Colonial Spain and American Grain Culture

Tucson, AZ and Mission Tumacácori was the next stop on our cross country road trip. In 1540 Spanish explorer Hernando de Alarcón sailed with three vessels from Acapulco to the northern shores of the Gulf of California to await the arrival of Francisco Coronado’s land expedition in quest of the Seven Cities of Cibola. He carried supplies including wheat seed for trade with indigenous peoples and in late September became the first European to ascend the Colorado River. Alcarón humanely treated the native Quechan (Yuman) and Cocomaricopan peoples of the lower Colorado-Gila region in present southwestern Arizona and was likely the first to share grain for cultivation in several locations. Alcarón’s account, published by Richard Hakluyt in 1600, includes reference to his historic encounter with the Cocopah who presented him with gourds of corn. The Spaniard responded in kind: “I showed them wheat and beans, and other seeds; …but they showed me they had no knowledge of them and wondered at all of them.” Alcarón continued upstream for at least 150 miles before turning east in a vain overland search for Coronado.

Mission Tumacácori near Tucson

Considerably farther to the east conquistador Juan de Oñate crossed the Rio Grande River from Mexico in 1598 at present El Paso and continued north with a substantial caravan of soldiers, Indians, and Franciscan missionaries along with several thousand horses, sheep and goats, and sacks of wheat. Oñate claimed the region as New Spain’s province of Santa Fe de Nuevo México and initially established his capital at Ohkay Owingeh Pueblo. In 1607 the provincial capital was relocated nearby to present-day Santa Fe where Mission San Miguel was established shortly afterward and is considered today the oldest church in the United States. Oñate dispatched expedition missionaries to pueblo communities throughout the region and within three decades twenty-five missions had been established that featured substantial churches, conventos, granaries (alhóndiga), and surrounding farms. These locations ranged from magnificent stone structures at places like Gíusewa (Mission San José de los Jémez) and Salinas (Gran Quivari) to impressive adobe edifices at Acoma (San Estévan del Ray), Isleta (San Agustín) near Albuquerque, and Taos (San Francisco de Asís) near the fertile bottomlands of the Rio Pueblo de Taos. Many of these places suffered extensive damage from the Pueblo Revolt of 1680.

Mission Tumacácori Adobe Granary Restoration

Frontier trade in grain advanced before extensive Spanish settlement and wheat likely reached the Zuni Pueblo (Mission Nuestro Señora de Guadalupe) and Pima Indians of southern Arizona’s Gila Basin in the late seventeenth century. (Trade in grain from Alcarón’s plantings a century earlier among the Cocomaricopa to the west apparently had not reached the area.) The Italian-born Austrian Jesuit missionary Eusebio Kino (1645-1711), who had tended crops and cattle as a youth, distributed soft white wheat to the area’s native peoples upon his visit to Pimería Alta in 1687. Four years later the intrepid blackrobe visited the Pima to establish Mission San José de Tumacácori and eventually over twenty other missions in the region. Pueblo dwellers along the region’s rivers had long practiced flood irrigation for maize, beans, and squash, and soon added wheat as well as barley in many places. Mission San José was relocated in the 1750s to its present site south of Tucson, Arizona where remnants of a substantial two-story adobe granary and storeroom can still be seen. Father Kino also introduced Iberian cattle, sheep, and goats to mission stations and Indian rancherias that were later tended by Franciscans following the withdrawal of Jesuits from New Spain in 1767.

Wheat sown in the Southwest during December’s appearance of the constellation Wēq—Sculpin (The Pleaides) would ripen in the time of Na’sigînax-qua—Three Men in a Line (Orion’s Belt) after harvest of traditional crops. In this way cultivation of Pima Club and other grains fit well into the agricultural calendar of the Akimel O’odham (Pima) and Tohono O’odham (Papago) peoples and were soft enough for stone grinding. When explorer Juan Bautista de Anza visited the Pima in 1774, he wrote that “…standing in the middle [of their wheat fields], one cannot see the ends, because they are so long. Their width is also great, embracing the whole width of the [Gila] valley on either side.” Continuing west on his historic overland trek to Alta California, Anza also noted prodigious stands of wheat among the Quechan.

