...,~ yl) THE HISTORIC f£1 NEW ORLEANS Preservation Seminars, p. 3 After the Expo, p. 4 ~ COLLECTION Letters from the Fair, p. 5 ~~ NEWSLETTER Historic Pasties, p. 9 Volume II, Number 4 Fall1984

Center: The Louisiana Al­ phabet is cur­ rently on view in the Williams Gallery. Items from the exhibit include, clockwise, an immortelle (1948.8.5); a dueling pistol (1978.175.5); and a photoprint by Stuart M. Lynn (1979.326.94).

In the Gallery Louisiana From [A] to [ZJ

A, B, C. sentation itself, modeled after a child's al­ Antiques, Basin Street, and cemeteries. phabet blocks. And so goes the Louisiana Alphabet, end- Serving as a point of departure for this ex­ ing with a flourish: Z for Zulu. hibit are 27 pen and ink drawings by direc­ "It's an easy, refreshing way to go through tor emeritus Boyd Cruise. These illuminated Louisiana history." Curator John A. Mahe letters originally appeared in the mid-1950s II was talking about the Collection's current as illustrations for the Louisiana Historical exhibition before it opened in the Williams Quarterly index. Gallery in July. Just as refreshing is the pre- When staff members began planning an ex------~

hibit for this World's Fair year, they wanted to present a broad view of Louisiana life instead of focusing on LOUISIANA ALPHABET a single subject. The suggestion of curator John H. Lawrence proved to be a good one: Mr. Cruise's Lou­ isiana Alphabet would provide the necessary variety. Besides giving visitors an over­ view of what is to be found in Lou­ isiana, reinforcing their impressions gathered at the World's Fair, the exhibit also shows them items from every major collection at THNOC. "The idea is to introduce the visitor to everything we have," explained Mr. Mahe. "The exhibit is really a research guide with visuals." The carefully chosen objects-city Left, Tom Staples examines a prepara­ directory, paintings, prints, maps, tor's worksheet for the exhibit. Center, the Williams Gallery. Right, Alan Bal­ drawings-all come from THNOC's icki paints the alphabet. own holdings. Each item suggests an unseen wealth of information be­ example, led tb the French Market; yond the walls of the Williams Gal­ writer Lafcadio Hearn, one-time lery. employee of the Item and the Times Democrat, suggested newspapers. As the folders established for each letter fattened over the winter, the curatorial staff searched for visual material to illustrate their findings. It was important to make selections might be found scattered within a from all available media. With this toy box. K and Z-King Comus and in mind, Susan Cole, curator of Zulu-begin the alphabet proces­ manuscripts, combed various col­ sion; M and W for magnolia and lections for significant items. Thus, water hyacinth are natural combi­ dueling oaks, the entry for D, was nations, with X marking the spot augmented by the inclusion of an (that's the Collection) near the do­ 1832 letter detailing a Creole af cent's desk. The informality of the faire d'honneur. Addressed to Henri presentation aims for a certain ef­ de Ste. Geme, resident of France fect, one that makes the visitor feel and absentee Louisiana plantation like stepping in to see. owner, it is one of the invaluable One difficulty an exhibit of this papers in the Ste. Geme collection. nature presents is in choosing what Researchers culled other sources­ to include. With an embarrassment the Nicholson family collection, for of riches in the Collection, the cur­ example-looking for items to make atorial staff had to limit not only " Most visitors think we're a one­ the alphabet come alive. their visual material but also infor­ topic research center," Mr. Mahe Presenting this potpourri de­ mation included in the labels. Boil­ continued. "This exhibit gives us a served a special kind of treatment. ing down the text to its essence pre­ chance to talk about ourselves." It John Mahe realized that such mixed sented the biggest challenge to also used the expertise of more staff subject matter required a light ap­ curator Rosanne McCaffrey. members than any previous en­ proach. Inspiration came from some Just before opening day John deavor. familiar objects: his nephew's al­ Mahe described some of the items Assembling information for the phabet blocks. These small cubes led to be displayed. All diverse, they Collection's self-portrait got under­ to the construction of building include memorial jewelry, a fishing way well over a year ago when Elsa blocks to be stacked one on top of map with " official" spelled as " of­ Schneider, curator of education, and another in addition to framed blocks ishall" to accommodate the subject, her staff of docents began research­ for wall mounting. Tom Staples, and a finely detailed oil painting of ing the subject matter of Mr. THNOC's preparator, drew the Uncle Sam Plantation. "The Loui­ Cruise's alphabet. Similar to a peb­ specifications of the design, extend­ siana Alphabet is like a pictorial his­ ble thrown in water, each topic cre­ ing the theme of blocks to include tory. This is our coffee table book," ated its own pattern of concentric the treatment of the docent's desk. Mr. Mahe concluded. "It's some­ rings as one area easily spread into The subjects are not arranged al­ thing that will whet the appetite." another related field. Gumbo, for phabetically but rather as they -Louise C. Hoffman 2 THNOC Seminars

Susan Cole, john H. Lawrence, and Priscilla O'Reilly, seminar speakers.

