1 ljhraJ)l T'hl BostoJJ Letter jJ-om 1thcJ7 ezt 1n
lo. 1 ~2 ~ APRIL 2004
T'he ;\thena?lllll 1\cquires "Boy \ ~Vith Butterfly" by 'VillianJ 1\lorris llu11t
lJavid f)caringer, Susan Ivlorsr l-lilk~ .., urator of Paintings and Scull tun:
N T'I-IE SECt Nl) ~IALF of the ninetctnth century, and esptcially during tht r X7 o ._ a n d 1 8R o s, on c of t h <.: 111 o st i n tlu en t i a I, stH.: cc"'"' ful , a n d pop ul a r a r t is t s to "'ork in and ncar the city of Boston \Va .. \Vi11iarn l\~1orris I iunt. As a painttr \Vho \Vas fan1ous in his O\Vn tinlt: and \\'ho has n?n1ained anH>ng lht pantheon of great 1\ rnerica n artists for over a century, Hunt is a 11 itnporta n t Iink in the chain of Boston-bastd artists that gots ba k to opley and Stuart. I Ie irnporttd tech nique~ and thtnries that he had ltarncd in Paris during the 184os frorn T'hon1a.s ... outurt\ one of the leading French artists and teachers of the day. On his return to the Unittd States, Ilunt becan1e not only a recognized artist in his O\Vn right, but a grc,lt teacher as \\'Cll, thereby having a direct and la~ting effect on several gen cr,l t ion~ of Atner ica n art i"'t~. But I-lu n t 's \vidcst reaching and n1ost Ia st i ng i 111 pact \\'cJ"' on the taste of J\tncrican patrons: alnHht single handcdly, he introduc<.:d tnod- crn art to :\tncrica- and c"'pccially t ' Bo"'ton in the po ~ t-bellun1 decade '. l h1nt 's relation"'hip \vith the city of Boston \Va , long and n1utually beneficial. l-Ie h,1d deep root"' in nC\\' England he \Va · a native of\Tennont and had tud iL,.d ,1t l·larvard- "'o it \\·a~ natural that he \vould be an active participant in the exhibition"' ,lt the Boston Athcna~tlln; in f~1ct, he sent \vork ' to the J\then~utn 's annual exhibition~ frorn 1852 through 1872. In 1854 he n1arried a Bostonian and 7 utJ cYcntuallvI n1oYcd to the citv1 \\ ith hi"' t~11nilvi in 1862, setting t a ·tudio, fir ·t in llL',l rbY Roxburv, and then in itself. T'he fan1e he attained in hi · lifetirnc i • I Bo~ton indic.Hcd by the t:1ct that, ~hortly after hi"' death by dro\vning in 1879, n1ajor n1ctnorial exhibition~ of hi~ \\'Ork ,,·ere held at the Ivtu~cun1 of Fine 1\rt · in Boston and the J\ lctropolitan I\lu"'eun1 of 1\rt in !\c\v York. Just a fc\v years later, another 2 major retrospective of his work was mounted by the St. Botolph Club in Boston; and the centenary of his death was marked by one more large, inclusive showing of his paintings at the Museum of Fine Arts. Now one of his major canvases, Boy \t\fith Butterfly (1870 ), has come to the Athenreum by the bequest of William rvlorris Hunt II. Hunt's Boy With Butterfly is painted in the distinctive style of the late nine teenth century: the form of the child is obviously based on the academic interest in the nude figure, used for didactic and allegorical purpose but rendered in the looser, less tangible, and more ethereal technique that gained popularity on both sides of the Atlantic in the second half of the century. It was painted on a scale that suggests that the artist intended it to have a public function, probably slating it for major exhibitions; but the work also resonates with personal meaning, especially since the artist used his son as the model for the child. The painting was included in major exhibitions of Hunt's work as well as important group shows, including the art section of the World's Columbian Exposition in Chicago in 1893. By creating paintings and sculptures of the highest quality historical images, portraits, landscapes, and religious and allegorical works and expounding modern artistic theories current throughout Europe, William Morris Hunt joined the impressive list of Boston-based artists who have made a lasting, visual contri bution to the citizens of the city and the nation. One of the most important venues that has made the efforts of these artists forever available to Bostonians has been the Boston Athenreum. It is most appropriate that William Morris Hunt be well represented in its collection. His Boy With Butterfly will perform this function neatly and perfectly.
William Morris Hunt II and the Boston Athenceum
Sally Pierce, Curator of Prints and Photographs
William Morris Hunt II was a Life Member and benefactor of the Boston Athenreum, and his close personal ties to the institution extend back through four generations. He was a descendant, through his paternal grandmother, Louisa Dumaresq Perkins Hunt, of Thomas Handasyd Perkins, a founder and major benefactor of the Athenreum. Perkins's monetary gifts included donations for a sculpture gallery and for the purchase of George Washington's private library, as well as the gift of John Frazee's marble bust of Chief Justice John Marshall, which adorns the second floor. When the present building was erected in 1847, Perkins's name was inscribed in the cornerstone documents, along with those of his brother James, his son James, and his grandson Edward Clarke Cabot, architect of the building. William Morris Hunt II was passionate about his family history, so in September 2002, when he attended the celebration marking the completion of the \VJLLIAM t\10RRI ' H U N T ( 1 ~ 24 - 1 87 9 ) Boy \Vi t h But1etj1J', 1870 Oil on an\',1~ Hequc~t of\Villian1 1\torri~ 1-Iunt II , 2004 4 building renovations, he was gratified to see Thomas Sully's portrait of his great grandfather hanging in the place of honor on the great wall of the Long Room. Mr. Hunt was also aware that his grandfather and namesake, William Morris Hunt, was a regular exhibitor at the Athenceum Gallery between 1852 and 1872. These family connections were deeply felt, and Mr. Hunt maintained them in his own life. As a good friend of Charles E. Mason, Jr., Honorary Curator of Prints from 1946 to 1999, Mr. Hunt admired the Athenreum's collection of Boston litho graphy that included many works drawn on stone by William Morris Hunt or copied from his paintings. In 1988, when the Athenceum mounted an exhibition of work by four notable Boston lithographic artists, Mr. Hunt loaned his impression of The Fortune Teller, and in 1991 he donated it to complete the Athenceum's set of the portfolio Pictures Painted & Lithographed, by Wm. M. Hunt (1857 ). In conjunc tion with the 1988 exhibition, Mr. Hunt gave a talk about his grandfather's career, at the conclusion of which the Athenreum unveiled another promised gift, William Morris Hunt's plaster study for The Flight of Night. Mr. Hunt formally gave this relief to the Athenceum in 1991, and it still hangs above the door at the end of the second floor. Mr. Hunt relied on the Athenreum's sense of tradition and mission and often consulted its collections. The Library is a repository for knowledge about his fam ily, and portraits of his ancestors - in all media are cataloged in its collections. To perpetuate this association, Mr. Hunt gave Athenreum memberships to his young relatives and friends and, at his urging, his cousin, Diana D. Blake, recently gave a collection of Hunt family manuscripts and photographs, including mater ial relating to William Morris Hunt's portrait of Abraham Lincoln, and two diaries of Louisa Dumaresq Perkins Hunt. It is entirely appropriate that Mr. Hunt's beloved painting of Boy With Butterfly, a portrait of his father, Paul Hunt, the link between the artist and his namesake, should come to the Athenreum, where it will manifest the continuity of this rich family connection.