Edward Curtis, Pima Baskets (c. 1905)

Prints and Photographs Division, Library of Congress

By the mid-1800s Pima growers supplied vast quantities of wheat to teamsters and settlers traveling along the Gila Trail and Overland Mail Route. Grain also contributed to nutritious piñole and other staple soup mixtures of grain, corn, and beans. Pima and Papago women crafted exquisite watertight fine- and coarse-woven baskets and platters for winnowing and storing grains using wheat straw bundle foundations. These were typically wrapped and beautifully decorated in geometric patterns with willow and mesquite bark while Papago bundles, sometimes fashioned from beargrass and ocotillo, were bound with split yucca leaves and mesquite bark.

Large barrel-shaped globular household granary baskets up to six feet high with a capacity of several hundred bushels were also made of coarsely woven wheat straw to hold grain, corn, beans, and other seeds. Old West painter-illustrator Frederic Remington (1861-1909) visited the Papago community at San Xavier’s Mission in Baja Arizona in 1886 while on assignment for Harper’s Weekly and noted the area’s distinct deep blue horizons and burnt sienna landscapes with warm purple shadows. He contributed a series of sketches of Papago life including “Threshing Wheat” and “Grinding” arranged as a bulletin board illustration that the magazine published in 1887.

Frederick Remington Papago Threshing Harper’s Weekly Illustration (April 2, 1887)

Remember the Alamo! (and Mission Granaries)

Later in our cross-country road trip this summer, we found ourselves in San Antonio, TX. Beginning in 1718, Franciscan missionaries from New Spain established a cluster of five mission communities among the indigenous Coahuiltecan peoples who lived along the headwaters of the San Antonio River in present Texas. Their efforts were encouraged by colonial Spanish authorities who sought to secure the northern frontier from the influence of French Louisiana. The area’s first of five missions, San Antonio de Valero (more popularly known later as The Alamo), was built at its present location from 1724 to 1727 and consisted of a walled enclosure with church, residences, and granary surrounded by ranches and cropland watered by a carefully constructed acequia (irrigation canal).

Mission San Jose; San Antonio, Texas

Mission San Jose Granary and Original Granary Doors

Mission San Antonio’s granary was one of several substantial rooms located in the northern portion of the spacious convento (later known as the Long Barracks after Mexican forces occupied the location in the 1820s) and is the state’s oldest extant structure. The Franciscans also established Mission San José y San Miguel de Aquayo several miles downstream from Mission San Antonio and built an enormous granary (c. 1747-1752) with vaulted ceiling and flying buttresses to support the thick stone walls that safeguard the annual harvests of wheat, corn, and vegetables. The mission’s nearby acequia-powered grist mill (molino) with horizontal wheel, constructed c. 1794 (rebuilt in 1930) was the region’s first mill. Covering the largest area of the San Antonio River missions, San José became known as “Queen of the Missions” for the church’s resplendent Spanish Baroque architecture and substantial plaza.

Missions San Juan Capistrano and San Francisco de la Espada were founded in 1731 on opposite sides of the river several miles south of Mission San José. Mission San Juan’s granary was completed by 1756 and rebuilt in 1824 on its original foundation as the mission church which functions to the present day. The imposing structure was painted by German-American landscapist Hermann Lungwitz (1813-1891) who studied at the Dresden Academy of Fine Arts before immigrating to the United States in 1850. Lungwitz became known for his many detailed, luminous renderings of Texas Hill Country farms and ranches. Mission Espada’s c. 1762 stone granary was also used as a church in the 1770s and a new storehouse erected on the southwest side of the compound in 1773 to secure the harvests of grain, vegetables, and fruit. The Espada Acequia still carries water to area farmlands and is the oldest feature of its kind in the country.

