Inspire appreciation for Salisbury history.
Part II. A Spirit of Cooperation
Amid Critical Shortage
"Ragtag” has always been a word associated with the Continental Army, and one cannot help but wonder what thoughts ran through the mind of General George Washington when he arrived in Boston in the fall of 1775 and was apprised of the true nature of the ammunition scarcity. Through misinformation, the real numbers representing available gunpowder, lead, and weaponry were radically lower than reported. Washington, in a letter to John Hancock, described the shortage as an “Evil” that would only proliferate when the harsh New England winter set in. Before the military coffers were completely depleted, communities, such as Salisbury, could sell munitions to the army. By the fall of that first year (1775), with little to entice soldiers to re-enlist, the war chest was empty. Families still did what they could, in the meantime, to send their soldier sons and husbands off to war with a modicum of provisions.
The Continental Army’s difficulties were not limited to their ability — or inability — to pay their soldiers. As early as October 1774, Britain had banned the sale and importation of weapons to the American colonies, resulting in a critical shortage of available ammunition — in particular, gunpowder and lead. (Let’s just say the British were not amused at the brazen behavior of those obstreperous Bostonians who made clear how they felt about chests full of tea by staging their own fancy tea party. . .in the harbor at Boston.)
One of General Washington’s challenges was to alert the colonies of the weapons and ammunition crisis without consequently alerting the British. His message, communicated through secret correspondence with Massachusetts’ Provincial Congress*, made clear the critical need for — among other necessities such as winter-appropriate clothing, shoes, and fuel — ammunition. It is natural to suppose that families and the larger community would have banded together and pooled their resources.
*The message that reached communities such as Salisbury must, indeed, have been very secret. No mention in official town records directly underscores the ammunition crisis. And specific mention of soldier needs doesn’t appear in any town meeting minutes until 1778. In March of that year, it was “voted to Supply the Soldiers with Shirts Shoes and Stockings agreeable to the request of the general Court upon the Town’s Cost.” We are, as well, left to interpret the Committee of Safety’s standing directive to “give such encoragement as they shall Judge necessary to Soldiers. . .”
Potlid Square Part I: "Origins"
Sometimes, when you search too hard for something, it has a way of dodging you. Such was the case in my research about Pot Lid Square. It's akin to staring too long at an object; the object ceases to
resemble anything familiar. Several times I even forgot what I was
looking for.
Along the way, however, wonderful discoveries were made. For example, our own “Scenes of Salisbury” quilt now has deeper meaning. We understand the purpose of its creation; it was designed and produced as a fundraiser at the time of our nation’s bicentennial. The timing, of course, should have been a clue, but there’s that thing about staring too long at an object. Salisbury’s celebration of the bicentennial was no meager event; the town threw one bonanza of a celebration and everybody — in one way or another — joined in. Fundraisers included a Salisbury-centered bicentennial coin for purchase (you could buy either a pricier silver version or a bronze one), stationery for sale (designed by local artist Millie Hartson), and chances to win the Parish Women’s quilt (our “Scenes of Salisbury” quilt; for that story, go here: https://www.salisburyhistorical.org/blog). Also there was a flea market, an antiques fair, arts and crafts exhibits and sale, tree planting by students, occasions for colonial “dress up”, a flag raising, and — because a big event that honors 200 years of nationhood would be incomplete without it — a PARADE!
As we approach the 250th anniversary of the signing of the Declaration of Independence, we — the Town of Salisbury — might do well to reflect on the greater meaning of a humble monument that sits apart from the other testaments to our community’s involvement in major wars and campaigns. The monuments on our Town Common honor those who served in the Civil War, World War I, World War II, Vietnam War, Korean War, Persian Gulf War, and the U.S.S. Thresher Memorial dedicated to the memory of Salisbury citizen Robert Steinel.
At the intersection of Elm Street (Route 110) and Mudnock Road you will find the Pot Lid Square Monument, a bronze tablet mounted on a large, upright granite boulder. Its somewhat hidden location might suggest that it is merely incidental; it is off the beaten path, not easily reached. As our singular, permanent tribute to the American Revolution, it might surprise that it honors the women of the Town who “melted their pewter dishes into bullets that their men might defend their liberties.”