The first THNOC-sponsored sentation and exhibit of archival preservation seminars were held at materials gave seminar participants the Collection on Saturday, Sep­ a better understanding of how to tember 15, 1984. Approximately 60 care for papers at home. people attended the morning and Registrar Priscilla O'Reilly dis­ afternoon sessions which featured cussed the care of paintings, using m~~~~~ presentations by staff members on slides to illustrate her narrative. The ~l COLLECTION the care of family photographs, pa­ ingredients found in paint were pers, and paintings. analyzed, and the topics of han­ ~~~· NEWSLETTER dling, displaying, and transporting paintings were explored. Those attending the seminars Editors: Patricia Brady Schmit, Louise C. Hoffman "Identifications should were taken on tours of the curato­ Head of Photography: Jan White rial and manuscripts storage facili­ The Historic New Orleans Collection not be written on the ties. All participants received pack­ Newsletter is published quarterly by ets containing examples of acid-free the Historic New Orleans Collection, backs of photographs, which is operated by the Kemper and supplies, bibliographies of preser­ Leila Williams Foundation, a Louisiana but on the outside of vation literature, and THNOC's non-profit corporation. Housed in a complex of historic buildings in the the enclosure." Preservation Guide 1: Family Papers French Quarter, facilities are open to and Preservation Guide 2: Photo­ the public, Tuesday through Saturday, -Preservation Guide 2: from 10:00 a.m. until 4:45 p.m. Tours graphs. of the history galleries and the residence Photographs are available for a nominal fee. Board of Directors: Benjamin W. Yance)', President Ernest C. Villere Mrs. William K. Christovich The care of family photographic G. Henry Pierson, Jr. "NEVER attempt to John A. Rodgers III collections was demonstrated by keep a document Stanton Frazar, Director curator John H. Lawrence. Mr. Lawrence presented a slide pro­ The Historic New Orleans Collection together by applying 533 Royal Street gram illustrating different photo­ adhesive tape, staples, New Orleans, Louisiana 70130 graphic media, handling, and stor­ (504) 523-4662 or g ue. " Cable: THNOC age; he also displayed material used l -Preservation Guide 1: c 1984, in the care of photographs. The Historic New Orleans Collection Curator of manuscripts Susan Family Papers Cole addressed the problem of de­ terioration, storage, display, andre­ trieval of family papers. A slide pre- 3 By 1892, numerous long, straight drainage ditches, spanned by little wooden bridges, had been dug. The State Experimental Farm had been located in the park to ensure that at least part of the area would be well kept, and a philanthropist had built an aviary stocked with a pair of golden pheasants. A gateway de­ signed by Thomas Sully and de­ scribed by the Daily Picayune as ". . . about as handsome and pic­ turesque as an inspired toadstool ... , " was built at the corner of St. Charles Avenue and Exposition Boulevard, where it still stands. However, lack of funds prevented any real beautification of the park which, except for a few magnificent stands of oak trees, was a barren, The Horticultural Hall, a relic of the HISTORIC 1884-85 Exposition (1984.93), albumen monotono~s prairie marked by un­ - -- ____---:__---=-- __-=.;;;;:;;:____:::=_- ---=-..:.__--- - -=-- cut grass, crayfish-filled ditches, and ------~-.:::------=--~~...,.,.~-=------==-=- photoprint by Edward L. Wilson. straight, uninspired rows of widely ~ t~lEiW~~- Qr l~ciJ!§i spaced, solitary trees. -=-~:=..--=-~~-~-=-- ~~~-=-=-,;------=~ Finally, in 1896 the present park began to emerge when the state legislature set aside funds for im­ After the Expo: provements. The well-known Mas­ sachusetts firm, Olmsted Brothers, The Creation of an Uptown Park which included Central Park de­ signer Frederick Law Olmsted, was A century ago another world's fair fortunately, the park deteriorated hired to redesign Audubon Park. In was unfolding in New Orleans at an rapidly. The worst victim of neglect 1898 the park golf club was cre­ upriver location that was to become was the Horticultural Hall itself, as ated, and by 1902 the Olmsted de­ today's Audubon Park. Originally a vandals and climate destroyed its sign plan was completed, calling for plantation, the land was purchased glass panes, and its exotic plants the lagoons, walkways, and tree­ as a park site by the city adminis­ either died or went wild in the scapes that exist today. tration in 1871 and named Upper greenhouse climate, turning for­ The Olmsted plan incorporated City Park to distinguish it from merly well-tended walkways into the Horticultural Hall, so admired Lower City Park, today's City Park. veritable jungles of greenery. by New Orleanians that there were Undeveloped for several years, it In June 1886, the park was re­ few complaints about its expensive was filled with stately, moss-hung named in honor of John James Au­ maintenance costs. Broken glass was oak trees, tall grasses, tangled dubon, but, considering its rapid re­ a constant problem, and it required bushes, weeds, crayfish, goats, and version to nature and the lack of repairs after almost every wind­ herds of dairy cattle. Drainage was money to remedy the problem, the storm. Moreover, in 1891 it was dis­ so poor that some sections were re­ scurrilous rag Mascot set the tone of covered that the hall had been built duced to perpetual bogs. In 1880 press reaction when it called the without a foundation so its under­ the Daily Picayune scoffed that the honor an insult to the man. pinnings needed constant shoring area resembled a park, " ... about Several private commissions with up to prevent extensive sagging or as much as a windmill resembles a grandiose plans to improve the even collapse. Sadly, during the im­ plum pudding." park-and little money to carry plementation of the Olmsted plan, The development of Upper City them out-came and went. By 1888, the building was so badly damaged Park began when it was chosen as the overgrown, untended park was in the 1915 hurricane that it had to the site for the 1884-85 World's In­ more of an embarrassment than an be pulled down. dustrial and Cotton Centennial Ex­ ornament, so the city council took The improvement of Audubon position, succeeded by the 1885-86 over and set up a commission with Park was an enormous and costly North, Central, and South Ameri­ a small annual income for mainte­ undertaking. It took eighteen years can Exposition. The exhibition nance. To carry out more ambitious to realize all the details of the buildings were to be demolished ex­ plans, a special tax was proposed, Olmsted design, finally reaching cept for the Horticultural Hall but it failed miserably at the polls. completion in 1920. Many of the which was an ornament to the up­ The Park Commission plodded park's other ornaments were fi­ town park. This area, an attractive ahead making what improvements nanced by generous private bene­ urban retreat, was expected to be a were possible with its meager funds. factors. lasting result of the expositions. Un- -John Magill 4 From the