Cyrus McCormick and the Reaper Revolution

Visiting the McCormick Blacksmith Shop and Forge near Steele’s Tavern, Virginia

The earliest practical reaping machines were introduced in the 1830s by father-son Robert and Cyrus McCormick of Steele’s Tavern, Virginia, Obed Hussey of Cincinnati, and Montgomery County, New York farmer Enoch Ambler. We had the chance to visit the original farm on our summer road trip across the country. The McCormicks fashioned their landmark model with the help of the family’s Black slave, Jo Anderson, in their Walnut Grove Farm’s blacksmith shop and successfully demonstrated in stands of wheat and oats in July 1831. Ambler and the McCormicks secured patents for their models in 1834. These horse-pulled machines featured a reciprocating bar of small sickle sections with separating fingers and reel that could cut up to fourteen to fifteen acres a day and increased output more than tenfold over the cradle scythe method. In the late 1850s brothers William and Charles Marsh, natives of Ontario who had relocated to Illinois, introduced the revolutionary “Marsh Reaper-Binder” than could both cut grain and tie sheaves into bundles. Rights to the Marsh machine were acquired by entrepreneurs William Deering and Elijah Gammon in the early 1870s and established their base of operations in North Chicago.

Informed by a generation of farmer-innovators, men like Hussey and Case, and the McCormicks and Marshes would revolutionize world agriculture. “This magical machinery of the wheatfield solves the mystery of prosperity,” lauded McCormick biographer Herbert Casson in The Romance of the Reaper (1908), and “explains the New Farmer and the miracles of scientific agriculture.” Casson observed with capitalized emphasis, “…[I]t is true that until recently the main object of all nations was to get bread. Life was a Search for Food—a desperate postponement of famine. …Then came King Reaper.”

McCormick, a devout Presbyterian, was also imbued with a keen business sense that would transform his humble Blue Ridge Mountain enterprise into the world’s leading manufacturer of farm equipment based in Chicago from 1847. His improved “Virginia Reaper” model made its European debut at the 1851 Great Exhibition in London which was the first large-scale industrial fair to include foreign exhibitors. A skeptical reporter for the Times jokingly dubbed McCormick’s reaper a “cross between an Astley chariot, a wheel-barrow, and a flying machine.” But in trials conducted that summer on farming estates at Tiptree Heath in Essex and Pusey, Berkshire, an enthused jury recognized that the new inventions would render the scythe as obsolete as the mechanical thresher would the flail. Although Prince Albert would later order two Hussey machines for royal farms, the judges awarded McCormick’s eagle-emblazoned machine its Grand Council gold medal and declared the device “worth the whole cost of the Exhibition.” By 1851 McCormick’s Chicago factory was turning out a thousand reapers a year and by 1859 approximately 50,000 were in use throughout the country. 

Cyrus McCormick 1834 Reaper Model

Cyrus McCormick’s passion for promotion matched his mechanical inventiveness and within a year colorful company advertisements cast his reaper in a scene as if a Roman conqueror appearing before an adoring crowd and bearing the prestigious award above a banner proclaiming it “Best in the World.” The 1853-1856 Crimean War between Great Britain and Russia interrupted export of grain from Ukraine to Europe which boosted commodity prices worldwide. American farmers responded with greater production and the favorable market brought a flood of new orders for improved equipment. McCormick deployed agents across the Midwest and eventually established a vast global network of outlets from London and Odessa to Melbourne and Wellington to sell in the grain districts of Europe and the British and Russian empires.

McCormick continued with Grand Gold Medal recognition at the glittering 1855 Paris Exposition Universelle where Emperor Louis Napoleon expressed special interest in the American’s invention. At the city’s next world’s fair eleven years later, McCormick was made a Chevalier of the Legion of Honor by imperial decree and other Grand Golds came from world fairs in Hamburg and Vienna. Grandiose promotional iconography with these international recognitions would be colorfully featured in company advertising that merged prosperity with ingenuity and gave rise to one of the era’s earliest and most successful transnational corporations.

Agricultural Equipment Display, London Crystal Palace Exhibition (1851)

Dickinson’s Comprehensive Pictures (1853)

McCormick and Hussey reapers, Pitts and Case threshers, Marsh binders, and other mechanical harvesting equipment came into widespread use in the United States in the 1850s, and in the following decade steam-powered threshing machines were commonplace. Small farmers still flailed crops in many areas, however, due to the early threshers’ expense and tendency to clog in heavy grain and crack kernels with the metal cylinders. By the 1870s reaper-binders appeared that could drop a half-dozen grain bundles at a time on the ground tied with wire and later with twine. The sheaves were then arranged into larger shocks to further ripen or be hauled directly on open wagons to stationary threshing machines. Cyrus Hall McCormick, Jr. took over leadership of the family enterprise after the death of his father in 1884, and the sprawling Chicago-based McCormick and William Deering companies merged with the Plano Harvester Company to form International Harvester Company (IHC) in 1902. By that time the three firms had acquired or consolidated with several competitors, employed some 30,000 workers, and were producing over a thousand reapers per week in “harvester war” competition worldwide.

