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Classics and Rockefeller Center: John D City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2016 Classics and Rockefeller Center: John D. Rockefeller Jr. and the Use of Classicism in Public Space Jared A. Simard Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1312 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] CLASSICS AND ROCKEFELLER CENTER: JOHN D. ROCKEFELLER JR. AND THE USE OF CLASSICISM IN PUBLIC SPACE by JARED A. SIMARD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 JARED SIMARD All Rights Reserved ii CLASSICS AND ROCKEFELLER CENTER: JOHN D. ROCKEFELLER JR. AND THE USE OF CLASSICISM IN PUBLIC SPACE by JARED A. SIMARD This manuscript has been read and accepted for the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona __________________ __________________________________________ Date Chair of Examining Committee Dee Clayman __________________ __________________________________________ Date Executive Officer Supervisory Committee: Ronnie Ancona Dee Clayman Elizabeth Macaulay-Lewis Jennifer Roberts THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Classics and Rockefeller Center: John D. Rockefeller Jr. and the Use of Classicism in Public Space by Jared A. Simard Advisor: Ronnie Ancona This dissertation situates the mythologically-inspired artwork of Rockefeller Center in the classical education of its sole proprietor, John D. Rockefeller Jr. I argue that his extensive classical education at the Browning School and Brown University led to an adult interest in the Classics. Through extensive, original archival research at the Rockefeller Archive Center and the Rockefeller Center Archive Center, I demonstrate that this interest was expressed through his philanthropy of prestigious institutions such as the American Academy in Rome, the American School of Classical Studies at Athens, and the excavations of the Athenian Agora. Colonial Williamsburg and Versailles are also examined as important examples of Rockefeller’s restoration projects prior to Rockefeller Center. This biographical and historical investigation into the education and philanthropy of Rockefeller Jr. contextualizes his decisions during the construction of Rockefeller Center. I analyze the art program and design of Rockefeller Center, placing its development in the context of previous Rockefeller enterprises and the City Beautiful movement. Special attention is given to the most prominent mythologically-inspired artworks such as Paul Manship’s Prometheus, Lee Lawrie and Rene Chambellan’s Atlas, and several representations of Mercury. Lastly, I examine the ancient source material for iv the myths of Prometheus and Atlas and explore their reception histories in literary and art, in order to better understand the context and symbolism of these myths at Rockefeller Center. v ACKNOWLEDGEMENTS First, I would like to recognize my mother, Sharryn Acampora, who died October 9, 2009. Although she did not live to see the completion of my studies, I know that she would be proud of all that I have accomplished. This dissertation is dedicated to her. I would also like to thank my family and siblings. In particular, my brother, Edgar Simard, has been my unflagging cheerleader. Jeremy Rafal has been a stable foundation for me throughout it all. In the course of extensive archival research, several institutions and people must be recognized. The Rockefeller Archive Center has been instrumental in providing me with access to their records. The entire staff was very welcoming and helpful. In particular, Michele Hiltzik provided invaluable guidance as I worked my way through the material. The Rockefeller Center Archive Center has also been a very valuable resource. I would like to especially thank Christine Roussel who shared in my many exciting discoveries in the archives and whose wealth of knowledge about Rockefeller Center and its art was priceless. The support of my colleagues at The Graduate Center must also be mentioned. My time serving on several institutional committees taught me so many things. My second home at the Doctoral Students’ Council (DSC) was a treasured source of friendships, solidarity, and interdisciplinary discussions. I would also like to thank the faculty, students, and alumni of the Classics Program, and my colleagues in the Classics Division of the Department of Classical and Oriental Studies at Hunter College, which has been my teaching home for so many years. vi My committee, Ronnie Ancona, Dee Clayman, Elizabeth Macaulay-Lewis, and Jennifer Roberts have been incredibly supportive of this innovative and interdisciplinary dissertation. I cannot thank them enough. Elizabeth continues to be a mentor, colleague, and friend. I am sure that our many discussions about New York City and reception studies will endure. Finally, to my advisor, Ronnie, I have no words to do justice to the depth of gratitude and thanks I have for you. Your mentorship, friendship, support, and encouragement is forever treasured. vii Table of Contents Introduction……………………………………………………………………………….. 1 Chapter One……………………………………………………………………………... 10 Rockefeller Jr.’s Classical Education and the State of the Discipline of Classics in late Nineteenth Century Private Schools in the United States Chapter Two……………………………………………………………………………...47 John D. Rockefeller Jr.’s Philanthropy of Classical Initiatives Chapter Three…………………………………………………………………………...122 Rockefeller Center and Its Mythologically-Inspired Art Chapter Four…………………………………………………………………………… 207 The Prometheus and Atlas Myths and Their Reception in Rockefeller Center Conclusion……………………………………………………………………………... 239 Bibliography…………………………………………………………………………… 314 viii LIST OF FIGURES Figure 2.1. Tympanum over the entrance to the Oriental Institute, Chicago…………... 247 Figure 2.2. Wren building, Colonial Williamsburg and College of William & Mary…. 247 Figure 2.3. Capitol building, Colonial Williamsburg...................................................... 248 Figure 2.4. Governor’s Palace, Colonial Williamsburg………………………………... 248 Figure 2.5. Aerial view of Governor’s Palace, Colonial Williamsburg………………... 249 Figure 2.6. Rear entrance to Governor’s Palace, Colonial Williamsburg……………... 249 Figure 2.7. Aerial map of Colonial Williamsburg........................................................... 250 Figure 2.8. Aerial view of Palace Green, Colonial Williamsburg................................... 250 Figure 2.9. Entrance to the Palace of Versailles.............................................................. 251 Figure 2.10. Aerial view of roads leading to Versailles.................................................. 251 Figure 2.11. Aerial view of the Gardens of Versailles.................................................... 252 Figure 2.12. Hall of Mirrors, Versailles........................................................................... 253 Figure 2.13. Aerial view of Gardens of Versailles, with fountains................................. 253 Figure 3.1. Aerial view of Rockefeller Center in 2016.................................................... 254 Figure 3.2. Map of Rockefeller Center in 1948 showing the original eleven buildings.. 255 Figure 3.3. Map of Upper Estate and Midtown............................................................... 256 Figure 3.4. Chicago World’s Fair, 1893, Court of Honor................................................257 Figure 3.5. Grand Central Terminal as viewed from Park Avenue from the south......... 258 Figure 3.6. Morris plan from May 1928.......................................................................... 259 Figure 3.7. Organization flow chart for Rockefeller Center............................................ 260 Figure 3.8. Morris plan from 1929...................................................................................261 Figure 3.9. Reinhard and Hofmeister plan from November 28, 1929............................. 262 Figure 3.10. Reinhard and Hofmeister G-3 plan from January 8, 1930.......................... 263 Figure 3.11. Reinhard and Hofmeister G-3 plan January 8, 1930................................... 264 Figure 3.12. Scale model displayed to the public in March 1931....................................265 Figure 3.13. Plans for Rockefeller Center displayed to the public in March 1931..........266 Figure 3.14. Map showing the four identical building facades along Fifth Avenue....... 267 Figure 3.15. Color rendering of planned rooftop gardens by John Wenrich................... 268 Figure 3.16. Aerial view of the Garden of the Nations on the rooftop of 30 Rockefeller Plaza................................................................................................................................. 269 Figure 3.17. Grand Central Terminal exterior clock sculpture group.............................. 270 Figure 3.18. Paul Manship’s Prometheus in the sunken plaza of Rockefeller Center.....271 Figure 3.19. Early 1930s photograph of Paul Manship’s Prometheus, along with Man and Woman in their original locations...................................................................................
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