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There were five classes of drawings, according to E. D. Andrews;11
the first were sacred sheets, in which the artists were trying to give pictorial
form to their psychic experiences. Second, there were the beginnings of
articulate symbolism--intelligible messages from different individuals in
the spirit world arranged in geometric compartments and inscribed with
various inks. Third, there were TTleafand heart rewards," on cards or paper
in those shapes, presented by one sister or brother to another as tokens of
affection or esteem. The floral and arboreal (or tree of life) drawings show
greater intricacy in design, an increased scope of imagery, an unrestricted
but controlled use of color. They revealed the Shakers* love of nature and
employed many designs based on Biblical sources--the all-seeing eye, sun,
bugle, crowns, feathers, open books, weeping willow, pillar of light. Their
major drawings originated mainly in New Lebanon, and the designs were
more detailed, plants were used in greater profusion, and symbolism was
more varied. Some symbols had precise significance. For example, angels'
wings signified protection; a colored ball - light, love or comfort; straw-
berries -union; cherries - hope; apples-love; pears - faith; roses - love
or chastity; chains - union and strength; clocks and watches - mortality;
and golden chains, jeweled crowns, treasure chests and exotic blooms - the
wonders of the "heavenly sphere,"
Anyone who had to "go out into the world," as on business, could not
be gone for more than 4 weeks, had to go in a group of three, should always

11. Andrews, E. D, and F, Visions of the Heavenly Sphere: A Study in
Shaker Religious Art. University Press of Virginia, 1969.