Seminarians in Search of Temporary Abodes
Once again this year Director Richard Wendorf will be leading a National Endowment for the Humanities Summer Seminar for College and University Teachers at the Athenreum, and once again some of our seminarians would be grateful for six weeks under the roof of any congenial Athenreum member willing to take them in. The seminar will be held from June 21 through July 30, and those participating will probably want to arrive sometime during the weekend before Monday, June 21, in order to get settled. If any member has an extra room to offer or sublet, or would like a house sitter or two, please be in touch with Catherine Cooper in the Director's Office, 617-227-0270, ext. 249. 5
I uring tht rc.::novati< n vv in taU d ne\v t~ hn logy h r autornat db<. (Jk cir u lation, and our ~ y · ttnls adrninistrat r, Rudy Ru l ', ha tn1nd, ne''' u c f{ r thi~ soft\van:. letnber.. \viii n< '"find a bar de~ annt:r at th e urity d ~k, '''htrt they \Viii be asked to present their p~nnanent nh:: rnl er hiJ card~. Ih: ' \vipe n tht ca rd \Viii quicl' ly reveal the n.:ader'..., narnt and 111tJ1lltr~hiJ t ~ pirati( n datt, thereby h~lping us to safeguard our colJc tion ~ and nur building. If a J11ltllbt r~hil card is lo tor dan1agtd, readers shouJd inquirt: at the I\ltrnl r hip ~fi c.: at 617- 720-7604 for a n:: placcrnent. 'Tht old card \Vill he inv\llidattd.
;\ N c l v \ Va )' to up port 1he J\ 1h ( 11 a' 11111
Last f~11l the Athena:·un1 htgan offering charitable gift annuities ( ,As L a sin1 - ple~ planned gift that allo\VS donors to realizL inlnh:diate tax htnt11t , gt?Jh.:rate incotne for then1sdves or for another bcncfici~1ry, and support the lOllcctions and progran1s of the I.ibr ..1ry. Setting up a (1A is tasy and nnfidtntial; the n1inin1un1 gift i~ just $ 1o ~ooo, and the ..H.lvantages are n1~1ny. The :\thcna?un1 is the unique and still vibrant institution it is because of a long tradition of generous gift~ fron1 its n1e1nber\ and bent factors. If you \Votdd likt to receive detailed inforrnation about CC~1\s or any gt:neral infonnation about the different \\'ays to gi\'e to the Athena~un1, or if you \Votdd sin1ply like to atttnd an upcotning progran1 about GAs at the 1\thcna~un1~ pleast contact Nan y Baker, l i rector of l)evcloptnent~ at 617-720-7607 or e n1ail bakcr@bo ~ tonathe naeu n1.org
Lclt~is and Clark !v!op Presented to Paducah
1'he current ~xhibition in the 'orn1a Jean alder\vood ,alltry cotnn1cn1oratt ~ the 2ooth c.lnniversary of le,vis and (]ark\ great exploratory journey into \Vhat is nO\\. the north\\·estcrn l~nited St ..ltc~, and the 1\then~-eun1 all<.nved its rart:, hand drc.l\vn n1t1p of the journey to be photographed in ~tnall nun1bers for sale. l ·he fol lo,\·ing rctnark~ \\·ere tnade by l)r. Philip l-larris~ an 1\thena~un1 Proprietor, Ul on hi~ prc~cntation of one of the copic of this 1nap to the tO\\·n of Paducah~ Ken tucky: Rctnark~ by Philip J. Harris, l\1.1)., to Paducah Ivlayor Paxton and (~ ity (~ otnrnis~ioncrs at a regular n1ccting of the city,s athnini tration, Tuesday February 24~ 2004
In the tnany year~ "ince I he~1dcd tO\\'ard St. Loui ~ and \\·a~hington niversity, 1t n1v l'\'c con1e back to Paducah tnanvJ tin1e~, .. firq to \'is it I l)arcntst and old friend, , 6 then to visit my sister's family and new friends, then to build a tree farm just across the Ohio River, and now to celebrate the opening of the Luther Carson Four Rivers Center for the Performing Arts. Each time I came empty-handed, bringing no gift for my home town. Tonight that will be changed. This is the 2ooth year since Lewis and Clark mounted their brave three-year expe dition that explored the unknown upper lands of America, from St. Louis all the way to the Pacific Ocean. Among the products of that journey was a map - a treasure map, really- that recorded the glorious natural features of the great West. This map, which was based on Lewis and Clark's sketches and notes and the tes timony of Native American informants, was hand-drawn and colored by Nicholas King, the map-maker, or cartographer, of the War Department under then President of the United States Thomas Jefferson. It was drawn on cream-colored wove paper with black ink and detailed with black ink wash, red ink, and blue watercolor. The map had an interesting journey of its own, and ended up at an appraiser's gallery in Boston. Now mounted on cloth, it was purchased in 1866 by the Boston Athen£eum, a great and magnificent independent library, one of the most beautiful in the world, which is still active and vigorous, boasting an enormous number of books and special collections, including books from George Washington's library. Unfortunately, the map now is so frail it cannot be examined even by scholars and threatens to disintegrate altogether. It seems you can only push paper so far. This is why the Athen£eum collaborated with the printers of Haley and Steele Galleries in Boston to produce a few exact facsimiles of it. City Fathers, I am happy to present one of these facsimiles to the school children of the Port City of Padu cah, hoping it will be enjoyed by them and lead to curiosity and an interest in one of the great events of American history. The map was then unveiled by Russell Ogden, a member of the Clark family.
