solution was to merge the two. By the mid-1960s, a new church was dedicated whose sign incorporates the two bells from the older churches, symbolizing the origins of the new Clarksville Community Church.
Location
Currently not on view
date made
1922
maker
unknown
ID Number
1995.0011.02
accession number
1995.0011
catalog number
1995.0011.02
Currently not on view
Location
Currently not on view
date made
1981
user
Miguel, John
Miguel, Terena
ID Number
1991.0301.01
catalog number
1991.0301.01
accession number
1991.0301
Currently not on view
Location
Currently not on view
publisher
Hebrew Publishing Company
ID Number
1993.0102.017
catalog number
1993.0102.017
accession number
1993.0102
This engraved woodblock of an "Iroquois Mask" was prepared by the Government Printing Office in Washington, D.C.; the print was published as Plate XXII.49 (p.
Description
This engraved woodblock of an "Iroquois Mask" was prepared by the Government Printing Office in Washington, D.C.; the print was published as Plate XXII.49 (p. 189) in an article by William Healey Dall (1845-1927) entitled “On Masks, Labrets, and Certain Aboriginal Customs with an Inquiry into the Bearing of Their Geographical Distribution” in the Third Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1881-82. According to the annual report, the mask was “used by the order of ‘Falsefaces’.” Lewis Henry Morgan (1818-1881) was the original artist.
Location
Currently not on view
date made
1884
publisher
Bureau of American Ethnology
printer
Government Printing Office
author
Dall, William H.
original artist
Morgan, L. H.
block maker
A. P. J. & Co.
ID Number
1980.0219.0437
accession number
1980.0219
catalog number
1980.0219.0437
This banner is one of two made in the late 19th and early 20th centuries by the Ladies Society of the First Presbyterian Church, New York City, as a fundraising project.
Description
This banner is one of two made in the late 19th and early 20th centuries by the Ladies Society of the First Presbyterian Church, New York City, as a fundraising project. The donor, Emilie Noakes Manley, referred to them as “Autograph Quilts” as they contain many signatures of prominent political personages of the period.
The banners belonged to her husband’s grandmother, Margaret Clarke Goodall Bradley, and were donated in her memory. According to family information, this banner was raffled as a fund raiser, possibly for an 1893 addition to the church by the firm McKim, Mead & White. Although Margaret Bradley did not win the raffle, the banner was presented to her because of “her efforts for the projects.”
This banner has a black satin ground with an appliquéd American flag made of red and white satin with a blue and white printed field of stars. Inked signatures of Benjamin Harrison (president 1889-1893) and his cabinet are on the flag. Near the flag are the embroidered words, "Liberty Union E pluribus Unum." In the center of the banner is an appliquéd blue circle embroidered with white stars surrounded by 44 red and white rays representing the number of states in the early 1890s. The rays are embroidered, following the lines of the original signatures, with the names of state governors, including those of Idaho and Wyoming both of which joined the Union in 1890.
The patriotic center is enhanced with appliquéd and embroidered flags of 48 nations. The embroidered insignia of 86 G.A.R. (Grand Army of the Republic) posts or units are on a 10-inch black satin border. Between two of the G.A.R. insignia is an embroidered Brooklyn Bridge, completed in 1883, and the inscription “BROOKLYN BRIDGE.” Across the top are 42 thin metal rings, an indication that it was meant to be hung. It is lined with light blue-green silk.
The Grand Army of the Republic was founded in Decatur, Illinois on April 6, 1866 by Benjamin F. Stephenson. Membership was limited to honorably discharged veterans of the Union Army, Navy, or Marine Corps who had served between April 12, 1861, and April 9, 1865. Its peak membership was at more than 400,000 in 1890, about the time this banner was made. It lobbied Congress to establish veterans' pensions, supported voting rights for black veterans, and supported Republican political candidates. The organization ended in 1956 with the death of the last member to have served in the Civil War.
The donor recalled in a letter that she remembered hearing that the banner was “a money-making project, and all the ladies of the church participated in the assembling of the ‘Autograph-Swatches’ and the stitching and embroidery. The signatures on the flags were probably members and friends of the congregation (and possibly charged a small fee for the privilege) and when the quilts were completed they were raffled off.”
Margaret J. Clarke was born December 1858 to John and Matilda McKinney Clarke in New York City. Her parents were born in Ireland. She married Edward F. Goodall on September 18, 1877. He was killed by a train in 1880 and she married Samuel Bradley on February 25, 1885. She died November 21, 1929, in New York.