It remains uncertain whose inspiration led to the final handiwork that we know as the Potlid Square monument. We have learned most recently that it was at least funded by Charles M. Pike Sr., a direct descendant of Major Robert Pike. The permissions and various business contracts, as well, seem to have been orchestrated by him. However, the design of the bronze bas relief tablet is credited to Reverend Alvah E. Draper, who was minister at the Methodist church in town from 1923 to 1928, and his son Ralph L. Draper, a graduate of Worcester Polytechnic Institute. When you peruse the elements on the tablet, it’s satisfying to know whose minds — collectively — shaped the image that future generations would ponder. In this case, we can confidently say that two father-son partnerships deserve credit: Alvah and Ralph Draper and Charles Mace Pike Sr. and Charles Mace Pike Jr.
In a letter dated August 30, 1927, Norman Russell, president of the Albert Russell & Sons Company, provided Charles Pike with suggestions (in the form of “rubbings”) regarding the arrangement of the content and other components in his proposal. The Russell Company had an iron and brass foundry on Merrimac Street in Newburyport; they also operated a machine shop and advertised “bronze tablets”. Pike contracted with them to create the bronze tablet.
Several more months passed, and then, on June 2, 1928, Charles M. Pike Sr. was granted a permit by Salisbury Park Commission to erect a tablet on the Pot Lid Square triangle. Soon after, according to a June 18, 1928 receipt in the records held by Salisbury Historical Society, the tablet was “set in” the granite base by yet another business entity, Frank J. Williams “Cemetery Memorials of Distinction”. This business operated on Elm Street in Amesbury.
Evidence suggests, however, that the monument that we’re able to view now (in 2026) wasn’t placed on Potlid Square until ten years later, to coincide with our town’s tercentenary in 1938. Because Charles Pike Sr. had passed away in 1934, the monument was instead erected by his son, Charles Jr.
It’s worth noting that currently no monument stands on Potlid Square. (At the time the Potlid Square tablet was placed there, another tablet — dedicated to Major Robert Pike — was also placed, again through the efforts of Charles Mace Pike.) Our sole Revolutionary War monument was moved sometime later off the triangle and closer to where our town green (with the first meeting house and training field) was originally established. (To visualize this original arrangement, look south-southwest from the intersection of Elm Street and Mudnock Road.)
One final question needs to be addressed. Why the urgency to mark the American Revolution? More importantly, why then. . . at that moment in time? The centennial fervor that began in the late 1800’s and flowed into the 1900’s resulted in many communities reflecting on ways to commemorate and commit to memory the Revolution and the events associated with it.
Based on oral tradition, the colloquial term “potlid square” was beginning to circulate in the late 1800’s; from that point in time, we can find print references to “the Green know as Potlid Square.” However, in the “heat” of the moment back in the late 1700’s, the term did not exist; if women — or families or neighbors — were gathering on the Square to melt down their pewter ware, it was not articulated in such a way. They were more apt to say, “Come, my dear, let us go down to the Green and carry the pewter—they are making shot.”
~ submitted February 17, 2026 (with further edits February 26, 2026) by Joyce McKenna
The Helen and Emily Pike Research Room (a work in progress)
For our full slide presentation of the "Scenes of Salisbury" quilt. . .
"Scenes of Salisbury" Quilt Squares
"Scenes of Salisbury" Quilt
If not for the steady interest and gentle influence of volunteer Judy Watson, the "Scenes of Salisbury" quilt might still be lying — slightly rumpled — on one of the beds in our small house museum. Not exactly inaccessible, but one needs to climb the steep stairway to reach the quieter spaces where you're apt to find treasures just as captivating as in the rooms on the first floor.
The "Scenes of Salisbury" Quilt was a collaborative effort undertaken as a fundraiser in 1978 by the "Women's Parish Club", a group of women connected to the East Parish Methodist Church, a religious affiliation with long-established and historic ties to the East Parish Meeting house in Salisbury Square. The quilt was subsequently raffled off, and the winner, Nicholas Sullivan (along with his wife Mary Anne) donated the quilt to the Salisbury Historical Society at its first annual meeting in October of 1978.
