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By Scott Steedman

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11 Rarely narrow were the paths traveled by Spiritualists; they were bestrewn with flowers dropped by spirits who had little desire to admonish, and ascent was made less arduous by the heavenly hands ready to assist anyone who wished to grasp them. Moderation, not martyrdom, was the byword. Wella Anderson’s portrait of the spirit of Carrie Miller, made during a trance, also highlights the differences between Spiritualist and Shaker beliefs (Figure 11). A strong chiaroscuro endows the figure with a rotundity that contrasts markedly with the spare forms designed by Miranda Barber.

This inclination Who Speaks for the Dead? 47 appears in Hosmer’s description of an event she witnessed while horseback riding one evening in the summer of 1851. ”50 These remarks attribute solemn significance to an episode apparently devoid of meaning much as the Spiritualists dismissed criticism of the triviality of spirit communications by explaining that the phenomenon itself was more important than the message conveyed. Hosmer’s departure for Italy in 1852 did nothing to interrupt her affiliation with the spirit world.

Miranda Barber’s “gift image” from Mother Ann to elder Ebenezer Bishop features the former riding a chariot in the right corner (Figure 10). Also depicted are trumpet-blowing angels from Revelation, soul-birds, flowers, harps, “Father Joseph’s Desk,” and diverse other furnishings. Unlike apports, these spiritual gifts did not materialize; they are schematic images that illustrate the treasures of heaven that are also attributes of an obedient soul. God, who rarely enters the imagery of clairvoyant artists, is present in the form of an all-seeing eye borrowed from the Masons.

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