Margaret's daughter Louise, from her first marriage, married John Gordon Noakes. Their son, Donald Gordon Noakes, married Emilie, the donor. He died in 1948 and Emilie later married John Manley. In 1979 she gave the quilts to the National Museum in honor of the family and Margaret Clarke Goodall Bradley. Another granddaughter, Marjorie Blampied, wrote that the quilts “. . . most certainly are where they belong . . . where they will be treasured and appreciated.”
Location
Currently not on view
date made
1890-1893
maker
unknown
ID Number
1979.1019.01
catalog number
1979.1019.01
accession number
1979.1019
This engraved woodblock for “Dancer holding up the great plumed arrow” was prepared by the Government Printing Office in Washington, D.C.; the print was published as Figure 54 (p.434) in an article by Dr.
Description
This engraved woodblock for “Dancer holding up the great plumed arrow” was prepared by the Government Printing Office in Washington, D.C.; the print was published as Figure 54 (p.434) in an article by Dr. Washington Matthews (1843-1905) entitled “The Mountain Chant: a Navajo ceremony” in the Fifth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1883-84.
Location
Currently not on view
date made
1887
publisher
Bureau of American Ethnology
printer
Government Printing Office
block maker
A. P. J. & Co.
author
Matthews, Washington
ID Number
1980.0219.0438
accession number
1980.0219
catalog number
1980.0219.0438
This is one of two banners or wall hangings made in the late 19th-early-20th century by the Ladies Society of the First Presbyterian Church, New York City, as a fundraising project.
Description
This is one of two banners or wall hangings made in the late 19th-early-20th century by the Ladies Society of the First Presbyterian Church, New York City, as a fundraising project. The donor referred to them as “Autograph Quilts” as they contain many signatures of prominent political personages of the period. The banners belonged to her husband’s grandmother, Margaret Clarke Goodall Bradley, and were donated in her memory. This banner, made about 10 years after a similarly designed banner, was also raffled as a fundraiser, possibly for a 1919 addition of a chancel to the church. Although she did not win the raffle, it was presented to Margaret Bradley because of “her efforts for the projects.”
Similar in design to an earlier (about 1890) banner made by the same group, it has a black satin ground with an appliquéd American flag made of red silk and white satin ribbon and a printed 46-star flag. Inked signatures of Theodore Roosevelt (president 1901-1909) and his cabinet members are on the flag. The center 6 ¾-inch blue silk circle is embroidered "E PLURIBUS UNUM.” It is surrounded by 47 rays representing 46 states (one ray is empty). Utah and New Mexico had joined the Union since the earlier banner had been made. Made of red and white silks, each ray has the name of a state and inked signature of the governor at that time.
The patriotic center is enhanced with appliquéd and embroidered flags of many nations. Some of these have pencil or ink signatures, over 300 in total. Seven metal rings are sewn to the banner's top edge, an indication that it was meant to be hung. It does not have a lining.
The donor recalled in a letter that she remembered hearing that the quilts and banners were “a money-making project, and all the ladies of the church participated in the assembling of the ‘Autograph-Swatches’ and the stitching and embroidery. The signatures on the flags were probably by members and friends of the congregation, (and possibly charged a small fee for the privilege) and when the quilts were completed they were raffled off.”
Margaret J. Clarke was born December 1858 to John and Matilda McKinney Clarke in New York City. Her parents were born in Ireland. She married Edward F. Goodall on September 18, 1877. He was killed by a train in 1880 and she married Samuel Bradley on February 25, 1885. She died November 21, 1929, in New York.
Margaret's daughter Louise, from her first marriage, married John Gordon Noakes. Their son, Donald Gordon Noakes, married Emilie, the donor. He died in 1948 and Emilie later married John Manley. In 1979 Emilie Noakes Manley gave the quilts to the Museum in honor of the family and Margaret Clarke Goodall Bradley. Another granddaughter, Marjorie Blampied, wrote that the quilts “. . . most certainly are where they belong . . . where they will be treasured and appreciated.”
Location
Currently not on view
date made
1905-1910
maker
unknown
ID Number
1979.1019.02
catalog number
1979.1019.02
accession number
1979.1019
This engraved woodblock of the “Dance of the Nahikai” was prepared by the Government Printing Office in Washington, D.C.; the image was published as Plate XII (p.438) in an article by Dr.