Of course, 1978 was not that long ago. So, why does the "SOS" quilt merit deference. . . appreciation?
The quilter-artisans were — by and large — well-known women of Salisbury who were actively engaged in their community. Their assignment was to depict significant moments of Salisbury history or salient features that are illustrative of our town’s character. Nearly all of the 42 squares contained in the roughly 7' x 8' panel have been identified as to artisan. Sadly, most — but not all — of the contributing craftswomen have since passed away. Residents who can claim generational ties to Salisbury will recognize the names (and once we start naming names, we're compelled to include all): Helen Pollard, Anna Tufts, Mildred ("Millie") Hartson, Alice Currier, Winnie Pettengill, Esther Noyes, Nina Reed, Marie Bird, Yvonne Bamford, Ellen Santos, Mary Ellen Messenger, Annie Spring, C. Taylor, Mary Eaton, Lorraine Pike, Annie Dow, Dot Hitchings, Barbara Dow, Laura Gagnon, Joyce Souliotis, Emily Pike, Shirley Weiss, Alberta Chesley, Olive Swirk, Rachel Twomey, Angie Woodard, and — enigmatically — "CM", "HJ", "AFB", and "Patterson". (Several minds worked together to identify artists who signed only their initials: we are grateful to Jan DeWitt, Arthur Ober, Bev Gulazian, resident Jim Pollard, and, of course, Judy Watson.)
Each 12” block introduces a single event on a white cotton background; nearly all are original needlepoint. (Two are a combination of commercially-prepared design with needlepoint embellishment.) The squares are separated by a border of blue-colored cotton. A slender cord for hanging the quilt was applied along the top border, but to our knowledge the quilt has never been suspended in a vertical space; instead, it has primarily been on full display, albeit with paltry results, on one of the museum’s beds. Alas, it is too big for the bed, so we have to fold it in on itself. It is, likewise, too long to place vertically on a wall. One can't help but contemplate Goldilocks with sympathy in her quest for suitable accommodations. (Our quandary, however, does have a solution.)
Although the current condition of the quilt can be described, in a preliminary way, as “good”, it had been chronically subject to dust accumulation and the effects of sunlight and artificial light, as well as handling by visitors to the museum. In other words, there was never any type of barrier to prevent such potentially harmful disturbances.
It is because of our concerns for the quilt's longevity — and not because it is currently in a fragile state, that our Board of Directors agreed to submit it — firstly — for a professional evaluation. Museum Textile Services carefully studied the quilt, and prepared a detailed report about its condition and supplied helpful recommendations for display and continued conservation. (Handing over one of our "babies" was not an easy thing to do — emotionally. Is it possible that all museum collections managers have twinges of anxiety when they "pack off" a favorite child?)
Following the evaluation, we followed the recommendation to have the quilt professionally cleaned.
The exciting phase for this project will be the subsequent plan, in which we schedule temporary displays in adequate venues in the community.
It is expected that a lot of effort will be expended in raising the necessary funds to mount the quilt in a way that assures (to the extent possible) that no further harm to it will occur. We also see as critical to the project's success the transmission of important history about Salisbury.
Due to a generous grant awarded in December by Mass Cultural Council as part of their "Festivals and Projects 2025" program, the reward will be that viewers one day soon will be able to stand in front of the "Scenes of Salisbury" quilt and not only recognize proud symbols of our town's history, but wonder about — and venerate — the women of the "Parish Women's Club" whose hands fashioned a special work of art.
Updated January 31, 2025 (originally posted December 31, 2024)
How We Chose our Organizational Logo
(A very, very brief history)
Five months after Salisbury Historical Society's first meeting, in February of 1979, members chose three finalists from the 20 submissions by Triton Regional High School art class students. On March 15, the winner's name was announced: Diane Poulin. Over four decades later, we still love our logo.
It's fun to imagine, however, if sentiments were different back then — what alternative might we have chosen. Although missing entries #1 and 19, we can present all the contestants' submissions. What would YOU have selected (or considered a finalist)?