"What a terrific guide!" said Teddy Kennedy, Jr., who was per­ sonally escorted around the Collec­ tion by Elsa Schneider, our curator of education. I hasten to say, no one heard him make a similar remark following what has lately become The 1884-85 Exposition (1959.27.4) , as my specialty, "The Non-Tour Tour depicted in Harper's. of the French Quarter for Visitors Who Either Know or Don't Want to Know Too Many Facts." JJ During the summer it was con­ ducted for H.R.H. Princess Alex­ andra who gave every indication of enjoying it. We finished the walk The World's Industrial and Cot­ the Department of Printing and here at THNOC where New Orle­ ton Centennial Exposition was held Publishing which provide a pun­ ans expert and resident anglophile in New Orleans exactly a century gent commentary on the fair by an John Magill answered her many ago, a time when the South was unidentified, but disgruntled, me­ questions about our local "royalty." slowly recovering from both the chanic. Only a few facts are known And our star is rising in the East Civil War and Reconstruction. The about this mysterious letter writer: as well. That same day my wife Exposition was intended to dem- . his first name was "Ed"; he was em­ Clayton and I entertained San Shi­ onstrate to the nation the industrial ployed at the Cotton Exposition, yuan, Deputy Director of the Bei­ development and vigor that accom­ running an engine that he hoped to jing Palace Museum, and his entou­ panied this recovery. The Exposi­ sell; he was from "up north"; and rage in our home for lunch. As I tion site was located at what is now he had a sweetheart named "An­ strained to catch how THNOC Audubon Park; it was then about five nie" to whom he wrote these let­ sounded in Chinese, two extremely miles beyond the true urban por­ ters. busy interpreters kept the conver­ tion of the city. A streetcar line " Dec. 29th. 1884. My own Dar­ sation flowing smoothly. Closer at down St. Charles Avenue con­ ling Annie, ...There are a thousand hand, we've had such notables as nected the city to the fair grounds, things to make a person worried and Governor Edwin Edwards, Secre­ and steamboats ran a regular route tired here, especially as everything tary of State Jim Brown, and Mayor between the " head" (foot) of Canal is confusion yet. You cannot imag­ Dutch Morial strolling through our Street and the newly constructed ine how poor the accommodations courtyards. wharf serving the Exposition for travel &c. are here ....Car driv­ grounds. ers are on a strike all over the city When the Exposition opened on and travel is almost impossible. I had December 16, 1884, the Daily Pic­ to take a Steamboat on the Missis­ ayune reported in a letter from the sippi River in order to get down Meanwhile the staff was busy with paving company to Mayor Guillote town to the P.[ost] O.[ffice] ....A the day-to-day running of our re­ that the streets were paved up to great many people at the exposition search facility. In the last calendar Lee Circle and that the rest of the are stopping in the city and they are quarter we had 19,506 visitors to way was shelled. The shell roads, as 'mad as hornets.' I think myself our public exhibition galleries while however, were in poor condition that this strike is a disgrace to the our three departments show that because of the constant hauling of southern states, and also the poor 1, 791 patrons were assisted in 1,124 heavy materials and equipment from accommodations all the way hours of research. Now that is our town to the Exposition site. through. The most important thing "stated purpose" and cause for a lit­ The Manuscripts Division at the in a case like this is to look to the tle self-congratulation. Collection has two letters on official comfort of the visitors. Here they -S.F. World's Exposition stationery from have spent millions of dollars on the 5 _Profile Dode Platou

t//. (1~,..~1/.j / ~ c ~1. /fd'// Letterhead from World's Exposition stationery (83-64-L) used by the homesick "Ed." buildings and grounds and have not three o'clock. Started the engine at done the first thing to facilitate four and ran until eight. I think there travel. .. . " were more there to day than on any Contemporary accounts from the other. It looked quite full of life. Daily Picayune on December 28, The admission is 25¢ on Sun­ 1884, corroborated Ed's com­ days ... .There has not been a Sun­ plaints. The paper reported that the day that has seemed like Sunday day was warm and rainy and that since I came down here ... Jn front there were large crowds in attend­ of Horticultural hall is a long walk ance. A rumor spread that the driv­ shaded by immense live oaks. I went ers on the streetcar lines reaching over there this evening to look at the Exposition grounds had struck the lights: when I was walking along and that all lines had ceased run­ this path, with the electric light at ning. The crowd panicked and ran the extreme end, throwing long dim to the exits through wind, rain, and shadows, the place looked so ro­ mud, pushing their way onto any­ mantic that it made me dreadfully thing that moved. Steamboats of all homesick to see my Darling. Good "The trouble with me is I like to sizes made innumerable round trips, night sweetheart pleasant dreams, do everything," laughs chief cura­ but were not adequate to the task. Accept of much love and many tor Dode Platou, as she explains how When management attempted to kisses from Your loving Ed." - ­ she and curator John H. Lawrence keep the cars running, fighting ~s romantic electric lights were created a videotape about Carnival. broke out, and the mayor was forced furnished by the Edison Electric The colorful and innovative tape at­ to issue a proclamation to keep the Light Company, the largest estab­ tracted crowds to the recent Rites .Peace. On December 29, the strike lishment of the kind for providing ended, and the Daily Picayune ed- the incandescent lights which were itorialized, " The companies have one of the marvels of the Exposi­ "Nothing you learn their hands full in meeting the de­ tion. ever goes to waste." mands upon them during the Ex­ These letters (MSS 214) were a position, and will need the best ser­ gift from Mrs. William Wright, who vice of every employee." donated them to the Collection af­ ofRex exhibition. Versatility, activ­ Ed's disenchantment extended ter seeing the World's Industrial and ity, and willingness to experiment beyond transportation to the city's Cotton Centennial Exposition ex­ are keys to her professional style. climate. He complained, "You don't hibition in the Williams Gallery in Mrs. Platou heads the largest de­ know anything about mud up north. 1978. They were added to 19 other partment at the Collection with a This is the rainy part of the year in Manuscript Division items relating staff of 30 and several volunteers; this section. Instead of having cold to the Exposition, including re­ holdings in the rapidly expanding weather and snow, they have rain ceipts for stock, programs, material department now approach 250,000 and mud. Some streets that are not relating to the "International Drill" items. In addition, she is a mainstay paved do not seem to have any bot­ of military groups, a gate pass, and of the local arts community. Con­ tom when wet. It is worse than it is letterheads depicting the buildings. trary to today' s trend toward highly in the country up north when the Additional information about the specialized museum studies pro­ frost is comeing [sic] out of the events described in Ed's letter is grams, Mrs. Platou came to her ground. There is no use of blacking available in the Daily Picayune, De­ profession with a wide range of ed­ your shoes because the(y] are all cember 1, 1884-January 30, 1885. ucational and employment experi­ spoiled in five minutes . . .. They General background information ences, providing depth and variety have more changes of weather here can be obtained from D. Clive Har­ in her approach to the job. in one day than I ever saw in a month dy's The World's Industrial and As she puts it, "nothing you learn up north .. . . " Cotton Centennial Exposition, pub­ ever goes to waste," and her career As the Exposition continued, Ed lished by the Historic New Orleans clearly indicates the success of that wrote in a more mellow mood, "Jan. Collection in 1978 in conjunction approach. With a "tremendous ed­ 11th 1885. My Love, Annie . .. J with the exhibition. ucation in the public schools of went over to the Exposition about -Catherine C. Kahn Minneapolis-a very cultured city"