Description
This engraved woodblock of the “Dance of the Nahikai” was prepared by the Government Printing Office in Washington, D.C.; the image was published as Plate XII (p.438) in an article by Dr. Washington Matthews (1843-1905) entitled “The Mountain Chant: a Navajo ceremony” in the Fifth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1883-84. The illustration was engraved by Henry Hobart Nichols (1838-1887).
Location
Currently not on view
date made
1887
publisher
Bureau of American Ethnology
printer
Government Printing Office
graphic artist
Nichols, H. H.
author
Matthews, Washington
block maker
A. P. J. & Co.
ID Number
1980.0219.1539
accession number
1980.0219
catalog number
1980.0219.1539
This sheet music for the song "At a Georgia Camp Meeting," was written and composed by Kerry Mills and published by F.A. Mills in New York, New York in 1897.
Description
This sheet music for the song "At a Georgia Camp Meeting," was written and composed by Kerry Mills and published by F.A. Mills in New York, New York in 1897. The cover proclaims the song “a characteristic march which can be used effectively as a two-step, polka, or cake walk,” and shows images of blacks having a dignified party. The cake walk was often the last song at a dance and the best dancing couple was awarded a cake (the origin of the phrase “taking the cake”).
Location
Currently not on view
publishing date
1897
composer
Mills, Kerry
user
Woodside, Lura
publisher
F. A. Mills
ID Number
1979.1154.18
accession number
1979.1154
catalog number
1979.1154.18
Currently not on view
Location
Currently not on view
Date made
1939-1940
maker
Benziger Brothers
ID Number
1981.0144.47
catalog number
1981.0144.47
accession number
1981.0144
This engraved woodblock of a “Dancer ‘swallowing’ the great plumed arrow” was prepared by the Government Printing Office in Washington, D.C.; the image was published as Figure 55 (p.434) in an article by Dr.
Description
This engraved woodblock of a “Dancer ‘swallowing’ the great plumed arrow” was prepared by the Government Printing Office in Washington, D.C.; the image was published as Figure 55 (p.434) in an article by Dr. Washington Matthews (1843-1905) entitled “The Mountain Chant: a Navajo ceremony” in the Fifth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1883-84.
Location
Currently not on view
date made
1887
block maker
A.P.J. & Co.
printer
Government Printing Office
publisher
Bureau of American Ethnology
author
Matthews, Washington
ID Number
1980.0219.1112
catalog number
1980.0219.1112
accession number
1980.0219
Currently not on view
Location
Currently not on view
associated date
1893-01-28
ID Number
1990.0181.099
catalog number
1990.0181.099
accession number
1990.0181
Currently not on view
Location
Currently not on view
date made
1932
ID Number
1993.0102.012
catalog number
1993.0102.012
accession number
1993.0102
Currently not on view
Location
Currently not on view
Date made
1976
publisher; user
Studio Museum of Harlem
maker
Studio Museum of Harlem
ID Number
1993.0567.10
catalog number
1993.0567.10
accession number
1993.0567
Currently not on view
Location
Currently not on view
Date made
1910
ID Number
1993.0102.015
catalog number
1993.0102.015
accession number
1993.0102
Album quilt made by friends and family for Mary Matthews to take with her on her sojourn as a missionary and teacher in Macedonia in the late 19th and early 20th centuries. The quilt consists of 25 blocks (approx.
Description
Album quilt made by friends and family for Mary Matthews to take with her on her sojourn as a missionary and teacher in Macedonia in the late 19th and early 20th centuries. The quilt consists of 25 blocks (approx. 12” x 13”) with pink sashing (2 ¾” wide) and pink and white border (1”, 1”, and 1 ¼” wide). The pieced and appliqued blocks, filling, and lining are all cotton. The blocks are mainly variations on patterns found on many album quilts of the period. The quilt was assembled for Mary Louisa Matthews who in 1888 went to Monastir (Bitola) Macedonia as a missionary, teaching at American School for Girls. Each block is inscribed with the name of a family member or friend. A few have religious inscriptions or poetry. One particular block is unusual, an appliqued Pythagorean Theorem.
date made
1850 - 1890
maker
unknown
ID Number
2019.0246.01
accession number
2019.0246
catalog number
2019.0246.01

Our collection database is a work in progress. We may update this record based on further research and review. Learn more about our approach to sharing our collection online.

If you would like to know how you can use content on this page, see the Smithsonian's Terms of Use. If you need to request an image for publication or other use, please visit Rights and Reproductions.