When 19th-Century Spiritualists Believed a "God Machine" Would Save Humanity

Benjamin Franklin, whose ghost was said to have contributed some of the instructions for the New Motive Power
Benjamin Franklin, whose ghost was said to have contributed some of the instructions for the New Motive Power
Hulton Archive/Getty Images

In the 19th century, Universalist minister John Murray Spear was well-known as a radical prison reformer and defender of the oppressed. From his pulpit in New England, he advocated for nonviolence, the end of slavery and the death penalty, and equal rights for African Americans and women. For his efforts, Spear might have earned his place in history, if only as a footnote. Instead, it was his later, stranger endeavors—notably his attempt to build a mechanical messiah—that made him infamous.

Meet the Spirits

The first sign of Spear's odd new interests began in 1844. That December, after attending a controversial lecture by an anti-Catholic speaker in Portland, Maine, he was beaten by a group of ruffians until he was comatose (Spear had encouraged the audience to speak their mind after the lecture, even if it meant booing the lecturer, and the ruffians apparently disagreed with his position). When he came out of his coma, Spear reported having strange visions and premonitions of the future while unconscious. No one paid much mind to it at first, but as time passed, it became clear something about him was different.

Soon, he came in contact with someone who had a decisive impact on his transformation. In 1847, Spear wrote a review of The Principles of Nature, Her Divine Revelations, and a Voice to Mankind, calling it “the most wonderful work ever made by mortal man.” In fact, the “mortal man” who had written the book, Andrew Jackson Davis, also known as “The Poughkeepsie Seer,” said he had not written it at all. Instead, he claimed the text was composed of communications with deceased scientist and mystic Emanuel Swedenborg and the ancient Greek physician Galen.

Davis was among the first proponents of the Spiritualist movement, a 19th-century religious phenomenon that claimed to offer proof of life after death. The next year, in 1848, when the Fox sisters began communicating with “ghosts” through coded knocking or “table rapping,” the movement spread quickly. Soon, all across America spiritual seekers were experimenting with séances, mediumship, and precursors to the Ouija board.

Whatever affinity Spear also felt for the more otherworldly elements of Spiritualism, at first he was attracted to their humanist convictions: the unjustness of the death penalty and the basic equality of all human beings. Publicly this was what Spear and Davis talked about at their first meeting in 1851, after which Davis praised the minister as a model man for his philanthropy. Privately, though, he recommended Spear open himself up further to the spirits. As Spear later recounted, Davis told him [PDF], “You will meet them! They will come to you."

It was a suggestion Spear did not take lightly. Within a few months, he was not only attending séances but speaking to the dead on his own, delivering spontaneous “channeled” speeches and written messages, including from his deceased namesake, John Murray, one of the founders of American Universalism.

By the end of 1852, Spear's roster of dead “correspondents” had expanded, along with their ambitions. Spear claimed he was the mortal mouthpiece of the “Association of Beneficents,” a committee of deceased luminaries that included John Adams, Benjamin Franklin, and Thomas Jefferson, all of whom had decided they could not stand aside as America failed to live up to its revolutionary promise. Jefferson's spirit was particularly voluble: He supposedly said that government leaders who backed slavery were "infernal scoundrels" who should be "shut up in pits of everlasting infamy," and that the country's progress toward liberty had been thwarted by "a nation of thieves" who had stolen "that which is of most value—human rights." Within a year, Spear’s spirits were no longer satisfied by giving advice, and began delivering orders for radical changes to the government and social structure—orders that Spear and his followers, the “Practical Spiritualists,” would attempt to implement.

In 1853, this took the form of Spear’s announcement that these spirits, especially Benjamin Franklin, would share with them their greatest (and posthumous) invention. Spear called it “God’s last, best gift to man.”

The God Machine

The High Rock Tower, Lynn, Massachusetts
The High Rock Tower, Lynn, Massachusetts
Boston Public Library, Flickr // CC BY 2.0

This “New Motor,” or “New Motive Power,” was a generator of sorts. At its simplest, Spear described it as a perpetual motion device that “will have the power to impart its electric forces to any number of machines.” At its most complex, however, it was a God machine, the culmination of what Spear (speaking for “the Association” [PDF]) called “a grand practical movement for the redemption of the human race.”