6 and a degree in art education with a minor in business administration from the University of Minnesota, Mrs. Platou has refused to confine herself to any narrow field of study. In college she took courses in everything from textiles to psy­ chology, journalism, photography, and movies as an art form (in which viewing banned foreign art films was a definite plus), and some years later attended a summer session in arts administration at the Harvard Busi­ ness School. As a senior, she was one of the As a columnist for the finalists in Vogue's Prix de Paris Minneapolis Trib­ writing contest. She was invited by une, Dode Platou in­ Vogue to New York and, despite the terviewed the leg­ trepidation of her parents, promptly endary Bette Davis. boarded a train for New York and arrived on the magazine's doorstep. moved on to Country Day School, that "collecting is something we all She received an honorable mention where she set up the photography love, surrounding ourselves with in the contest, but joined the Min­ department and taught photogra­ fascinating objects," and that col­ neapolis Tribune as a columnist and phy classes. Later she decided that lection organization and care is es­ movie reviewer-"You see, those "it was time to get out of the dark­ sential. courses were useful." room" and to pursue a lifelong in­ One of her present projects is Following marriage to Dr. Ralph terest in painting through classes at overseeing the inventory of the V. Platou, she came to New Orleans Newcomb. George Rickey, then photographic archives of Clarence when Dr. Platou was recruited as head of the Newcomb Art School, John Laughlin. A longtime desire is chairman of the pediatrics depart­ encouraged her to complete an to publish a book on 19th-century ment of Tulane University Medical M.F.A. in painting, with a minor in illustrator Alfred Waud, incorpo­ School. At first Mrs. Platou art history, which she combined rating manuscript material and "couldn't believe" New Orleans with rearing three small children. original illustrations. This plan grew because of "the heat and the ter­ She continued a painting career for out of her earlier work on the ex­ rible wartime housing conditions." several years before moving to Ha­ hibition and catalogue, Alfred R. Today, however, the city is her cho­ waii. Waud: Special Artist on Assignment. sen home. After three years away from the Her pleasures include her fam­ Because of her experience in city in connection with her late hus­ ily-she is the mother of three photography, Mrs. Platou was asked band's career, Mrs. Platou returned grown children and has four grand­ to set up the medical photography to New Orleans in 1969 to become children-and travel. Recent excur­ department at the Ochsner Clinic curator of the new Wisner Wing at sions have included India and the the Delgado (today New Orleans) mountains of Nepal, Tibet, China, Museum of Art. Later named cu­ and the northern silk route cities of rator of eduction, she was in charge ancient Turkestan. of educational programming, gal­ She wakes up every morning with lery lectures and films, docent something to do or to look forward training, and presented four major to-which she sees as the essence of exhibitions in the Wisner Wing. an active and happy life. Her only She was lured to the Collection problem is fitting all her interests by director Stanton Frazar in 1976 into a day. Fortunately, as she says, to head the curatorial department, her family tends "to live forever" which at that time was crowded into so she has time to accomplish her one office. Mrs. Platou's first assign­ diverse ambitions. when it was located in an old build­ ment was organizing a retrospec­ -Patricia Brady Schmit ing on Prytania Street. She hired an­ tive exhibition of Boyd Cruise's other young bride to assist her in work and producing an accompa­ · CREDITS copying x-rays, taking photomicro­ nying hardback book; she was soon graphs, and making movies or slides asked to establish an acquisitions Contributors: Susan Cole, of operations and patients' wounds. committee as well. Florence Jumonville, Catherine "At first I thought I might get sick, The diverse aspects of the job are Kahn, Priscilla O'Reilly. but it was a real challenge to pro­ appealing to her. Mounting exhi­ vide the right shots." bitions calls on her creative talents: Photographs: Jan White, Judy In a career pattern emphasizing planning the Rites of Rex was es­ Tarantino, and Sue Laudeman. change and challenges, Mrs. Platou pecially enjoyable. She also notes 7 Normandy. He built the handsome, Bricks & Mortar \ _ two-story brick house that is now the home of the Historic New Or­ leans Collection. The builder may The Merietrlt House have been an American, Jacob Cowperthwaite, a native of Bur­ lington, New Jersey, who had come into the Spanish province in the late 1 770s or early 1 780s. When Cow­ perthwaite died in 1793, Merieult was named as executor of his estate. Some of the brick walls of an earlier house were used in the construction of the new one, as evident in the rear wall of the countinghouse now used as THNOC's reception facil­ ity. In this room, pilasters cover French colonial-type ventilators distinguished with wrought-iron grilles. Merieult died in 1818, soon after having had additional work done on the house by the architect-builders Claude Gurlie and Joseph Guillot. After Merieult' s death, the building was sold to pay his creditors and Boyd Cruise's 1939 watercolor of the Merieult House (1952.17). passed through several ownerships until 1832, when it was purchased The Historic New Orleans Col­ engineer Adrien de Pauger in March by the Lizardi Brothers, a firm of lection is housed in one of the old­ 1721. The five 60' x 120' lots facing international bankers and mer­ est and most notable buildings in the Royal Street, between Toulouse and chants. They made alterations to the Vieux Carre. It is the dwelling that St. Louis streets, were reserved from the wealthy merchant-trader Jean the beginning by the Company of Fran!;Ois Merieult built for his ex­ the Indies for the construction of tensive commercial activities, as barracks to house the French and well as an elegant residence for his German workmen whom the Com­ family. It was constructed soon af­ pany had brought to the colony to ter he purchased the site in 1791 assist in building the city. and may incorporate parts of a much When the Company retroceded earlier house that had been erected Louisiana to the king in 1731, these on this site in the 1 750s or '60s. lots were occupied by crude bar­ structure, replacing the original first This was the only structure in the racks buildings and by the king' s floor wall along Royal Street with area that escaped the disastrous forges. It was not until the 1750s the present granite piers, which conflagration of December 8, 1794, that the barracks lots were granted were becoming popular in New Or­ a fire that began across Royal Street to private owners. On May 12, leans in the 1830s. They also rebuilt in the house of Fran!;ois Mayronne. 1757, the lot on which the Merieult the rear wing on the upper side of The fire spread rapidly down as far House now stands was granted by the courtyard to house their hand­ as the newly completed St. Louis Governor Louis de Kerlerec to the some countinghouse. Cathedral. The church was saved by Sieur de Callogne. By 1762, a house, Manuel J. de Lizardi owned the a sudden change in the wind that the residence and shop of the sil­ property until 1857, when it was reversed direction and sent the fire versmith Isaac Guinault, had been bought by Theodore Danflous, from spreading over an area as far back erected on the site. When the great whose heirs 'Jean Baptiste Trapolin as Bourbon Street and as far up as fire of March 21, 1788, devastated acquired it in 1878. Trapolin built the fortifications in the vicinity of the city, this property was owned the house now at 718 Toulouse present-day Canal Street. In the by a Spanish schoolmaster, Don Street that became the L. Kemper plan prepared by the Spanish en­ Pedro Arag6n y Villegas. Arag6n's Williams residence and was the gineer Juan M. Perchet, and dated house was destroyed in the fire or owner from whom the Williamses December 25, 1794, the Merieult soon after, for when the property purchased both the Royal Street and House is shown standing alone in was sold on April 15, 1792, it was Toulouse Street houses in 1938. the devastated area. described as having "brick rubbish -Samuel Wilson, Jr., F.A.I.A. The site of the Merieult House upon it." Mr. Wilson is a local architect and was one of the first to be built upon The purchaser from Arag6n's es­ historian whose firm has been the after the streets of the town had tate was Jean Fran!;ois Merieult, a principal architect for all the Col­ been laid out by the French military prominent merchant and a native of lection's past building programs. 8 J 1

