Tag Archives: King’s Mountain

Still life at Sycamore Shoals

I finally got to see the updated visitor center exhibit at Sycamore Shoals State Historic Park.  The exhibit narrative offers a pretty good crash course in the history of Tennessee’s Revolutionary frontier, using some lovely murals, audio, artifacts, and a few tableaux with life-sized figures.

You can stand eye to eye with Dragging Canoe while listening to an audio dramatization of his speech denouncing the Transylvania Purchase.  He delivered these remarks in March 1775, just a short distance from where the exhibit gallery now stands.


When Cherokee warriors launched an assault on the settlements in July 1776, one prong of the assault struck Fort Watauga.  Here’s Ann Robertson employing a little frontier ingenuity, using scalding water against a warrior intent on setting fire to the fort’s wall.


Of course, another important moment in the history of Sycamore Shoals came in late September 1780, when the Overmountain Men mustered there for the march that took them to King’s Mountain.


In terms of original artifacts, the highlight is this pair of kettles from Mary Patton’s gunpowder mill.  Born in England, Patton lived in Pennsylvania before migrating to the Watauga region with her husband.  The Pattons’ mill supplied five hundred pounds of gunpowder for the King’s Mountain expedition.  I think these material links to East Tennessee’s Rev War years are pretty darn special.


If you wanted to identify one site as ground zero for Tennessee’s frontier era, Sycamore Shoals would be as good a spot as any.  It’s nice to see the place get the sort of modern exhibit it deserves.

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Filed under American Revolution, Appalachian History, Colonial America, Museums and Historic Sites, Tennessee History

A closer look at Branson’s Sycamore Shoals painting

If you haven’t seen the special exhibit of Lloyd Branson’s art at the East Tennessee Historical Society yet, I highly recommend it.  I’ve been twice, mostly to get a closer look at Branson’s masterpiece: his painting of the muster at Sycamore Shoals, on loan from the Tennessee State Museum.


Completed in 1915, it’s a landmark in the history of Tennessee art and an important example of Rev War memorialization.  Branson’s epitaph refers to this painting alone out of all his other works: “THE TENNESSEE ARTIST WHOSE GENIUS CREATED THE PICTURE ‘SYCAMORE SHOALS’ AND BY IT IMMORTALIZED THE TURNING POINT THAT EANT LASTING VICTORY IN THE AMERICAN REVOLUTION A.D. 1780.”

I’ve seen it before, of course—so have you, if you’ve ever taken a look at my blog’s header—but always in the King’s Mountain exhibit case at the State Museum.  Without that protective glass and dim lighting, it’s like looking at a whole new canvas.  The colors are much more vivid, and you start to pick out details you’ve always missed.  It’s sort of like the first time you watch something in HD.

For example, here’s a group of militiamen gathered around a fire.  Looks like the guy on the far right is wearing a brown frock and leggings.  A little white dog appears to have followed his master to the muster ground.


The guy in the blue coat is checking his horse’s feet—not a bad idea, considering he’s got a trip of something like 200 miles ahead of him.  One soldier with a blanket roll hurries to catch up with his comrades.  In the foreground, a volunteer kisses his wife or sweetheart goodbye, maybe for the last time.

IMG_1354I’d never noticed this African American before; he’s on the left-hand side of the painting, near the bank of the Watauga River.  The force that attacked Ferguson did include some black men.  Lyman Draper reports that Col. William Campbell’s mixed-race slave John Broddy was along for the march.  Another black King’s Mountain vet was Ishmael Titus, who was born a slave in Virginia and earned his freedom by serving as a substitute for his North Carolina master.

IMG_1357Here’s something else I’d always missed when looking at printed images of the painting: Branson put a couple of Native Americans at the muster.  Just a few months after the scene depicted here, the settlers in present-day Tennessee would be at war with their Indian neighbors again, and John Sevier would be leading his men south into the mountains on another campaign.

IMG_1348Is that a road running along the riverbank?  Perhaps it’s the trail that will take the Overmountain Men toward their camp at Shelving Rock.

IMG_1356There’s a fire going in one of the cabins nearby, and it looks like somebody’s cultivating the fields by the river.  More horses are lined up and ready for the long ride that will end in South Carolina.

IMG_1358Not all the Overmountain Men were mounted.  Here a group of footmen head out with rifles, blanket rolls, powder horns, and cartridge pouches.  As big and busy as this scene is, the amount of detail that Branson put into these small figures is remarkable.