Founding Farmer Art and Architecture

George Washington understood the primacy of land stewardship for bountiful harvests and expressed concern about settlers’ “ruinous” tendency to exhaust frontier soils only to continue farther westward and inflict similar damage. He advocated use of “scientific farming” to renew soils and transition away from Southern tobacco and New England maize to grains, legumes, and grasses through a complex system of crop rotation and use of soil amendments. Washington’s progressive ideas were strongly influenced by foreign correspondence and reading of books by Great Britain’s most respected agricultural writers—Arthur Young’s first four volumes of Annals of Agriculture (1785) and Henry Home, Lord Kames’ The Gentleman Farmer (1776).

George Washington Presidential Library Reading Room, Mt. Vernon

Fred Smith National Library for the Study of George Washington

Washington made dozens of pages of notes from these and similar works and twice recorded Kames’ observation that, “No branch of husbandry requires more skill and sagacity that a proper rotation of crops,” which in England had come to involve cycles as long as seven years. Washington wrote to Alexander Hamilton in the 1790s of the public need to promote a “natural fertility” (his own italicized expression), and that if “…taught how to improve the old, instead of going in pursuit of new and productive soils, they would make these acres which now scarcely yield them anything, turn out beneficial….” (The opening essay of the Annals series which Young personally sent to Washington carried a broadside against Britain’s wasteful wartime spending.)

Harvesting wheat, oats, and rye remained labor intensive and undertaken by Washington’s enslaved workers. But he sought to make the process more efficient by careful field observation and in 1786 recommended that every pair of adult cradle scythers be followed by four reapers and one binder followed by younger carriers of bundles. Harvest at Mt. Vernon and Washington’s other farms generally took place in July and August followed by the seeding of fall grains. Threshing was conducted in winter or even in spring. Washington also advocated improved agricultural mechanization and in 1792 constructed an innovative sixteen-sided, two-story threshing barn at Mt. Vernon’s Dogue Farm so horses could more efficiently tread out grain stalks on a slatted floor so the kernels could rain down and be gathered below. Prior to the advent of mechanized threshing, four pairs of horses trotting in a circle some sixty to one hundred feet in diameter could tread out some 300 bushels of wheat per day. Similar results with flailing might take five threshers working exhaustively for ten days. After a tour of Washington’s estates in 1788 guided by Washington himself, French minister to the United States Comte de Mousteir termed the newly elected president’s treading barn “a true monument to Patriotism.”

Mt. Vernon Threshing Barn

Mt. Vernon “New Room” Plaster Ceiling and Doorway Frieze Harvest Motifs

Mt. Vernon National Historic Landmark; Mt. Vernon, Virginia

Columbia Heritage Collection Photographs

Washington’s meticulous records of purchases at Mt. Vernon indicate his aesthetic as well as commercial interests. He was a serious collector of art prints and purchased no fewer than one hundred during his time in Philadelphia and at Mt. Vernon. Washington also bought six landscape paintings from English immigrant artists William Winstanley and George Beck that depicted the Potomac and Hudson River Valleys. These first hung in the original presidential residence in Philadelphia, but upon completion of his second term in 1797, Washington bought the entire group along with prints and furniture for his Mt. Vernon home’s grand two-story “New Room.” Designed in the style of an English manor house salon, the large room with airy Palladian windows was crowned with Richard Tharpe’s intricate plaster ceiling bas reliefs depicting harvest sheaves, scythes, rakes, and other farm tools. Art appreciation through collecting and display was understood to foster the moral virtue of both owner and viewers, and ornamental details honored sources of wealth and aspirations.