Three panels from the Nitta Yuma pasties The Nitta Yuma Pasties: (1975.93.1-2,.5). 19th-Century Art Form

The Nitta Yuma pasties, five Brown received while a guest at the panels of cut and watercolored pa­ plantation. per, are among the finest pieces of The pasties, all in muted tones, southern folk art in THNOC's hold­ begin with a stately woman on ings. They provide an amusing horseback; the horse is being fed by glimpse into the routine of planta­ a man with a bucket. According to tion life and also stand as a tribute Vick family history, the lady was to the noted silhouette-cutter Wil­ Mrs. Sarah Pierce Vick, the mistress liam Henry Brown, who created of Nitta Yuma Plantation. The man the series show Harry riding the them in the early 1840s. feeding the horse was Jake, the fam­ mule team that is pulling a large wa­ Although pasties are little known ily's trusted servant. This pastie, as gon of cotton. Perched on the back today, this 19th-century art form well as the others in the series, dis­ of the wagon and holding a basket was popular with both amateur and plays an interesting sense of depth is Big Sarah, followed by Elmo with professional artisans. While similar through the use of detailing, evi­ a sack of cotton on his shoulders. to silhouettes in using profiles, they dent in the treatment of Mrs. Vick's Meticulously cut out, the chain at­ also introduce color and scenery in outfit, complete with gloves, scarf, tached to the mule's harness further order to create a more realistic, riding cap, and veil. Although Mrs. exemplifies Brown's love of detail. three-dimensional effect. Pasties Vick and Jake are shown in profile, Because of the artist's skillful use could be elaborate and time-con­ facial characteristics are apparent, of scissors and watercolors, the Nitta suming works, like the Nitta Yuma unlike the traditional silhouettes of Yuma pasties are full of life. They examples, or simple, clipped pic­ the other panels. are unusual in comparison to the rest tures from magazines pasted onto The two panels entitled Hauling of Brown's work, because they are painted landscapes. the Whole Week's Picking are prob­ done in color instead of entirely in Each of the Nitta Yuma examples ably the most imaginative in the se­ black. Each individual's personality was drawn, cut, watercolored, and ries. Full of movement and life, they seems evident from the panels. individually assembled by Brown as evoke a sense of accomplishment as When viewed as a whole, the clat­ j a gift to the young children of Mr. the field workers return after a tering of the wagons and the chat­ ' and Mrs. William Henry Vick of week's work in the cotton fields. tering of the field hands are almost Nitta Yuma Plantation, north of Vick family history identifies the audible. Besides providing an in­ Vicksburg, Mississippi. According pictured slaves as Willie, guiding the sight into plantation life, the pasties to family tradition, the Vicks met oxen, Dolly, with a basket of cotton are a fine example of a lost art form Brown while on a trip to New Or­ on her head, and, in the rear, Hor­ by one of America's most outstand­ leans and invited him to visit their ace, along with three unidentified ing 19th-century silhouette artists. family plantation. It was there that children and their dogs. There is a -Wayne Lempka the expressive panels showing Vick's three-dimensional quality to the fig­ slaves returning from the cotton ures whose finely detailed clothing Mr. Lempka, the director of Barrett fields were done. The pasties were belies their silhouette treatment, House in Poughkeepsie, New York, intended as a "thank you" for the providing historical as well as artis­ was formerly a curatorial cataloger generous southern hospitality tic interest. The last two panels in at the Collection. 9 ing the detailed original transactions which sometimes have plans or In Pursuit drawings of properties annexed to the acts. This invaluable architec­ tural resource was begun in 1768 Of the Past with the appointment ·of the first A "chain of title" is not as dry as notary in Spanish Louisiana, Don it sounds. Architectural historians Joseph Fernandez. A succession of and researchers can vouch for the notaries, officials who enjoyed a su­ unexpected information brought to perior community position, kept light while tracing a chain of title. books of real estate transactions, Beginning with the present owner which they had beautifully bound. of a property, the researcher works To consolidate the records of all the backward noting each change in intervening notaries, Andrew Hero, ownership, whether through inher­ Jr., led a successful movement in itance, gift, sale, or confiscation for 1867 to create a central office, the debts or taxes. A complete chain of notarial archives. title is essentially a history of a piece Records prior to 1970 are found of land, providing a commentary on by the notary's name and date. More the social, cultural, or economic recent records are organized by a history of the city. These links with This watercolor ofa property on St. Philip numerical system. The early rec­ the past form the backbone of the Street adorns the notarial archives rec­ ords are fascinating, but difficult to Vieux Carre Survey, one of the most ords (1979.227.5.5). use. Heavy and cumbersome, some important resources at the Collec­ of the volumes are in poor condi­ tion. small office is open only two hours tion, marred by time and with pages Initiated in 1960 under the aus­ a day, the atmosphere is sometimes rendered almost indecipherable by pices of the Louisiana Landmarks frantic. Researchers, often standing "bleeding" ink. Society and later sponsored by the three deep, call out their desired A knowledge of French and Span­ Edward G. Schlieder Educational district and square and are even­ ish is essential for working in the Foundation and the Tulane Univer­ tually answered with the convey­ notarial archives. These records are sity School of Architecture, the Sur­ ance office book (COB) number. the very stuff of history: reports of vey is housed in the Research Li­ Once this number is ascertained, wives leaving their husbands' bed brary of the Collection. With the the next stop is the conveyance of­ and board, slave sales, marriage help of funds provided by architect fice in the Civil District Court contracts, inventories, and credi­ Collins Diboll, it continues to be building basement. Here the regis­ tors' meetings enliven the pages. updated and extended by a fulltime trar of conveyances maintains large Elevations sometimes accompany researcher. volumes, weighing up to forty descriptions of properties offered at In tracing a chain of title for the pounds, which contain real estate auction. Executed with grace and Survey today, the researcher must records in an abbreviated form. precision, these old drawings are first determine the present owner Books earlier than 1900, some of among the treasures of the archives. of a property. The search begins in them dating back to 1827, are stored Researching chains of title can the real estate records room on the on the mezzanine. Indexes to the become almost addictive, a stimulus second floor of City Hall where the records are provided by a Soundex to the historical imagination of a re­ most recent property transactions system and a set of early vendor­ searcher. are registered. Lawyers, homeown­ purchaser index books. -Helen E. Wetzel ers, buyers, real estate agents, en­ Across the hall, the notarial ar­ trepreneurs, and architectural his­ chives offers more complete infor­ torians use this facility. Since the mation on property transfers, hous-