Athenceum Publication Wins "Best in Show"
We have received word from Bookbuilders of Boston that the Athenreum pub lication Anne Walker's Painted Books (2003) was selected ''Best in Show" in the Pro fessional Illustrated category at the 2004 New England Book Show. Designed by the Athen£eum's long-time collaborator Howard Gralla, Anne Walker's Painted Books was published to accompany the exhibition of the same name that was on view in the Norma Jean Calderwood Gallery from February 14 through May 3, 2003. About this book the judges said, "A harmonious package ... A striking use of photography to illustrate a challenging subject. Beautiful design." Bookbuilders of Boston, founded in 1937, is a nonprofit organization dedicated to bringing New England's book publishing and book manufacturing profession als and visual communications professionals together. Its goals include fostering improvements in the quality of books and publishing and showing the best work of New England publishers. I
Boston ._,01771 ,ctions in th
Suzann 'Terry, ""'\ hildren' [ ibrarian
( nc of the pleasun:s ofbro\v ing thn ugh< ur c Ue ti n of< lder h < k i th. t of con1ing aero .. a b< >k \\'ith an intt:re "" ting pn vc:n, n c:. In the hildrcn' .. Lit I".u·y there art St:Veralthat \\'ere not only hildh<. d I ( St: i Jns r t:tninent B t( ni, 11 ) but are also interesting books in their 0\\'11 right. 'fhe first of thest: books i.s Up and I OlVII th e 1\ Til ,, 0 1 ~ Youu, Advrnturers in Africa (Boston, Lee and Shepard, 1894), by ( liver ptic. liver ptic \va s tht ~ ~ tud )- 11)'111 of \Villian1 ·r. 1\dan1s) a Boston author. 'fhi , i.s tht third volunh: of, st.?rit s called the "1\ll-C \Cr -'fhc-\Vorld Lil rary,', \Vhi h \Vas prin1aril , ai1ned at l o '.s het\veen ten and fifteen. 'Tht books coinbinc:d f1ction, nd ,1 Jvu1ture toric: .._ \\'ith, grand tour of the vvorld. A current revi '"of the Stries stakd," font thing the boys tnay be.: dead sure, it \Viii hL~ no taint, htnndrunl journ<.:.: y, for livLr ptic does not believe that fun and e.xcitt.:nlent are injurious to bovs, but, on tht con- ' trary, if of the right kind he think'> it doc'> then1 good. " 1 he cover design sho\vs 1nanv of the ights that tht young protagoni .. t \Viii ste in his travel'>. l Jpon opening the book \\C find on the f1vltaf an in'>Lription in ink "}tlcob fron1 I-red, 1H95 , " and the bookplate infon11~ ll'> that the hook \\'as prt scn ted to the Bo'>ton Athena::un1 bY l\ 1r'). Jacob \-\firth on 2 July 1980. J,lke V\'irth, of the cponyn1ou'> re'>t,lurant '>till '>erving ern1c1n cooking and beer on Stuart ~treet, \\ld') born in 188o in the fa1nily quarters above the re'>laurant; he died at age eighty-')ix in his ho1ne on Lin1e Street. I ie \Va s by all c1ccount s a kind and tnodc'>t tnan. The rcst,1urant \\·a'> cstabli'>hcd in 1868 bv Jacob \Vtrth Sr.,, nd it I attracted the rich and h1n1ou') of the day. ·rhe great n1ahogany bar bears tht Latin n1otto ~tll/111 cuique ("'Io eaLh hi'> O\vn"). Jake \Virth's \\<.1'> tind is a Boston institu tion. ·rhc ~econd book i'> entitled 'The Boy !vleclzonic; 7 00 "Firings for Boys 1(J I o; llotv to construct tvirclcss outfits, boats, Cf1111p cquipnzcnt, aerial gliders, kites, self-propelled t'chiclc~, engines, 1110tors, electrical apparatus, ccnneras and hundreds of other things tvh ich delight et'cry bo)'. It \\·a<, publi 'ihed in 1 91.) bv Popular tech ani s o. in C'hicago. With the aid of 8oo illustration'>, one could build n1any variations of the. e Inachines, as \\·ell as learn hO\\ to:
• Build a 1nission-strlc concrete dog kennel • Hang vour hat 011 a lead pencil • Take a button ji·onz a child's nostril • Play "baseball ' H'ith a pocket knife
The bookptlte on the flyleaf picture'> a young lad in "hort.. and knee socks stand ing on a pile of book~ '-10 a" to fetch do\vn another volu1ne tron1 the bookshelf. 'J'he printed in"cription saY'-~ th~..lt Henry Cabot Lodge II O\\ n thi'> book. ·rhe book '"a -
8 presented to the Athenreum in 1987 by Mrs. ~enry ~a bot. Lodge .. Henry Cabot Lodge II was a U.S. Senator, a diplomat, and~ v1ce-pres1d~ntial candidate, and was appointed U.S. ambassador under four d1fferen~ pr~s 1d e nt~ .. He was born in Nahant and spent his boyhood summers there, sw1mm1ng, sa1hng, and adventur ing with many playmates. It is tempting to imagine them endeavoring to build one of the contraptions in The Boy Mechanic! Lodge graduated from Middlesex and Harvard, became a journalist, and then served in the Massachusetts legislature. He was a son of Massachusetts who dedicated his career to his country. The last intriguing item is not one book but a series of little story books about the adventures of a small boy named Captain Ginger. The author is Isabel Weld Perkins Anderson, the wife of Larz Anderson, who was an accomplished author of travel books, plays, poetry, and books for children. She also received the Croix de Guerre in 1918 for her nursing service in World War I. Larz Anderson was a diplo mat and philanthropist, who served as ambassador to Japan from 1912 to 1913. When not traveling, the Andersons made their winter home in Washington, D.C., and their summer home in Brookline, and were prominent in the social life of both cities. Today their former residence near Dupont Circle in Washington is owned by the Society of the Cincinnati. Their 64-acre estate in Brookline, called ((Weld," is now home to the Larz Anderson Auto Museum. The Andersons' 25-room mansion on the estate was demolished due to the high cost of maintenance. The Athenreum owns forty-one books by Isabel Anderson, ten of them in the Children's Library. We also own Mrs. Anderson's journal, letters to her husband, and an original manuscript. Among the eight Captain Ginger titles, there is one that has been translated into French and another into German. They are all illus trated by H. Boylston Dummer, with watercolor paintings and charming silhou ettes. On the inside cover of several of the little books is a bookplate from the < World