IMG_1352There are two prominent men on horseback in the foreground, shaking hands with well-wishers before setting off.  If I recall correctly—and I don’t remember where I read this, so it’s a rather big “if”—the one on the left is supposed to be Isaac Shelby, and Sevier’s the one on the right.  Don’t quote me on that, though.


Even more mounted volunteers head out from a fortified building (Ft. Watauga, perhaps?).  In the distance are the Appalachian mountains, the same ones Ferguson has threatened to march over to lay waste to the settlements.  The riflemen beside the river will be crossing those hills instead, headed in the other direction to take out Ferguson and his Tories.


The more time you spend with the painting, and the closer and more carefully you look, the more you start to pick out finer details, and at some point all those seemingly indistinct figures start to take on a life of their own.  It’s not unlike the process of studying history, come to think of it.


Filed under American Revolution, Appalachian History, History and Memory

Lloyd Branson’s art at the East Tennessee Historical Society

The East Tennessee Historical Society just opened a special exhibit on Lloyd Branson, one of this region’s most prominent artists of the late nineteenth and early twentieth centuries.  The exhibit runs through March 20 and then heads to the Tennessee State Museum in Nashville.

If you’re a regular reader of this blog, you’ve encountered Branson’s work before.  The banner image running along the top of this website is from his painting of the Overmountain Men’s muster at Sycamore Shoals, the event that started the march leading to the Battle of King’s Mountain.  The original painting is part of the Tennessee State Museum’s collection, but it’s on loan to ETHS for this exhibit.

Some sources—including yours truly—have reported that Branson also painted the Battle of King’s Mountain itself, but that this work went up in flames when a Knoxville hotel burned down in 1916.  But it looks like the lost King’s Mountain canvas wasn’t a Branson work after all.  Adam Alfrey of ETHS tells the Knoxville News-Sentinel that contemporary newspaper reports attributed the painting to James W. Wallace, one of Branson’s students.

That’s not much consolation for the torched painting, though, because Wallace was a fine artist, too.  He did a number of works on regional and historical themes, including a really nice painting of the signing of the Treaty of Holston.  I’m dying to know what his depiction of King’s Mountain looked like.

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Filed under American Revolution, Appalachian History, Tennessee History

John Ferling is right on

When asked to name the Rev War’s most underrated battle and participant, Ferling put in a good word for King’s Mountain and Nathanael Greene.  My kind of guy…and also a darn good historian.

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‘Liberty Mountain’ playwright on the history behind the show

Robert Inman, who wrote the script for the new King’s Mountain play I mentioned a few days ago, has a guest post about the campaign over at Appalachian History.

The play has its premiere this October, and after that it’s going to be an annual summer production.  Inman has evidently done quite a bit of writing for both theater and TV.  I’m hoping I get a chance to see the show.

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Filed under American Revolution, Appalachian History

Southern Rev War site news

Some of my favorite national parks are joining forces:

Southeast Regional Director Stan Austin announced that four National Park units in North Carolina, South Carolina, Tennessee, and Virginia will begin to consolidate operations on or about September 1. The four units represent significant stories of the American Revolution in the southern United States.

“This action will ensure financial sustainability, provide more efficient use of resources, and help these parks to better serve the visiting public,” Austin said. “The units share historic backgrounds, missions and geographic proximity, and this provides an opportunity to share employees who perform identical or similar functions at each of the parks.”

Kings Mountain National Military Park, Cowpens National Battlefield, and Ninety Six National Historic Site are located in South Carolina. Overmountain Victory Trail spans parts of Tennessee, Virginia, North Carolina and South Carolina. As part of the National Trails Program, it is a partnership entity and does not own land.

The four units will be formed into a “group” under one general superintendent who will manage all four units. The National Park Service has begun the hiring process for a general superintendent. It is expected that the position will be filled by September 1, and the new superintendent will begin the process of combining park functions. The new superintendent will also be responsible to promote the individual identity of each park and build coalitions within each of the parks’ surrounding communities. It has not yet been determined where the new superintendent will be stationed, but it will be at one of the three existing park units.

It’s a move that makes sense, I think.  KMNMP and the OVT are inseparably intertwined, Cowpens is one of the stops on the trail, and Ninety Six in the same general neck of the woods.  I just hope this isn’t a sign that any of these parks are having major financial trouble and needing to cut back on operations.

Meanwhile, Historic Brattonsville has unveiled some big changes at the site of Huck’s Defeat (or the Battle of Williamson’s Plantation, if you prefer):

The new quarter-mile gravel trail, which is part of the attraction, features a series of interpretive kiosks that illustrate the details of the battle and tell the story of the Williamson and Bratton families.…

Lynch [no relation to yours truly] said a wood frame has been erected at the site where the Williamson home stood. Painted cutouts of soldiers representing the British and American forces have been placed on the battle field to illustrate what happened, he said.