At the Collection ... In Volume II, Number 3, of this newsletter it was incorrectly stated that Grace King: A Southern Destiny was the first book to receive both the Williams Prize and the Louisi­ ana Literary Award in the same year. Actually, in 1976 Louisiana Recon­ structed, 1863-1877 by Joe Gray Taylor won both prizes. Apologies Recent visitors Teddy Kennedy, to Professor Taylor. Jr., above, and Louisiana Secretary of State Jim Brown with director Stanton Frazar.

10 _Acquisitions

The Historic New Or­ leans Collection ac­ quires hundreds of items through purchase and donation during the course of each year. Only a few recent acquisitions can be noted here.

CURATORIAL

A group of 73 ink drawings, the original art for the book, Louisiana Gallery, the River Country and New Orleans by Philip Kappel, has been purchased for the Curatorial Divi­ sion. Mr. Kappel, a Connecticut na­ tive, was a noted etcher whose work is owned by numerous major mu­ seums. He spent almost two years recapturing from memory and notes the life of New Orleans and the Louisiana delta. As he explained in the prologue to Louisiana Gallery, "I am filled with wonder that so nated programs from each of the Business District taken from the many people are only passively in­ 1984 Mardi Gras balls held in the Liverpool and London and Globe terested in the landmarks of our own Municipal Auditorium. Insurance Company building ca. country . . . so I am driven to praise • Two albums containing family 1898. An example from the lateral­ of Louisiana and its infectious color, portraits and scenes in and around bum is the 1912 photograph of a to take you directly to those places New Orleans are recent gifts of Mr. gentleman with his automobile in of enchantment through the me­ and Mrs. Peter Bernard. The views front of Southern Hardware & dium of art." date from 1898 to 1916. Scenes in Woodstock Co. at 715 Baronne • Samuel Wilson, Jr., donated four the earlier album show the Central Street. early photographs of the interior of Trinity Church on Jackson Avenue along with a bound group of eight Van Dyke copies of architectural A photograph album yields this vin­ tage 1912 scene (1984.112. 79). drawings of the church by Crosby and Henkel architects, dated April 26, 1909. • Joseph S. Sheldon, Jr., has given a very unusual early Mardi Gras in­ vitation together with its envelope. Addressed to "Mrs. Capt. Stephen Sheldon," the invitation is for "the Annual Mardi-Gras Ball, to be given on the Evening of Tuesday, Feb­ ruary 13, 1866, at the St. Charles Theatre." • THNOC's collection of Mardi Gras programs and invitations is up­ dated with each new season. Mi­ chael Taormina, director of the New Orleans Cultural Center, has do-

11 • A silver pin inscribed "For Pol­ iteness," presented to Miss Berthe Charbonnet in June 1916, has been donated by her sister, Mrs. W. L. Mcintyre. A wonderful memento from the days when courtesy was queen, the pin was given to Miss Charbonnet when she attended Finney's School. Miss Mary L. Fin­ ney was principal from its begin­ ning in 1893 until 1922.

Memorabilia from the travels of P. B. O'Brien (84-64-L) include, left to right, visa, Chinese broadside, and passport with attachments.

him to survive the Civil War with • In the daredevil days of early his fortune intact even though he aviation, the names James R. We­ showed his partisanship by outfit­ dell and Harry P. Williams stood for Politeness pin from Miss Finney's school ting a Confederate regiment. After fast-racing planes and daring pilots. (1984.69) . the war he left on an extended trip Ironically, both men lost their lives and spent most of the next ten years in routine "slow" flights, but not traveling around the world to the before they had made a name in MANUSCRIPTS Middle East and the Orient as well aviation circles for themselves and as to Europe. He wrote a book de­ the fast "44." This plane ("hot as a The papers of Lt. Charles H. B. scribing his travels, Over Land and pistol and twice as fast") was de­ Caldwell are the most significant ac­ Sea, and filled his house on Esplan­ signed and built by Wedell-Wil­ quisition of this three-month pe­ ade and Royal streets with treasures liams Air Service Inc. in Patterson, riod. Lt. Caldwell was commander from his travels. P. B. O'Brien's Louisiana. In memory of James R. of the gunboat Itasca, and later the passport, a visa issued in the name Wedell and Harry P. Williams, Mrs. ironclad gunboat, Essex, Western of the Emperor of China, and other Gladys Calhoun Case has compiled Gulf Blockading Squadron, U. S. items related to the O'Brien broth­ and donated a scrapbook of corre­ Navy, 1863-1869. The collection ers have been donated by a great­ spondence, clippings, and photo­ consists of letters, orders, and maps nephew, Ernest C. Villere. graphs. detailing the preparations for and the capture of the city of New Or­ leans by federal forces in April1862 and the siege of Port Hudson in 1863. The Itasca cut through the chains blocking the Mississippi River to federal entry. Caldwell's papers include direct orders from Com­ modore Farragut aboard the Hart­ ford to other vessels under his com­ mand. • Patrick B. O ' Brien was well­ known in New Orleans in the mid- 19th century as an astute business­ man and generous philanthropist. A citizen of Canada, O'Brien came to New Orleans in 1844 as a young James R. Wedell and his man and established a cotton pick­ fast "44" plane, 1931 ery and press with his brother Rich­ (84-60-L) . ard. His British citizenship enabled 12 • Another important donation is the was printed by Justin L. Sollee. Sol­ Dec. 13, 1862 (Richmond, 1864), autograph album of Frank Adair lee was one of the most prolific the personal copy of Col. James B. Monroe, Chief Justice of the Su­ printers in antebellum New Orle­ Walton of the Washington Artil­ preme Court of Louisiana from ans. Opera libretti seem to have lery. Both provide contemporary 1914 to 1927. The album, donated been a specialty, for he printed accounts of activities in which Lou­ by Mrs. Fitzhugh W. Boggs, con­ many of them. Like the others, Le isiana soldiers participated. tains signatures of Vice President Capitaine May provides French and • Among recent gifts are several John C. Breckinridge, members of English text in parallel columns; un­ items from Mrs. Lawrence Babst, the cabinet, members of Congress, like the rest, it contains no adver­ including Police Regulations of the and diplomatic representatives of tising. Parish of West Baton Rouge (La.) foreign countries. • Of interest to students of Civil (Baton Rouge, 1828); Official Jour­ • Additional donations continue to War history are the anonymously nal of the Proceedings of the Senate enrich the manuscripts collection: written Review of Certain Remarks of the State of Louisiana at the Fifth Civil War letters from Michael Made by the President When Re­ Extra Session of the Legislature (Ba­ Wynne, a frequent donor; family quested to Restore General Beaure­ ton Rouge, 1929), presented by papers, including letters written gard to the Command of Depart­ Miss Mary Elizabeth Sanders; and from Washington City in 1818, do­ ment No. 2 (Charleston, 1863), and the four-volume Letters from John nated by Mrs. Mims Gage; adver­ volume 1 of Reports of the Opera­ Pintard to His Daughter, Eliza Noel tising brochures and promotional tions of the Army of Northern Vir­ Pintard Davidson, 1818- 1833 (New pamphlets from Mrs. J.P. Ewin; and ginia, from June 1862, to and In­ York, 1940), the donation of Mr. the school and college diplomas of cluding the Battle ofFredericksburg, Lewis Hoyer Rabbage, and a num­ Augusta Waldhorn Dennery, the gift ber of pamphlets about clubs in New of her granddaughters Nancy Kittay Orleans, presented by Mrs. J. P. and Mrs. Jay Marx. A purchase of Ewin. 19th-century and early 20th-cen­ tury programs, announcements, and playbills will be added to the per­ forming arts collection, as will the Opera Guild programs and clip­ pings of frequent donor Mrs. E. B. Ludwig.