Naturally, as a direct revelation from the spirit world, this would be no ordinary device. A “living working mechanism,” the New Motor would “bear offspring”: a race of self-replicating, self-powering machines. As a remedy to the so-called “Curse of Adam”—humanity’s need to earn wages and food by the “sweat of [its] brow," as the Bible describes it—the New Motor would bring about Edenic leisure for all people, ending slavery, farming, factory work, and women’s house work. Liberated from daily labor, people would be free to open themselves up to the spirits as Spear had, and to mentally connect with the New Motive Power. Through the etheric transmission of humankind’s collective thoughts, knowledge, and desires, the New Motive Power would remake the world, an action Spear compared to fire boiling a pot of water. In essence, by removing humanity’s material limitations, the New Motor was a God-like machine that would bring out the God-like qualities in man.

For the next nine months, Spear went into daily trances, drawing designs that detailed every aspect of the device. Finally, in 1854, the construction of “the greatest spiritual revelation of the age” began at the High Rock Cottage in Lynn, Massachusetts.

The Practical Spiritualist newspaper, The New Era, detailed the construction of the “electrical infant” that May, claiming the device “corresponded” to the human body [PDF]. The machine consisted of a black walnut table with insulated legs, topped by a series of copper, zinc, iron, and magnetic plates. From there, two magnetized struts rose from either side, suspending magnetized balls on copper chains between them. Later descriptions included details such as hair-like antennae to conduct “etheric power” and metal plate “lungs” that would rust as a symbolic form of respiration.

In all, Spear and his followers are believed to have spent $2000 on its construction (more than $50,000 today) [PDF].

The Mary of the New Dispensation

The strangeness of Spear’s efforts caught the attention of other Spiritualists. When Andrew Jackson Davis decided to see what his old friend was up to, the scene he encountered at High Rock Cottage horrified him.

Describing what he had seen in The Spiritual Telegraph that June, Davis emphasized the Practical Spiritualists’ enthusiasm for their project, stating “[for them] each wire is precious, sacred as a spiritual nerve" [PDF]. He believed that the New Motor was genuinely spirit-inspired and supernatural in origin. But he also left with the impression that something had gone very wrong. Davis, who had first told Spear to speak with spirits, worried that this “model man” had turned into a mad one.

Spear suffered from “the terrible misfortune of being easily imposed upon by his own impulses,” Davis wrote, saying he “mistak[es] them at least two-thirds of the time for ‘impressions’ from higher intelligences.” This delusion, Davis said, had warped whatever actual spiritual messages Spear was receiving into misguided fanaticism, a resurgence of his old religious tendencies. In Spear, the Poughkeepsie Seer saw something frighteningly close to a cult leader, urging his followers on in pursuit of a false messiah.

What disturbed Davis most was “The Mary of the New Dispensation,” Sarah Newton—the wife of one of Spear’s followers—who had been declared the New Motive Power’s “mother” after a series of visions. Upon accepting her role, Newton began living at the High Rock Cottage laboratory full-time in order to maintain an “umbilical link” with the device. There, Spear and the other Spiritualists made daily efforts to “charge” the machine and infuse it with life, with some evidence suggesting these exercises were decidedly sexual.

Eventually, Newton went into “labor.” After two hours of writhing in pain, she reached out and touched the New Motor. Its inner rotor is said to have started moving for a moment, but the promised self-perpetuating motion did not manifest. Although the Practical Spiritualists took the temporary movement as a sign of success, Davis was skeptical. The supposed “virgin birth,” he said, was just the power of suggestion and superstition [PDF].

Disaster—or Spiritual Victory?

Nevertheless, Spear’s followers defended their project. In a rebuttal to Davis’s account reprinted in The Spiritual Telegraph that July, Spear’s collaborator Simon Hewitt said the Motor was still gestating. “Would it not be wiser to wait a little and witness its growth, than to attempt the strangulation of the infant?” he wrote [PDF].

Following Davis’s public disparagement, the Practical Spiritualists became pariahs within their own movement. Worse, Davis's article earned the attention and mockery of the broader public. P.T. Barnum declared the New Motor one of the “humbugs” he was the self-proclaimed prince of, opining, “If things like this are going to happen, the ladies will be afraid to sleep alone in the house if so much as a sewing-machine or apple-corer be about.”

Having exhausted local support, Spear moved the machine to Randolph, New York, hoping to utilize the area’s superior “magnetic” energies for their experiments. The New Motor was taken apart for transport, and once reassembled at its new home, efforts to animate it redoubled.

But then Spear’s work came to a disastrous conclusion. One night, a group of local young men broke into the Practical Spiritualist compound, tore out the machine’s copper “heart,” and threw the New Motor into the local mill pond in pieces.