War II Posters: Inspiring the Workforce Curator of Prints and Photographs Sally Pierce writes: The Boston Athenreum's summer exhibition will feature posters produced by the Office of War Information during World War II for distribution to factories engaged in the war effort. Twenty-four posters will be displayed, including a full set of Norman Rockwell's The Four Freedoms, printed in monumental size. The home front had a crucial role to play in winning the war, and the best graphic artists of the day were commissioned to create posters that had broad l emotional appeal and clear calls to action. Using bold design, vibrant color, and startling <.lirectness} posters proclai1ned their n1e s, ge in JUl li huildin s, ~lh p~ , and factories across t ht country. J\v 11g 1 ecenzb r 7th! \\'a raUyi ng cry u d , rl ' in the vvar. Suhs~.:quently, iconic itnage \Ver ,1daptcd t pn nh tc .slllC'lS.siVl: \Var bond can1paigns. 1onnan f{ock, v~.:ll's 1 ainting eve king 1, i An1Lri an right Prccdo111 of Speech} Frc?edonl Fro111 \\'cull, PreC'rlon1 FnJnl Fl?or, ,\ nd i"rt crlorn of\ \for ship - vvere used in the 1943 bond drive; and .J· ~ · B , II' painting, tkrived fn 111 the fan1ous photograph of tht flag raising at hvo Jin1,, pronH ttd tht tVenth \V,tr loan drive in 1945 using the . logan Ncnv- All T'o~ethcr. In 1nanufa turing ll,uHs, posters \Vet-e a constant retn i ndcr that the sa ft t y and su C(\. s of nh: rican troop ... depended on the quality and quantity of production. \Vorktr.s \Vl'rt urgtd to bt cooperative and conscientiou, through slogans such as United \V( \Vi11 dnd lat ch Their ( ·ouragc \Vith Your Rc,ponsibility. They \vcre n.:1ninded to Inaint ~li n security by graphic in1ages of sinking ships and fresh-faced young -- oldiers \Vho 1night ne\er be ~ecn again bccau<,e of A Carelcss \Vord or Bits of arclcss 'talk. Btginning in 1943, the Indu<.,trial tdition of Netvsnulp, issued \Veekl y by the \Var I tpartn1tnt Bureau of Public Relation<,, kept \Vorkers abreast of the progress of tht \Var. Fach edition included reports fron1 all the fronts, photographs, and tnaps of tnajor engagen1cnts. Looking at the NcH'517UlfJ.' one can truly appreciate that the global nature of the conflict required the n1obili1ation of the entire 1\n1eri an popula tion. 'T(J<.L.ly the poster~ are vivid ren1inders of the high <,takes for \Vhich J\nH~ rican<, \Vcre fighting in World War II and the in11nense effort it took to \Vin that confli t. All the poster~ and NelVSIIlnps in the e~hibition (1re the gift of J. Roger Flathcrl \Vho~e father \V(ls as<,istant trea<,urer of the Boott \till~ in L Help for Bcatrix Potter In preparation for an e~hibition at the Eric Carle l\1u~eun1 of Picture Book ;\rt in Atnher~t, gue .. t curator lolly Robin\on \Vould like to hear fron1 anyone \\'ho ovd1S art by} letters fron1, or photograph<, of Beatrix Potter. ()f special interest: the fifty \Vatercolor~ sold in 1927 at the Bookshop for Boys and (~irl~ on Boyl 'ton Street. ( 'onfidcntiality and anonyn1ity \\·ill be respected. Contact Lolly Robinson at 61:--- c:-- 6 -8 41 7 ~ n1ail, 356 \\~ind\or trcet 1T2, Catnbridge, l\1A 02141; or en1ail, [email protected] 10 Charles Sunzner and the Political Issues of His Time Catharina Slautterback, Associate Curator of Prints and Photographs The (( peculiar institution, known as slavery was the great philosophical and political issue of mid-nineteenth-ce~tury America, a?d no~he.re were the prob len1s of slavery, its abolition, and Its attendant racial preJUdices more fiercely debated than in the state of Massachusetts. During the Civil War, with the prospect of emancipation looming, these debates intensified. A recent addition to the Print Room's outstanding collection of Civil War and abolitionist material illuminates some of the more contentious arguments that rocked Massachusetts and other northern states in the early years of the war. The lithograph I'm not to blanze for being white, Sir! features Charles Sumner, the U.S. Senator from Massachusetts, handing money to a black child while the pleas of a white beggar girl go unheeded. First states of this lithograph, often including imprint information, are held by a handful of institutions in the country; the Athenreum, however, has been fortu nate enough to acquire a rare and previously unknown second state of the litho graph containing Charles Sumner's rebuttal: < \Valkcd over t\vcnty-seven n1il e , Banks quickly ordc:rc:d that the girll t lifted l nt<. one of the arn1y cannons. Run1ors of the incident rc:ached """ ongn::ss, .111 t a . . representative fron1 Indiana, questioning the appropriatentss of alltnving "p~r on~ of color" to usc govcrnn1cnt tran portation ~\vhilc: \vhite peopl , includint, ick and wounded soldier':>, were con1pcllcd to \Valk,', dcn1andcd an inquiry into Bank$ behavior. In a public letter defending hi ~ action, Banks \vrote of the: little girl: H 1< successful efforts \Vcre tnade to a~certain her con1plexion, but it i~ not in1po~~il lt that ~he belonged to the c la 5~ referred to in the re~o lution , and that her littlt litnbs had been strengthened by ~on1e vague drean1 of liberty, to be lost or \Von in that hurried night n1arch., rrhis incident might have been lo ~ t forever in the annals of governn1ent docu ll1Cnts had it not been for Sun1ner\ letter to the Republican convt·ntion. In hi~ concluding rcn1arks, Sun1ner wrote: (t[Gen.] Bank~ c1bo ~yn1bolizcd the idt'a [of cn1ancipation], when, overtaking the little ~lave-girl on her \vay to Freedotn, he lifted her upon the national cannon. In this act - the brighte 't, tnost touching, and n1ost ~uggestive of the whole war, \vhich Art will heretlfter rejoice to con1 - n1cn1orate - our ... General gave a lesson to his country.'' \,Yhen ~ un1n er ,s letter \Vas reprinted in the papers, it touched off a firestorn1 of debate. Editorials and let ters denouncing Sun1ner's ren1ark~ filled the state\ ncw ')ptlper~. Although the anger aroused by his ren1arks focused on ~everal i s~ u