LIBRARY

The Research Library recently added Les martyrs de la Louisiane (Donaldsonville, 1839) by Auguste Lussan, a play in five acts which dramatizes the 1768 revolt against Spain by patriotic Louisianians who, unwilling to accept Spanish rule, forced Governor Ulloa from the col­ ony. The action centers around un­ successful efforts to achieve a peaceable adjustment of the un­ happy state of affairs in Louisiana, concluding with the execution of rebel Nicholas Lafreniere. Among the other leaders of the revolt was Joseph Villere; hence, Les martyrs This issue's Puzzler is a problem Mr. Marvin and curator John H. supplements the Villere material al­ for us, too. Assistant curator Rich­ Lawrence, who is supervising the ready available at the Historic New ard Marvin has been processing over project, are stumped by several of Orleans Collection. 19,000 negatives and photoprints the images. One of the photographs • Another historical event which spanning the years 1916 to 1955 is clearly labeled as St. Joseph Hos­ lends itself to dramatization is the which comprise the Charles L. pital, but it may have been only a Mexican War (1845- 1848). Activ­ Franck Collection, acquired in design for a building that was never ities which immediately preceded 1979. To inventory a collection of constructed. The garden pictured the Battle of Palo Alto form the ba­ this size requires considerable re­ above has no name. Please call sis of Le Capitaine May et le General search since many of the buildings Richard Marvin if you can help solve de la Vega sur les bards du Rio pictured have been demolished or these mysteries. Grande (New Orleans, 1847), an altered. -John A. Mahe II opera by Felix de Courmont, which 13 he is the new director of Barrett House in Poughkeepsie, New York. .. replacing him is Kathleen Wall, who has been involved in the Waters of America exhibition ... PROFESSIONAL ACTIVITIES Miss Wall holds the M.A. degree in Chief curator Dode Platou, a art history from Tulane University. member of the Arts Council of New Curatorial assistant Michele Orleans, is serving on the Municipal Kathleen Wall and Ashley Scott Wyckoff assumed administrative as­ Endowment Grants for the Arts sistant duties in the catering de­ Committee and has served as chair­ leans Parish schools, presented a partment of Brennan's Restaurant man of its Evaluation Committee. workshop October 20 for the Lou­ on July 25 . . . her replacement is Rosanne McCaffrey, curator and isiana Council for Social Studies in Ashley Scott, former student intern director of systems, attended the Lake Charles. . . their topic dealt at THNOC . . . Miss Scott graduated Museum Computer Network an­ with the use of THNOC's Cane with a B.A. degree in art history and nual conference and the Canadian River history packet, Evidence of the studio art from Newcomb College. Heritage Information Network con­ Past, in two Orleans Parish Alix Samuels assists manuscripts ference in Ottawa, Canada, Octo­ A.lix SamUels registrar Cathy Kahn and works on ber l 7-19. . . Data processor Car­ ~;;;;;;;;;~~an;::d Taronda Spencer the cemetery index . ..manuscripts olyn Dong has completed a cataloger Taronda Spencer is a for­ certificate program in computer sci­ mer student intern and a graduate ence at Tulane University ... Miss of Atlanta's Spelman College ... she Dong holds an M.A. in sociology will soon receive the M.A. in history from Tulane. from UNO with a concentration in David Hunkel from the Univer­ archives and records administra­ sity of California in Santa Cruz, tion. Colin Kemmerly from Spring Hill Joan Sowell has joined the pub­ College in Mobile, and Laura Uhl lications department to work on the of Dominican served as summer in­ artists encyclopedia. . . she re­ terns ... their research assisted the ceived a journalism degree from the artists encyclopedia, scheduled for University of Georgia . . . Louise future publication by THNOC. Hoffman works with director of Curator John H. Lawrence con­ publications Patricia Schmit on the Louise Hoffman and Joan Sowell tributed " A Century of Louisiana quarterly newsletter. . . Jessica Photography" to the New Orleans schools .. . the education depart­ Travis recently assumed duties as Art Review and exhibited photo­ ment is also responsible for a con­ assistant reference librarian . . . a graphs at the International Art Ex­ tinuing lecture series for docents graduate of the University of North position in Chicago. . . he also and other interested staff... recent Carolina - Chapel Hill with an served as a panelist during the speakers included Carolyn Bercier M.S.L.S., she was formerly manager Southeastern Museums Conference from Gallier House, speaking on of the Belle Terre branch of the Jef­ annual meeting in Tampa, Flor­ 19th-century bathrooms, and Alan ferson Parish Library. ida. . . this fall Mr. Lawrence is Karchmer, whose photographs were Jeanie Clinton has joined the staff teaching basic black-and-white used in the Louisiana Journey ex­ as an administrative assistant to the photography at Delgado Commu­ hibit at the World's Fair. director in charge of personnel and nity College. purchasing . . . Mrs. Clinton holds a Dr. Alfred E. Lemmon, coordi­ SPEAKERS' BUREAU B.S. degree in accounting from the nator of special projects, is partic­ Staff members have made the fol­ University of Mississippi. .. former ipating in four programs on Spanish lowing THNOC Speakers' Bureau student intern Ellen Holmes began medieval music, a feature of the presentations in recent months: working in the shop last June . . . she Musica da Camera series on WWNO manuscripts curator Susan Cole graduated from Spring Hill College radio during October and Novem­ spoke to the Plaquemines Genea­ in Mobile ... new shop employee ber... manuscripts cataloger Mark logical Society ... curator John Dorothy Howorth is a graduate of Luccioni attended the Society of Mahe II presented slides from The the University of Mississippi. American Archivists convention in Waters of America at the Unitarian Washington, D. C., August 30 Universalist Church . .. curator John through September 3. H. Lawrence discussed "Photo­ Florence Jumonville, head li­ graphic Holdings at the Historic brarian, was reappointed chairman New Orleans Collection" with the of the Louisiana Literary Award New Orleans Museum of Art's Committee of the Louisiana Library Friends of Photography. Association. Elsa Schneider, curator of edu­ CHANGES cation, and John Jones, superin­ Wayne Lempka, curatorial cata­ tendent of social studies for the Or- loger, left THNOC on June 29 ... Jeanie Clinton 14 ~ THEWATERSOF AMERICA THE SHOP AT THE COLLECTION ~ THEWATERSOFAMERICA THE SHOP AT THE COLLECTION ~