Or so Spear said. In November 1854, Scientific American wrote, “We do not believe a word respecting a mob breaking into the building and destroying the spiritual machine. We are of the opinion that it was broken by the crafty author of it, whose schemes had come to the exact point of exposing his ridiculous pretensions.”

Despite what looked like a failure to anyone else, Spear and his followers declared a spiritual victory. As Sarah Newton’s husband, Alonzo, wrote in the Spiritualist publication The Educator, the machine was “a model for the embodiment of the idea.”

Until his retirement from mediumship in 1872, John Murray Spear never stopped trying to bring about “the Divine Social State on Earth” that the New Motive Power had promised. This new order was to treat men and women of all races and religions as equals, allow for free love, and help children to be brought up unburdened by outdated ideologies. The New Motor would live again, Spear said, but in its “second coming” it would not be the engine that remade the world. Instead, its completion would be the sign the New Era had finally arrived.

Spears's later years were a return to more earthbound social justice campaigning. He died on October 5, 1887, at the age of 83. His obituary, published by the Spiritualist newspaper The Banner of Light [PDF] and entitled “Transition of a Veteran Reformer,” spoke about the “indefatigable nature of the man who has now gone to participate, as an arisen spirit, in new efforts for human good.” Despite cataloguing his work toward temperance, abolitionism, women's rights, and prisoners' rights, his 39 years of spiritualist practice were condensed into three sentences. There was no mention of the goal to which he had dedicated his life, and which had ultimately escaped him: the New Era, and the machine his spirits had said would bring it into being.

Additional Sources: The Remarkable Life of John Murray Spear; Occult America

9 Facial Reconstructions of Famous Historical Figures

A facial reconstruction of King Richard III unveiled by the Richard III Society in 2013
A facial reconstruction of King Richard III unveiled by the Richard III Society in 2013
Dan Kitwood/Getty Images

Why look at a painting of a historical figure when you can come face to face with one? Forensic facial reconstruction using scans of skeletal remains allows researchers to create 3D models of the face through a combination of science, history, and artistic interpretation. The results may be somewhat subjective, but they’re fascinating anyway. Here are nine facial reconstructions of famous people.

1. Richard III

In 2012, King Richard III’s skeleton was found below a parking lot in Leicester, England, where in 1485 he was hurriedly buried after dying in battle. A reconstruction (above) shows a young man, only 32 years old, with a gentle, approachable face. It’s a far cry from the child-murdering villain portrayed by Shakespeare and other writers. One thing they said does seem accurate, however: The skeleton had a curved spine from scoliosis, suggesting that Richard’s humpback may have been real.

2. Bach

J.S. Bach’s bust has sat on innumerable pianos for centuries, but he only posed for one portrait in his lifetime. So this reconstruction of his face—which was taken from a bronze cast of his skull—offers an interesting glimpse into the man beneath the 18th century wig. You get the same thick neck, underbite, and stern brow you see in the painting, but the reconstruction’s friendly, confused stare lacks the soul of the real man … and his music, for that matter.

3. Shakespeare

Apparently, no one knows anything about Shakespeare for sure—his hair color, his sexual orientation, how he spelled his name, whether he liked his wife, etc. Some people aren’t even sure whether he wrote his plays or not. So this rendering, taken from a death mask found in Germany, is bound to be controversial. But if it is Shakespeare, it’s pretty intriguing. It shows a man who suffered from cancer and had a sad, soulful face.

4. Dante

Maybe it’s because The Divine Comedy dealt with the ugliness of sin that Dante Alighieri is usually depicted as unattractive, with a pointy chin, buggy eyes, and enormous hooked nose. But a reconstruction done from measurements of the skull taken in 1921—the only time the remains have been out of the crypt—reveals a much more attractive Dante. The face has a rounder chin, pleasant eyes, and smaller nose than previously thought. It’s a face with character.

5. King Henri IV

The mummified head of France’s King Henri IV was lost after the French Revolution until a few years ago, when it showed up in a tax collector’s attic. In his day, Henri was beloved by everyone except the Catholic fundamentalists who murdered him in 1610. The hard-living king looks a bit old for his 56 years, but there’s a twinkle in his eyes. What the model cannot show, however, was how much the king stank—apparently he smelled of ”garlic, feet and armpits.”