Washington also acquired exquisite copper mezzotints by London master printer John Boydell (1719-1804) and others showing scenes from biblical history and Greek mythology as well as Dutch pastoral landscapes (e. g., Adam Pynacker’s Morning and Evening). Boydell learned the complexities of printmaking and became one of the era’s most influential publishers who procured the services of such leading British artists as Benjamin West (1738-1920) and Richard Westall (1765-1836). Boydell engraver Francesco Bartolozzi (1727-1815) perfected colored stippling techniques that drew widespread acclaim from European and American patrons who had only known reproductions in black and white or brown tones. Washington’s Boydell prints were from the London publisher’s magisterial edition of Liber Veritatis (1774-1777), a precursor to the modern coffee table book, which contained two hundred drawings of works by influential French landscapist Claude Lorrain that came to be owned by William Cavendish, Duke of Devonshire. The scenes were reproduced by engraver Richard Earlom (1743-1822) as distinctive mixed-method colored mezzotint for washes and etching for pen lines, and the series soon became a standard for aspiring artists to study.

U.S. Department of Agriculture Inner Court

Artists and authors contributed to an iconography of Washington as a modern Cincinnatus and agrarian statesman that was well established within several decades. His uncommon leadership and benevolence stand in contrast to the presence of amiable slaves who appear in several early nineteenth-century Mt. Vernon scenes. But Washington himself underwent a paramount life transition as young patrician who inherited vast estates with slaves when only eleven to Father of the Nation who freed them upon his death.

Of Grains and Domes: Jefferson and U. S. Capitol Building Design (Part 2)

After Thomas Jefferson returned to the United States in 1789, he began the extensive rebuilding of Monticello. He added the distinctive second-story octagonal dome that included design elements of the Halles aux Blés to become the first feature of its kind for an American residence. As president in 1805, Jefferson directed British-American architect Benjamin Latrobe (1764-1820) to construct the ceiling for the new Capitol Building’s House of Representatives chamber based on the Paris grain market design. Despite Latrobe’s concerns about leakage, Jefferson’s intentions to build “the handsomest room on the world” prevailed although it was destroyed when the British burned the Capitol in 1814. Latrobe applied similar principles in the design of the first cathedral in America, Baltimore’s Basilica of the Assumption (1806-1821) to form the skylit lumiere mysterieuse (mysterious light) that to this day still hovers above the altar.

Visiting Jefferson’s Monticello with family

The Founders’ grand visions for New World prosperity was translated into Charles Bulfinch’s neoclassical Federal Style design and decoration of the United States Capitol Building that featured numerous agrarian associations. The massive inner and outer domes crowning the original central 1800 structure were completed in the 1860s with an inner oculus that reveals an enormous fresco covering approximately 5,000 square feet, The Apotheosis of Washington (1865) by Italian-American artist Constantino Brumidi (1805-1880). The painting depicts George Washington enthroned amidst the heavenlies above six allegorical perimeter scenes. Brumidi’s Agriculture shows Ceres with a wreath of wheat and cornucopia perched atop a mechanical reaper assisted by a capped Young America who holds the reins of the horses. Flora gathers flowers nearby.

Constantine Brumidi, The Apotheosis of Washington—Agriculture (1865)

United States Capitol Building Rotunda Dome, Washington, D. C.

Architect of the Capitol Collection

Brumidi had trained at Rome’s Academy of St. Luke where he mastered trompe l’oeil (“fools the eye”) depiction of human forms on flat surfaces in three dimensions, and restored frescoes at the Vatican. His Summer in the House Appropriation Room’s four-panel Season’s series (1856) shows Ceres attended by cherubs who tend to an enormous grain sheaf and cornucopia. Bulfinch’s work influenced versatile Salem architect-woodcarver Samuel McIntire (1757-1811) whose designs of New England homes frequently featured sheaves of wheat and garlands for wall frieze and mantel ornamentation as well as for furniture.

Monticello Farming Exhibit

Of Grains and Domes: Thomas Jefferson and U. S. Capitol Building Design (Part 1)

“And the end of all our exploring / Will be to arrive where we started / And know the place for the first time.”  These lines from T. S. Eliot’s poem “Little Gidding,” first published in 1943, crossed my mind while driving cross-country this summer helping to move our son and family back to the Northwest from their year in Washington, D.C. My wife and I enjoy visiting the U.S. Capitol and surrounding city given the variety of sights and special events to take in. This trip was especially memorable as we visited National Defense University to witness son Karl’s graduation at Ft. McNair and learned more about his studies that focused on global food insecurity in the wake of the war between Russia and Ukraine. (His research paper, “Weaponizing Wheat: How Strategic Competition with Russia Threatens the U. S. Wheat Industry,” will be published this fall in National Defense University’s journal, Joint Force Quarterly.)