e~- including the hotly con tested iss ue of whether the war wa~ being fought to end ':>lavery or to restore the Union - the 1nain source of irritation wa~ ~umncr\ syn1pathy and support of black~. This was a long-standing grievance an1ong rnany of ~un1ner,s opponents. His letter to the convention only underscored what they had long believed: that Sun1ner, in his single-n1inded pursuit of freeing the ~Ia \ C':>, had ovc: rlooked and neglected the needs of hi white constituents. His oppo n e nt~ \vere outraged that he \Vould consider the ''most touching, event of the entire \var to be a little black girl lifted onto a cannon. Typical of their re~ponses \\c.l~ an angry and ~a rcastic edi torial in the conservative new~ paper The Boston Courier. Sun1ner, the ne\v ·paper \vrote, ignored the "perilous n1arch of the \Vcary troops ... the agonizing \Vrench of young & loving heart fro1n hundreds of thousand~ of hotne ... \Vhat ar the}, in the n1ind of Mr. Sun1ner how less touching, ho\.v l es~ ~ u gges ti ve, than the idea of a ~ little sla\'e girl on her way to freedom.' \Vc haYe here the key to the \vhole n1y - tery of t~111aticisn1. The ills and suffering of a nation, and the direLt calan1ities of \var are nothing to the escape of a Negro child fro1n bondage., Such response \vere all the tnore potent for the fear that lay behind then1. l ,he Bank~ incident and u1nner's interpretation of it led tnany voters to fear that the ~ orth \Vould 'OOn be overrun with "four million of idle, be~otted, incapable, and then be'''ildcred and exa perated African , turned loose upon ociety." l ,his ne\V 14 social order, many believed, would bring with it unimaginable chaos and ruin. A provocative letter in the Boston Courier of September 13, 1862, illustrates the anxi eties simmering just below the surface of antebellum Boston. Signed ''A White Man," the writer describes a scene he witnessed on Walnut Street in Beacon Hill: ''... a Negro - stalwart in frame uncontaminated by any white blood in his veins, to all appearances, lounging up the street with a white female; his arm encircling her neck in close embrace and she by no means reluctant." Pressing his point, the writer asks, "Is this not significant of the approaching end so much desired by the honorable Senator and is not this act as 'bright' as 'touching' and as 'suggestive,' as that which Banks has borne witness to, and which Sumner dwells on so emphatically. And when art shall hereafter record in dusky colors that scene of the Negro girl riding on a cannon, shall not the incident I relate be also commerated [sic] by the same artist as a fitting pendant?" It was in the midst of this debate that the first state of I'm not to blame for being white, sir! appeared. On September 24, 1862, the Boston Courier, the anti-Sumner newspaper, printed the first public announcement of the lithograph. The announcement reveals much about the significance of the print and how contem porary audiences may have perceived it: A very admirable full length lithographic portraiture of our senior Senator in Congress is published, and we are informed is for sale generally at the usual places. The whole character of the picture is worthy of him who announced to a Convention of revolutionary and Jacobin politicians, that the most touching, brightest, most suggestive incident of the war, was the ride of a small Negro girl upon the carriage of a cannon. The attitude and expression of the Senator are in the highest degree sentimental. He is in the act of disbursing a few coppers to a sturdy-looking black girl, probably the one who took the ride; but turns from a pretty little white beggar, who tells him - "I'm not to blame for being white, sir." Behind this group are a pair of the fairer sex, admiring, as so many of them do, the principle figure, and also the descriminating [sic] benevolence of the act. The announcement clearly associates the print with the Gen. Banks incident, iden tifying the black child as "probably the one who took the ride," in spite of the fact that the incident depicted in the print is wholly fictitious. The writer uses the occa sion to attack Sumner's politics as ''revolutionary and Jacobin," and sneers at Sum ner's sentimental, and therefore disingenuous, sympathies for blacks. The black girl is described as sturdy, i.e., capable of being self-reliant, and the white child is praised as "a pretty little white beggar." According to an imprint on an impression of the first state in the collection of the New York Public Library, the print was published by G [eorge] M. Cottrell, about whom little is known. He ran a bookstore on Boston's Cornhill Street and occasionally published Christian literature for young reader.). 1iven the inflan1- rnatory nature of the print, it is not ~urpr i ·ing that the lithograph bc.:ars no artis(s signature. One po s~ ibl e candidate, of the ~everal lithographic arti ~ ts \V< rking in Boston at the time, is Joseph E. Baker. In 1862 Raker \\'a.. a t \Vent v-fl\ c Vt:ar-old I lithographic artist working for the hi ghly regarded c~tab li ~hn1cnt nf J. H. Bufford. l)uring the Civil War he produced a nu1nber of political Lc1rtoons as \Veil as por traits of Lincoln, Sun1ner, and other pron1 inen t 111 il itary and political figu rc\. In 1861 he signed an illustration for a pro-slavery ~hee t n1u\ic cover entitltd "J \'\'ou ld I 'vVere a Slave Again,, the cover illu tration of\\ hich depiLh a 'vhite gentlernan lecturing a young black man dressed in rags, prestllnably urging hirn to return to the South. It was hardly coincidental that the publication of fn1 not to [,fonlc for being white, sir! appeared at the very n1on1ent that a nc\v political part \r '" ,1s being forn1cd. Called the People's Party, this insurgent political n1o\ e1ncnt \\'as fonncd in the aftermath of the Worcester Republi(an Conve ntion. C:omprising ordinary citi1ens and wealthy business n1en, the party hoped to defeat ~ un1n cr\ chanLC'-t for re-election. They were galvanized in part