· ~

z z 0 0 i= (.) t ...... 0 (.) 8 ...J: i' ...J: ...... !;( < 0.. 0.. 0 ~ ...enJ: ...en .....J: ~ i5 ~ (5 (/) Ct. I'= ~ ~ ~ z 0 i= ...(.) ~...... 0 (.) 8 ...... J: ~ ..... !;( < 0.. 0.. 0 0 Top to bottom: Top to bottom: J: enJ: en Betsy Cruse! Lady Helen Hardy ...... J: .....J: Brian 0 'Reilly Donald Hoffman ..... Jacqueline Rainey Top to bottom: Dale Triche Elizabeth Bolles Dorothy Howorth Elise Gery 6 Top to bottom: Top to bottom: Sue Laudeman Top to bottom: Top to bottom: Mary Fischer Ellen Holmes Shops Manager Agnes Chavez R. Melvin Noah ~ Charlotte Hoggatt Fredricka Turner Priscilla O'Reilly Peggy Caronna SuSu Laudeman (5 Keppy Laudeman Howard Estes Ka thleen Wall Warren Woods Gwendolyn Rainey ~ Carolyn Wogan Stephen Favrot Betty Killeen George Nicholson ~ Mimi Calhoun Margaret Ervin Nairne Frazar Tom Emerson ~ ~,__ Pictured above is the staff of the Collection's three shops, Rain, The Waters of America, and The Shop at the Collec- tion. Photos courtesy of manager Sue Laudeman's perseverance. Not pictured: Lucy Core, Kathleen Eckert, Cathy Fu- · { · ~ selier, Catherine Gardner, Denise Giroir, Ashley Keller, and Petr Spurney, Jr. ~

~ THEWATERSOF AMERICA THE SHOP AT THE COLLECTION ~ THEWATERSOFAMERICA THE SHOP AT THE COLLECTION ~

Please send calendars at $5.95 each address books at $8.95 each Nrune ______Address ______City ------State ------Zip ______0 Mastercard 0 Visa Subtotal ------Acct. # ______4% tax LA residents------0 "Louisiana History Day by Day," the distinctive 1985 calendar, combines delightful illustrations and Exp. date 9% tax New Orleans residents ______historical facts. Postage and handling 75¢ ______0 The Collection's address book is a beautiful me­ TOTAL AMOUNT ______mento of Boyd Cruise's Louisiana Alphabet.

15 "Louisiana History Day by Day," the Collection's 1985 calendar, pays tribute to the 1884-85 World's In­ dustrial and Cotton Centennial Ex­ THNOC's calendar position. Full-color illustrations for 1985, Louisiana from THNOC's large curatorial History Day by holdings-a view of the Horticul­ Day, features an il­ tural Hall for August, a scrapbook lustration from the 1884-85 Exposition with trade cards for December­ (1959.6). highlight the pages. Each day is individualized with historical facts from Louisiana's col­ orful history. THNOC's contribu~ July when the ship Felican arrived peyre, Joan L. Lennox, Naomi R. tion to the national craze, the Triv­ in Louisiana with soldiers, work­ Lowrey, and Barbara A. McMahon ial Pursuit game, may well be this men, and marriageable women. The unearthed the facts and compiled astonishing assortment of informa­ year was 1704. Important too as an the calendar. tion. The facts leapfrog across his­ historical footnote is the day in 197 4 Both price and paper have im­ tory. On November 26, 1802, Na­ (February 28th) when the venera­ proved with the publication of a poleon directed that English ble Morning Call took its beignets second calendar. Printed on heavier customs be rejected in Louisiana, to the suburbs after 103 years in the paper for more durability, "Loui­ while the very next day, Tulane de­ French Quarter. siana History Day by Day" costs feated LSU in football for the first The calendar is a result of exten­ $5. 95, less than the 1984 calendar. Baton Rouge victory in 34 years. sive research by the docents. Elsa It is available at the Shop at the Col­ Separating the two events is a Schneider, curator of education, and lection, as well as at THNOC's two stretch of 180 years. Important to Ann W. Barnes, Mimi C. Calhoun, off-site exhibits and selected book­ all New Orleanians is the 24th of Patricia S. Cromiller, Noreen B. La- sellers.

Non Profit ·~:] THE HISTORIC Organization U.S. Postage !f-!j.l NEWORLEANS PAID New Orleans, LA i~Y COLLECTION Permit No. 863 "---· ~· NEWSLETTER THE HISTORIC NEW ORLEANS COLLECTION The Kemper and Leila Williams Foundation 533 Royal Street New Orleans, Louisiana 70130 (504) 523-4662 Cable: THNOC