Following our time in D.C., we commenced the long journey home but traveled south from Virginia to Alabama and then west via Texas to Arizona and north to Washington to see relatives and friends. All along the way we visited sites related to various agrarian (and grandchildren) interests which provided discoveries shared in the following dozen posts. One memorable scene was our first view of the Grand Canyon’s southeast rim at day’s end. While not agricultural, I’ll offer it here in the spirit of Eliot’s “exploring.” In spite of the heat and gas prices we had a grand time with old and new friends that reaffirmed the many reasons America is such a special place. May we ever safeguard its democratic institutions and the magnificent lands that provision our country and much of the world.

                  Yours for spacious skies and amber waves, -Richard.

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Some historians consider Thomas Jefferson’s application of restrained Enlightenment reason to culture and cultivation especially relevant to the “pursuit of happiness” he penned in the Declaration of Independence. Old World European conditions that had made gleaning a necessity for impoverished Europeans would not be the case for Americans. Pursuing happiness in the New World would bring new techniques to improve crops and livestock as well as construction of new roads, canals, and markets. As American minister to the Court of Versailles in the 1780s following Benjamin Franklin’s tenure in that crucial role, Jefferson traveled extensively throughout France with more on his mind than diplomacy.

Above: Halle aux Blés, Paris (Hall of Grain, 1808); aquatint on paper, 5 ¾ x 8 ¾ inches

Columbia Heritage Collection

In a letter to Lafayette from Nice, Jefferson wrote, “I am never satisfied with rambling through the fields and farms, examining the culture and cultivators, with a degree of curiosity which makes some mistake me to be a fool, and others to be much wiser than I am.” Heir to Newtonian science, Jefferson was ever fascinated by the prospect of a rational cosmos and the complexities of new mechanisms, yet grew anxious over the prospect of a machine age in America that might disturb the fragile equilibrium between Nature’s bucolic ideal and emerging notions of technological progress. These ambiguities represent an unresolved ambivalence in Jefferson’s thinking about nature and progress.

Benjamin Latrobe, “Sketch of the South Wing of the Capitol” (c. 1810)

Prints and Photographs Division, Library of Congress

In Paris Jefferson viewed Old Master works and paintings by Royal Academy artists at museums and salons as well as Roman antiquities at the Maison Carrée. Mindful of his new nation’s public spaces, Jefferson had special interest in Neoclassical architecture and carefully studied the design of numerous churches, palaces, and bridges. In August 1785, he accompanied Maria Cosway, wife of English artist Richard Cosway, on a tour of the Halles aux Blés, the city’s principal grain market. Jefferson was awestruck by the immense skylit dome covering the round structure’s bustling 130-foot diameter central court where buyers gathered throughout the year to bid on piles of grain and flour sacks. Famous domes of substantial size at Istanbul’s Hagia Sophia, the Roman Pantheon, and elsewhere were made of stone and brick, which would significantly complicate construction contemplated by Jefferson. The grain market’s dome, designed by Jacques Molinos and Jacques-Guillaume Legrand and completed in 1783, featured an innovative skeleton of laminated wood adapted from rural carpentry methods to frame enormous vertical windows of arched glass. The restored structure today is the Pinault Art Museum.

Protecting the Common Good

Mentalities of limits and moderation foster individual identity as well as social cohesion to sustain both culture and soil. French sociologist Émile Durkheim criticized modern society’s “malady of infinite aspiration” that trades cultural renewal for a fixation on replacement and perpetual commercial agitation to acquire things. In his foreword to Of the Land and the Spirit (2008), an anthology of Walter, Lord Northbourne’s writings on ecology and religion, Berry (like Lord Northbourne) points to perennialist matters of ultimate purpose as expressed by Jesus to, “[S]eek first the kingdom of God, and his righteousness...,” in order to be provided food, drink, and clothing. Berry suggests that mastery of agriculture, husbandry, weaving, and other skills are assumed in this context, and that Jesus demonstrated faith by prayerful service to others in feeding and healing them. In these ways, literary, artistic, social, and vocational endeavors in any age represent harvests in which anyone can participate. A wide range of sustainable farming initiatives have been advocated and implemented in recent decades with varying success. Those with prospect for enduring progressive change incorporate core elements of crop rotations for soil health; improved conservation through reduced tillage and terracing of slopes; and policies that reward farmers for these practices.