by umner\ conYention letter, but tnany rnernbers of the new party had long despised the senator and the brand of radi calisrn he represented. Typical of the complaint leYeled against 5un1ner by dele gates of the People,s Party were the words of Boston la\vyer and judge )o The People's Party in Massachusetts was heralded by a caricature of Mr. Sumner conferring favors upon a colored child, while a white one stood beside whose appeal for alms was neglected the ridiculous pleas being put into its mouth-«I'm not to blame for being white, sir!" The malicious 17 purpose of this lithograph \'Va ea ily interprettd. Soon afttr, a rtvi ~d edi tion attracted cro\vds at the shop \vindo\v~, \\rho recognized the t ruthfuln~.: ss of it new reading: "True, n1y girl , but charity ought to begin '''ht rc? it is n1u t needed, and you, certainly, are the better off, having tnor~ friends and k.s .. oppressors.)) Nell clearly links the publication of the hr<;t print ''"ith the fonnation of th e People's Party. Unlike the Boston Courierannouncen1ent of the fir'-lt state, Ntll ch es not atten1pt to characterize the individual children, but refer~ to tht lithograph,.s intent as both "ridiculous, and "n1ali cious." The second st(1te of the lithograph restores "truthfulness, to the print by the addition of t11nner\ rtbuttal. 1\.s an aside, it is interesting to note that both The Liberator and Boston Jouri "r announcetnents refer to the shops in which such prints were ~old. Political prints, such as the one under discussion, were usually so ld indi\ idually in '-~hops or at public venues and were not reproduced in ne\vspapcrs or n1agazi ncs. In an erd before electronic n1edia, visual political satires were one of the n1ajor \vay~ by vvhich political idea were con1municated. Nell 's observation that the Hre\ i<;cd edi tion attracted crowds at the shop windows, indicates the in1portant role such prints played in America's social and political life. The second state of the print may have given sati faction to Sun1ner,s friend .. , but it is unlikely that it convinced n1any of Sumner\ oppo n e nt~ . But as Elc<. ti on l1ay neared, that seen1ed to xnatter less and less. The People\ Party, \\ eakencd by the President's proclamation, began to lose support atnong the general populace. Even the adoption by the Democratic Party of its platforn1 did little to shore up support for the new party. The final blow for the People's Party can1c \Vhen Charles Francis Adan1s, then minister to Great Britain, refused the party's non1ination for senator. As the election drew near, only the most openly reactionary n1en1bers of the public continued their support for the People's Party. It caine as little ')Urpri<;e then, on Nove1nber 4, 1862, that Massachusetts voters \Vent to the polls and re elected their anti-slavery governor, John Andrews, and enough pro-Sun1ner legi - lators to all but ensure Charles Sumner's return to his enatorial scat in \1\Tashington. On the evening of Noven1ber 4, a crowd of over one thousand sup· porters and a musical band n1arched to the home of Charles un1ner on Beacon Hill 's Hancock Street. As the band played and the crowd chanted his nan1e, C~ harles Sumner appeared at his door and spoke to his upporter . It had been, he adn1itted, a difficult election, but today the ((cause of Liberty has triun1phed.)) Alluding to his opponents in the People's Party, he said, "1'he unanned guerilla band of Jefferson Davis here in Iv1assachu etts have been routed.}) The cro,vd cheered as Sun1ner proclaimed that "lv1assachusetts will be content \Vith nothing les than the complete restoration of the Union and the establishn1ent of peace on the in de tructible foundation of hun1an rights.'' If these last \vords have an undeniably conten1porary sound to then1, it i 18 because the issues raised in the Massachusetts gubernatorial election of 1862 and so clearly articulated in our print are issues that remain with us today. The prob lem of slavery may have been resolved in the 186os, but the legacy of that ((pecu liar institution, still troubles this nation. Recent debates over affirmative action ask the same questions posed in this print. Who is deserving of public protection and charity? Can the government compensate one group without discriminating against another? 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BAUSCJ I, RICIIARI >. Stories. .i\1ALLON, THO 1A • Band! ox. BAXTER, <) JAR II· . ~aul and Ptttsy. !\1ARTIN, \Vn LIAM. Han', rd Yard. BROOKNER, A NI1A. Rulc'i of Engagernent. 1\:1 cCALL S 11TH , All XANI 1 R. Hed\ cnly I ate. BHO\AJN, DA~ . A ngcls & l kn1ons. .t\1ED\VED, .i\1AMI\ 1. End of .u1 l·rr r. JAREY, Ll A. I\1cnnaid\ ~inging. .i\11 II EL "'E , G. F. Art and Practi l of I·x1lo- • CAREY, PI 11 R. .l\1y I ife as a Fake. SlOn. C I ~ RVANTES, MI<.UI I I>L. Don Quixote. .l\:1 )}{RI<)ON, To ' 1. I ovt. ... II EVALI ER, T RA< Y. lad) and the lJnKorn. l\lOSLl:.Y, \ VAJ:UR. tan in i\ 1)' BastJHent. C<)RNWELL, B rR~ \RD. Heretic ~A rTEL, LiliA '· Singing Fi1 t-. i>YBI· K, S'JUART. I ~ailed with .l\lagellan. ~IE.i\11, l\11KAH. Popular l\1u ic fJOfll Vittul.t. FBER~·I r\DT, FH~ N \ '\iD·\. Furies. )J()V·\K, BARBARA. ]\ t.ug.tret-Gho t. ELI> I·RKIN, SL\\N. Voices. 01 Al · <)~ON, ( ) I.AHJR J. \V,tlking into the Night. ,RO~~i\1:\N, 0.\\ 11>. on1eone to Run \\.Ith. PI· ACH.i\1 EN'T, CHRIS fOP HI n. Carav.1ggio. IIARIHARAN, CJI!ll \ . In Tin1e ~ of Siege. PI RROTT\, To~t. Little Child ren. IIARRIS, RoBI Rr. Pon1pcii. Till ROUX. PAUl. ~ tr.1n gc r at the P.tl.tzzo IIA//.\RD, )IIIRI.I ' .Great fire. d Oro. H 1·11 l·R, Zoi. What Was She Thinking? TYLER, ANN!. An1ateur l\1.trriage. lll'!\1PI IRI·YS, II EII ~N . I ost Garden. \A/1 IITF, f t>.\lUND. Fanny. I'IA I, rR \'\( L \, Deafening. \VI LCOX, )J\M I s. f Ic.wl nlvi I .wsi . jOilNSON, DIAN !. Affaire. \1\f() ll· }·, 1 OBI AS. Old ~Lhool. JL'\1P Jirv1 CRO\V: LOST PlAYS, lYRICS, \VOOD, }AMI· . Book Against ,oc..l. A . D ~ ·1 R f L· I P R0 SI · 0 1· I HE I· I RS T All ANTIC POPULAR CULTURe. History :\( '1\.ROYD, PETFR. Albion: The Origin~ of the CL I ~~ r N I ' R ICHARD \V. Books on the l·ron l nglish IInagination. tlt?r: Pnnt Culture in the American \Vest, All· XANDER, C \ROliN I. Bounty: The True 1... 