The CHM also commissioned Charlotte painters Don Troiani and Dan Nance to visually capture the story of the Battle of Huck’s Defeat.

Seven original paintings will be on display in Brattonsville’s Visitors Center during the opening weekend festivities. Prints of the artwork will be sold year-round. Nance will be on hand to sign prints both days, Lynch said.

Lynch said the Visitors Center will also feature a new 14-minute documentary that will help visitors understand the events that played out during Huck’s Defeat.

“It enriches the experience,” Lynch said. “You have the battlefield trail and the video you can watch to augment the experience.”

When I visited Historic Brattonsville a few years ago there was a trail to the battleground and a short pre-recorded narration, but it’s great to see that they’re telling the story more fully.  If you haven’t been to HB, I heartily recommend it.  It’s a wonderful place to learn about the early South Carolina backcountry.

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Remembering and forgetting John Sevier

If you’re in the Knoxville area, come out to Marble Springs State Historic Site this Saturday at 1:00 P.M.  Fellow history blogger Gordon Belt will talk about his new book John Sevier: Tennessee’s First Heroan examination of the ways we’ve remembered, misremembered, and failed to remember the man who probably did more than anyone else to create the Volunteer State.  

The cool thing about this book is that it offers an accessible introduction to Sevier’s life as well as a thoroughly researched examination of his place in tradition and memory. It traces the development of the Sevier legend across the three major phases of his life as a pioneer, a soldier, and a statesman, stopping along the way to address some of the more popular stories about him, such as the dramatic rescue of his future wife at Ft. Watauga, his involvement in the Franklin movement, and his public feud with Andrew Jackson.

I eagerly awaited the publication of Gordon’s book, not just because it fits my personal research interests to a T but also because I think it will help address a troubling bit of historical amnesia we have here in Tennessee.

I think I first realized the extent of the problem the day I went to UT’s library to borrow a book about Sevier.  It was Carl Driver’s 1932 biography, and I needed it for my master’s thesis on memory and the Battle of King’s Mountain.  The guy behind the counter looked at the title and said, “Oh, the highway guy.”

The highway guy?  And then it hit me: Gov. John Sevier Highway loops around the southern and eastern sides of Knoxville.

He was the state’s first governor, a member of Congress, a state senator, the only governor of the Lost State of Franklin, an officer in one of the Revolutionary War’s pivotal battles, commander of the state militia, defender of the frontier and the scourge of the Cherokees.  If we don’t remember his stellar résumé, we should at least remember his name, because it’s all over East Tennessee: Sevierville, Sevier County, Gov. John Sevier Animal Clinic, John Sevier Combined Cycle Plant, John Sevier Elementary School.  Along with his nemesis Old Hickory, he’s one of two Tennessee heroes in the U.S. Capitol’s National Statuary Hall.  Even his wife has an elementary school named in her honor.

But to the kid behind the library desk, he was “the highway guy.”

The notion that a Tennessean of any era would be unfamiliar with the exploits of “Nolichucky Jack” would have come as quite a shock to his contemporaries.  From the time of the American Revolution until his death in 1815, Sevier was one of the most popular men in his corner of the world.

But by the late 1800s, there was already a sense among antiquarians, regional authors, and amateur historians that Sevier and the other heroes of the old frontier had not received their historical due.  These men were determined to rectify the problem, but they overcompensated.  In the work of writers like James Gilmore and Francis M. Turner, Sevier became a frontier demigod.  The hero-worshipping writers of the late nineteenth and early twentieth centuries obscured the flesh-and-blood man behind a haze of tradition and sentimental prose.

There were other, later attempts to understand and commemorate Sevier and his times in the twentieth century.  Some of the most interesting were on the stage, as the early settlement of Tennessee became the subject of outdoor dramas.  On the printed page, regional historians like Samuel Cole Williams and Pat Alderman picked up where the antiquarians of the 1800s had left off.  But separating the man from the myth remained a problem.  Although Driver’s biography is the most thorough cradle-to-grave treatment of Sevier, it dates back to the Great Depression.

Gordon’s book is just the sort of fresh take we need to kickstart another revival of interest in one of the frontier’s most important figures.  Visit Marble Springs this weekend to hear him discuss it.

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Filed under American Revolution, Appalachian History, Historiography, History and Memory, Tennessee History