Amidst the mistral winds of June 1888, Vincent van Gogh painted his Harvest (Wheat Fields) series of ten paintings which provided him opportunity to experiment with color and technique. He worked quickly, “just like the harvester, …intent only on the reaping,” and blended striking hues of gold, copper, and bronze with yellow, red, and brown. The lush expressionistic masterpiece Wheat Field with a Reaper he painted in July 1889, gleams with a swirling sea of grain in impastoed layers of yellow-orange with white highlights seen in many of his Saint-Rémy paintings. A benevolent sun stands against a sky of aquamarine and seems to shine from the canvas uninterrupted by shadow or shade. The view is from the upper story of the building where van Gogh had sought recovery and shows the field’s gray-white boundary wall without any sense of confinement. Van Gogh wrote of its “vague figure toiling away… in broad daylight with a sun flooding everything with a light of pure gold,” as a modernist expression of “sacred realism” with calm, religious hope in the face of death and his own demise.

Association of grain with life suggested humanity’s vulnerability and resiliency in passionate reds and golds composed in balanced synthesis with the greenery and browns of verdant earth. These colors he complemented by mysterious orange and blue tones of the cosmos—a palette strikingly similar to his The Resurrection of Lazarus (1890). In spite of grain’s susceptibility to ruin from fire and wind, or harvest with scythe and sickle, the fields serenely endured as tangible evidence of incomparable beauty, fecundity, and energy of the divine order. The death reaper fulfilled the sower’s purpose in the grand mysterious cycle of life.

Johann Raphael Wehle, And They Followed Him (1900), Lithograph on cardboard, 4 x 6 inches, Columbia Heritage Collection

 Tolstoy’s exposition on aesthetics in What is Art? (1897) embraces a wide range of creative expression from painting and sculpture to literature, folklore, and liturgy. He characterizes their highest forms as conveyance of the makers’ regard for human dignity and the natural world in ways that astonish, mystify, and benefit the common good. That Tolstoy points to Millet, Lhermitte, Gogol, and Pushkin as aesthetic exemplars is significant for their use of agrarian themes to present such universal values. Great painting and writing express struggle and beauty through memorable associations with ideas, people, and places. Such understanding is at risk in contemporary society at once smart and ignorant. Information technologies can be exploited to distraction for endless browsing and displace contemplation of relationships to the earth and to others. Unprecedented threats to wellbeing loom if humanity’s commons of seed for harvest becomes unalterably modified and proprietary. Enduring individual and societal flourishing in any age, as Ruskin observed when considering a sheaf of grain, requires the discpline of work and rectitude. The beneficial middle way tempers entreprenership and technology through hard decisions protecting the common good. 

The characters who inhabit Tolstoy’s stories have heroic capacity, even when cast as loners and losers. They walk familiar paths to work together in the fields and better understand the people and world around them. Among the most stirring moments in Tolstoy’s Anna Karenina is when landlord Konstantin Levin, who sought the full life of mind, love, and labor, joins a scythe-wielding brigade in an afternoon of great satisfaction: “He… wished for nothing, but not to be left behind the peasants, and to do his work as well as possible.” In a day of tension over progressive approaches to a more sustainable future, ancestral regard and considerations of Ruth and Boaz, muzhik harvesters, and Port William farmers offer restorative interpretations of land use and the human prospect.

     Praise God for the harvest of farm and field,

     Praise God for the people who gather their yield,

     The long hours of labor, the skills of the team,

     The patience of science, the power of machine.

     Praise God for the harvest of conflict and love,

     For leaders and people to struggle to serve,

     To conquer oppression, earth’s plenty increase,

     And gather God’s harvest of justice and peace.

     —Brian Wren, “Praise God for the Harvest” (1968)