63 1875· ~tory of the l\1utiny on the Bount\. COl LJ:'\<). GAll. America's \Vomen: Four llun Bl- RRY, HI 11 .. Gender, Society, and Print Cul dred Yea r\ of Dolls, Drudges, I lt-lptnatt-s, and ture in l ctte-S tuart England. I Icroine .... BI :\( ·K, }I Rl \[). It,1h· and the Grand Tour. cu·I f t R, B A.RflA.ItA. Domestic Devib, Battle BRANCA I ORTE, 1:'110 C. Visions of Persia: field Angell\: The Racil c.t lisn1 of An1erican t\ t.1pping the TrJvcls of Adan1 Olearius. \Vomanhood, 18Jo-1865. Bl'( 'HAN, J\\11·\ . Crowded with Geniu : The DE \1 P 1:.Y, II L1C1H A. Vengeful \Vife and Other ~cotti~h I· nlighten n1ent. BlaLkfoot Storie.... BL 1NI\.ER, G \R't L. h·onl Rail- plitter to Icon: DR.\C H~1A\; , \ mGINIA •. Enterprising lincoln\ hnage in Illustrated Periodical , \\on1en: 250 Years of An1erican Businrs . l ~60-1 ~6). DU .. TNBFRRI , \VII LIA~t. lavema ter Presi- Bl'RI\.L, J \\11 '· 1\\·in TrJck : The Unexpected dent: The DoublL· Career of Jame Polk. Origin~ of the 1\todern \\'orld. ED~ \l L, ~ ICHOI As C. 1(>ward "" tonewall: C.\1 IILL, THO\tA\. Sailing the \Vine-Dark Sea: HornoscxualitvI <1nd ocietvi in the I\lodern \Vhy the Greek ... 1\latter. \\·estern \Vorld. Al I 0\\'AY, Cot 1'\ G. One \ ·a t \Vinter Count: FLI/.\BI:TH: THE EXHIBITION AT THE The NdtiYe An1erican \Ve ... t Before Lewi ... and '-\TIO~ \L l\1ARITI(\1E l\ 1U EU1\ 1. Cl.uk. E 'LIGHTt.N~1E t T: Dl "'COVERING THE ·r- ~SER, J \ 1- T. Recon~truction of \\'hite \\'ORLD 11\ TI IE EIGIITEENTH CEN Southern \\'on1anhood. TCRY. 24 FISCHER, DA\ ID H. Washington's Crossing. LOVELL, STEPHEN. Sumtnerfolk: A History of FUSSELL, PAUl. Boys' Crusade: The American the Dacha. Infantry in Northwestern Europe, 1944-1945. MATHES, VALERIE S. Standing Bear Contro GILDEA, ROBERT. Marianne in Chains: Every versy: Prelude to Indian Reform. day Life in the French Heartland under the MAWSIL -r, l LY-AS. Ara b's Journey to Colonial German Occupation. Spanish America in the Seventeenth Century. GILJE, PACL A. Liberty on the Waterfront: McPHERSON, }AMP; M. Illustrated Battle Cry American Maritin1e Culture in the Age of of Freedom: The Civil War Era. Revolution. MEIER, ANDREW. Black Earth: A Journey GILMAN, CAROlYN. Lewis and Clark: Across Through Russia After the Fall. the Divide. MELTON, BucKNrR F. Hanging Offense: The GLADES BOOK. Strange Affair of the Warship Somers. GOANI, UKL Real Odessa: How Peron Brought NELSON, W. DALE. Interpreters with Lewis the Nazi War Criminals to Argentina. and Clark: The Story of Sacagawea and Tou GREENE, ]EROMF A. Morning Star Dawn: The ssaint Charbonneau. Powder River Expedition and the Northern NICHOLS, ROGER L. American Indians in U.S. Cheyennes, 1876. History. GUDMESTAD, RoBERT H. Troublesome Com NICHOLSON, VIRGINIA. Among the Bohemi tnerce: The Transformation of the Interstate ans: Experiments in Living, 1900- 1939. Slave Trade. ONEY, STEVE. And the Dead Shall Rise: The HAEFELI, EvAN. Captors and Captives: The Murder of Mary Phagan and the Lynching of 1704 French and Indian Raid on Deerfield. Leo Frank. HANSON, VICTOR D. Ripples of Battle: How OTI IER ISRAEL: VOICES OF REFUSAL AND Wars of the Past Determine How We Fight, DISSENT. Live, Think. PADFIELD, PETER. Maritime Power and the HATFIELD, APRIL L. Atlantic Virginia: Inter Struggle for Freedom: Naval Campaigns That colonial Relations in the Seventeenth Cen Shaped the Modern World, 1788-1851. tury. FORTES, JACQUES. Fascination and Misgivings: HISTORY OF ELY CATHEDRAL. The United States in French Opinion, 1870- HOFFER, PETER C. Sensory Worlds in Early 1914. America. PRICE, MuNRO. Road from Versailles: Louis HUBBS, G. WARD. Guarding Greensboro: A XVI, Marie Antoinette, and the Fall of the Confederate Company in the Making of a French Monarchy. Southern Con1munity. PULEO, STEPHEN. Dark Tide: The Great Boston HUSTON, ]AMES L. Calculating the Value of Molasses Flood of 1919. the Union: Slavery, Property Rights, and the REINTERPRETING NEW ENGLAND INDI Economic Origins of the Civil War. ANS AND THE COLONIAL EXPERIENCE. JOHNSTON, CAROLYN. Cherokee Women in ROSE, MARY B. Firms, Networks, and Business Crisis. Values: The British and American Cotton KARABELL, ZAc HARY. Parting the Desert: The Industries Since 1750. Creation of the Suez Canal. SALISBURY, GAY. Cruelest Miles: The Heroic KATZ, ROBERT. Battle for Rome: The Germans, Story of Dogs and Men in a Race Against an the Allies, the Partisans and the Pope, Sep Epidemic. tember 1943-June 1944. SAXTON, MARTHA . Being Good: Women's KEEGAN, }OHN. Intelligence in War. Moral Values in Early America. KINSLEY, RuFus. Diary of a Christian Soldier: SCARBOROUGH, WILLIAM K. Masters of the Rufus Kinsley and the Civil War. Big House: Elite Slaveholders of the Mid KNAPP, }AMES A. Illustrating the Past in Early Nineteenth-Century South. Modern England: The Representation of His SEARS, STEPHEN W. Gettysburg. tory in Printed Books. SHEA, WILLIAM L. Vicksburg is the Key: The KONNER, Mr LVIN. Unsettled: An Anthropol Struggle for the Mississippi River. ogy of the Jews. SINISI, KYLE S. Sacred Debts: State Civil War LONG, LISA A. Rehabilitating Bodies: Health, Claims and American Federalism, 1861-1880. History, and the American Civil War. SWEET, JoHN W. Bodies Politic: Negotiating -5 Race in the American orth, 1730-1830. \VARI , l\lATIHE\' .... Breaking thr Bd.k oun .. IAAFI·E, Slii'HI·N It Philadelphia Catnpaignl try: The even Year ' \\ar in \ irgini( and 1777-1778. Pennsylvania, 1754-1765. ·1 J IOi\llAS, Nt< H< I A'::l. Cook: The Extraordi \VEEDOl \ At EXI . Vi torian Publi hing: 1 he n,•ry Voyages of _.a plain Jan1cs Cook. Economics of Book Production for a 1ass TJ I ORNE, TANI C. \\Torld's Richest Indian: J\1arkct, 1836-1916. Thl' Scandal Over }ack-,on Barnett's Oil For \ V l L LIA~1 , PA1JUC K. ,ypsy \ Vodd: ·1 hl I till