6. Cleopatra’s Sister

Cleopatra hated her half-sister Arsinoe IV so much she had her dragged out of the temple of Artemis and murdered. In 2013, researchers said they had discovered what may be Arisone’s body, based on the shape of the tomb, carbon dating, and other factors. The resulting facial reconstruction shows a petite teenager of European and African blood. And yeah, maybe this is closer to what Arsinoe would look like if she were trapped in The Sims, but since Cleopatra’s remains are long gone, this may be the closest we get to knowing what she looked like.

7. King Tut

King Tutankhamun, whose famous sarcophagus has traveled far more than the “boy king” did in his 19-year lifetime, had buckteeth, a receding chin, and a slim nose, according to 3D renderings of his mummy. His weird skull shape is just within range of normal and was probably genetic—his father, Akhenaten, had a similarly shaped head. Tut’s body also had a broken leg, indicating he may have died from falling off a horse or chariot.

8. Copernicus

Nicolaus Copernicus, who challenged the belief that the sun revolved around the earth, died in 1543 at age 70. When his body was found in 2006 in a Polish church and confirmed by matching DNA to strands of his hair left in a book, the Polish police used their forensic laboratory to make this portrait. They made sure to include Copernicus’s broken nose and the scar above his left eye. Who knew that the Father of Astronomy looked so much like the actor James Cromwell?

9. Santa Claus

The remains of St. Nicholas, i.e. Santa Claus, have been in a church in Bari, Italy, since they were stolen from Turkey in 1087. This reproduction, taken from measurements of his skull, reveal that St. Nicholas had a small body—he was only 5’6”—and a huge, masculine head, with a square jaw and strong muscles in the neck. He also had a broken nose, like someone had beaten him up. This is consistent with accounts of St. Nicholas from the time: It turns out that Santa Claus had quite a temper.

A version of this list was first published in 2013.

Fabric Allegedly From Queen Elizabeth I’s Only Surviving Piece of Clothing Is Going on Display

© Historic Royal Palaces Courtesy of St. Faith's Church, Bacton
© Historic Royal Palaces Courtesy of St. Faith's Church, Bacton

When Eleri Lynn, curator of historic dress at Historic Royal Palaces, first laid eyes on the Bacton altar cloth, she had a feeling that it wasn’t your typical 16th-century altar cloth. She had come across it online while researching Welsh connections to the Tudor court, and decided to pay a visit to St. Faith’s Church in Bacton, Herefordshire, England, to see it in person.

“I knew immediately that it was something special,” she told The Telegraph. “As I examined it, I felt as though I had found the Holy Grail, the Mona Lisa of fashion.” After a year’s worth of careful analysis, experts believe it was originally part of a dress that Queen Elizabeth I wore in the Rainbow Portrait of 1602. That makes it the only known surviving piece of clothing worn by the Virgin Queen.

Elizabeth I Rainbow Portrait
Isaac Oliver, Wikimedia Commons // Public Domain

The cloth and Elizabeth I’s dress are both embroidered with roses, daffodils, and other flowers. The altar cloth shows animals like butterflies, frogs, squirrels, and bears, which Lynn thinks were added after the Rainbow Portrait was painted. Lynn also noticed that the altar cloth contains strands of gold and silver, which only the royal family could wear during Elizabeth I’s reign due to strict sumptuary laws.

Bacton altar cloth from Elizabeth I's dress
© Historic Royal Palaces Courtesy of St. Faith's Church, Bacton

Close-up on Bacton altar cloth from Elizabeth I's dress
© Historic Royal Palaces Courtesy of St. Faith's Church, Bacton

Since royal attire was so extravagant, it was often handed down to the next generation or reincarnated as upholstery. And, according to a statement from Hampton Royal Palaces, Elizabeth I sometimes gave her hand-me-downs to Blanche Parry, her Chief Gentlewoman of the Bedchamber and the woman who had nursed her from infancy. Parry, as it so happens, belonged to St. Faith’s Church. Lynn and her fellow historians posit that Elizabeth I may have even sent this particular fabric to St. Faith’s in memory of her companion.

While recycling or reusing clothing was sustainable, it has made it difficult for Lynn and her contemporaries to track down fashion relics from the Tudor dynasty. In addition to that, Lynn told The Telegraph, “Oliver Cromwell sold off every item of clothing in the royal stores, so the only things we have, including a hat which might have been worn by Henry VIII, have come back to Hampton Court after they have survived elsewhere.”

St. Faith’s has loaned the cloth to Historic Royal Palaces, the charity that oversees Hampton Court Palace, where you can see it on display along with the Rainbow Portrait and other Tudor artifacts from October 12, 2019, to February 23, 2020.

[h/t The Telegraph]

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