L'. \tlencc of the Living ~md the Voiu? f thl TREES, ANI>RH\ S. l·ounding Father\ and the Dead. Politic~ of Character. \VOLFF, AN~l. llow ~tanv ~tile~ t< B. h 'lon?: ' UNIH R TilE I fAivtMER: BOOK AUC'I JON~ lrJvcL and Adven lures to l·gypt .111<.1 Hq on AI TSCII U I FR, G1 rNN C. All Shook Up: I low BRI !'TEN, BI NJAl\tl~. Britten on \tusic. Rock 'n Roll Changed America. JACKSON, ]I· I· I Rl"Y H. t\l,1king }.lt.l F1 cnch. BRENDEL, Ar 1 Rl·D. Me of All People: Alfred LEBRI:.CI IT, NORl\1AN. OVl'lll ..11 dl.'n: The Brendel in Conversation with Martin Meyer. Un told Story. Mysteries & Thrillers BARNARD, RoBFRI. Cry From the Dark. llOSPITAL, }ANEri E TURI':I·R. l )ue Prcp,H,l- Bl· ATON, l\.1. C. Death of a Poison Pen. tlons for the Plague. BlANC, N1 RO. Crossworder,s Gift. HUNTfR, ) li:.PHI:r\. Havana. BOOTI I, NlARI'IN. Very Private Gentleman. JAiv1F , P. D. Ivturder Roorn. BRETT, SJr-.toN. Murder in the Museum. . .Nturder Room. RRO\VN, D\N. Da Vinci Code. KERR, PHiliP. Dark !\tatter: The Priv~llc Life of Dd Vinci Code. ir Isaac Newton . ----. Da Vinci Code. KING, LA.URir R. Game. . Da Vinci Code. LANDAY, vVJII.IA.M. Mission Flat\. CORNWELL, PATRK lA. Blow Fly. IE CARRE, }OliN. Absolute r:riends. DICKINSON, DAVID. Death of an Old Master. LcON.\RD, EL~fORJ-. l\.1r. Paradise. DOHFRTY, P. C. Gates of Hell. Me Dl~\1ID, VAL Dt~tanl L(ho. DOUGLAS, C \ROI EN. Femn1e Fatale. MILL , K\ lE. Smoke Screen. Lt~l I·TON, Cll\'l. Cry Havoc. PARET KY, \RA. Blackh~t. rtYN!':, VI'\C 1:.. Executive Power. PARKER, RoBI:.RT B. tone (old. I·ORSYTH, FRl 01-RKJ-... Avenger. RE DELL, RL TH. Babes 111 thl.: \\'ood. HALl, ADA~t. Quiller Balalaika. \VALTER , !\liNETTE. Disordered ~tind!-i. Philosophy and Religion ARENDT, HANN \H. Responsibility and Judg Christian Thought from the Age of the Puri ment. tans to the Civil Vvar. BFARDSl FE, Lots. Lies to Live By. TERN, ]l:))JCA. Terror in the Name of God: HARP, Gnt IS J. Brahmin Prophet: Phillips \r'/hv Religious l\1ilitants Kill. Brooks. TO\VER , S. "tv1L lC.HOW. Control of Religious HOliFIELD, E. BROOK~. Theology in America: Printing in Earlv Stuart England. 26 \t\!ALSH, MICHAEL J. Conclave: A History of mons from Five Decades Celebrating the Lib Papal Elections. eral Gospel. \VILLIAMS, RHYs. Triumphant Living: Ser- Science BOOKS AND THE SCIENCES IN HISTORY. Childbed Fever, and the Strange Story of CATHCART, BRiru'\1. Rain. Ignac Semmelweis. DICKINSON, TERENCE. Backyard Astrono- PENDERGRAST, MARK. Mirror Mirror: A His n1er's Guide. tory of the Human Love Affair with Reflec GALISON, PcrER L. Einstein's Clocks, Poin- tion. care's Maps. PETROSKI, HENRY. Small Things Considered: GINGERICH, OwEN. Book Nobody Read: Why There Is No Perfect Design. Chasing the Revolutions of Nicolaus Coper- PHILBRICK, NA1 HANIEL. Sea of Glory: Amer . OlCUS. ica's Voyage of Discovery: The U.S. Exploring KAPLAN, RoBERT. Art of the Infinite: The Plea- Expedition, 1838-1842. sures of Mathematics. ROCCO, FIAMMETTA. Miraculous Fever Tree: KIDDER, TRACY. Mountains Beyond Moun Malaria and the Quest for a Cure. tains. SAMPSELL, BONNIE M. Traveler's Guide to the KNAPP, SANDRA. Potted Histories: An Artistic Geology of Egypt. Voyage Through Plant Exploration. WALLACE, DAVID FOSTl-R. Everything and MEDICINE MAN: THE FORGOTTEN More: A Compact History of [Infinity]. MUSEUM OF HENRY WELLCOME. WERMIEL, SARA E. Fireproof Building: Tech MORING, }OHN. Early American Naturalists. nology and Public Safety in the Nineteenth NULAND, SHI:.R\VIN B. Doctors' Plague: Germs, Century American City. Miscellaneous ABRAMS, ROGER I. First World Series and the GATES, HENRY Louis. America Behind the Baseball Fanatics of 1903. Color Line. BASBANES, NICHOLAS A. Splendor of Letters: GLASSMAN, S1 EVE. On the Trail of the Maya The Permanence of Books in an Imperma Explorer. nent World. GOODMAN, PH EBE S. Garden Squares of BERRY, WENDELL Art of the Common-Place: Boston. Agrarian Essays. HALL, CAROLYN. Historical Atlas of Central BIGGERS, SI IIRLEY H. British Author House America. Museums and Other Memorials. HALPERN, GREG. Harvard Works Because We BROWN, MICHAEL F. Who Owns Native Cul Do. ture? HARP, STEPHEN L. Marketing Michelin: Adver CARPENTER, RICHARD C. Railroad Atlas of tising in Twentieth-Century France. the United States in 1946. KIMBALL, CHRISTOPHER. Kitchen Detective: A CUNNINGHAM, MARION. Lost Recipes: Meals Culinary Sleuth Solves Common Cooking to Share With Friends and Fan1ily. Mysteries. DIAMANT, ANITA. Pitching My Tent: On Mar LOW, SETHA M. Behind the Gates: Life, Secu riage, Motherhood, Friendship. rity, and the Pursuit of I-Iappiness in Fortress DICKSON, PAUL Hidden Language of Base America. ball: Signs and Sign-Stealing. MASUR, LOUIS P. Autumn Glory: Basebal1 's DOG IS MY CO-PILOT: GREAT WRITERS First World Series. ON THE WORLD'S OLDEST FRIENDSHIP. McNALLY, KEITH. Balthazar Cookbook. FUSSELL, PAUL Uniforms: Why We Are What McPHEE, JOHN A. Founding Fish. \1\fe Wear. MOSS, ROBERT T. Cleopatra's Wedding Present: GARTEN, INA. Barefoot Contessa Family Style: Travels Through Syria. Easy Ideas and Recipes. NARLOCK, LoRI LYN. Food Lover's Compan ion to the Napa Valley. -..,- ] l Y, R1c HAnD. l·rench l\1enu _.ookbook. SPII BUR), GAIL. Ro k Park. )RBA I· , PHiliP. ,,1 me ~ 1aker:oi: The tory of STUART, DA\ ID [·. JUa) ma ( hroni le : I a Parker Brotht r fro an Tiddlc?d)' \Vink~ to !\1and,ldera. 1rivial Pur uit. T Dl Ui 1TER, ANmu '. 1eal Ob en ~d. PA QUARI··I .. IA, PAUl. (lc.llllbling and Surviv,1l TRU.. , L) E. l·at , Shoot c I.K< 'e : I he.: Z ro in •a tivl' 'orth Arntrica. Toltr,H1 e Approach to Punctuation. PI-'ll R~O , JoN A. Birth of City Planning in \VI CIJ F Tl:.R, S110. h:aning of 1'~::1} the- United Stall's, 1840-1917. thing: 1 he Story of the Oxford I ngli h Di - R >Till· Iff', LOis A. Soups of France. t ion;H\'. ' S( 0 .. 1Tl, It A. Sudden ~ea: The Great I furri ZUCKOFF, .~\tnc Hill. Judgment Pid,'e: I he <. ,lilt' of 19JH. True Story Behind the D.trtmouth l\1urder . Sf IIPII·R, DAVII> K. \Vorking Poor: Invisible in AmeriL.t.