A Publication of the

Foundation

for Landscape Studies

A Journal of Place Volume xıııı | Number ıı | Spring 2019

Essays: Reviving the Past: Landscapes of History 3 Gardiner Hallock: Mulberry Row: Telling the Story of Slavery at Monticello Kenneth I. Helphand: Being There While Here Sara Cedar Miller: A Case of Mistaken Identity: A Historian’s Hunt for Buried Treasure

Placemaker 14 George Crow: Louise Wrinkle

Book Reviews 16 Ethan Carr: California Mission Landscapes: Race, Memory, and the Politics of Heritage By Elizabeth Kryder-Reid Paula Deitz: Oasis in the City: The Abby Aldrich Rockefeller Sculpture Garden at The Museum of Modern Art Edited by Peter Reed and Romy Silver-Kohn Elizabeth Hyde: American Eden: David Hosack, Botany, and Medicine in the Garden of the Early Republic By Victoria Johnson

Awards 21 Contributors 23 Letter from the Editor

ll landscapes ing uncritical reverence in Jefferson’s architectural In “A Case of Mistaken Garden Club of America are like palimp- those who visit them. At the marvel and the management Identity: A Historian’s who has brought the art of sests, showing same time, some monu- of Monticello’s plantation Hunt for Buried Treasure,” interpreting place to a high the marks and ments in public parks are economy, Hallock illumi- Central Park historian Sara level through the creation erasures of time. being reviled as symbols of nates the ways in which Cedar Miller writes about of an extraordinary garden AHistory becomes altered in racial discrimination. In its current custodians are two armed conflicts that are in Birmingham, Alabama. memory as each generation either case, reconsideration providing “a significant case associated with the northern You are invited to join us on interprets the past accord- of the implicit meanings of study on how museums and end of the park: the Ameri- May 8 at the Central Park ing to contemporary values. place and representations of historic sites can adapt their can Revolution and the Boathouse when we honor For this reason landscapes historical figures requires landscapes to confront the War of 1812. How did a can- Louise for her outstanding get layered with new new forms of interpretation. complexities of our histori- non and mortar that had achievement. designs, new uses, and new In this issue of Site/Lines, cal past.” once been displayed on the As always, I would like meanings. At the same time, essays around the theme In “Being There While site of Fort Clinton within to remind our readers that because of amnesia, indiffer- “Reviving the Past: Land- Here,” Kenneth Helphand the park end up in a storage the publication of Site/Lines ence, changing economics, scapes of History” explore discusses “the challenges facility on Randall’s Island – depends on reader support. and shifting cultural ethos, these issues. posed by anyone attempting and why had these mili- For this reason I urge you to representations of time and Gardiner Hallock’s to memorialize a tragedy – tary relics been put there send a discretionary con- place become vulnerable “Mulberry Row: Telling the whether famine, war, mur- to begin with? Recounting tribution to the Foundation to neglect or intentional Story of Slavery at Monti- der, or disease.” In several the work of archaeological for Landscape Studies in the destruction. cello” details the historic relevant examples he shows experts and colleagues at the enclosed envelope. Today historic com- facts behind the extensive, the reader how “some physi- Central Park Conservancy, memoration in the form of ongoing restoration of the cal designs can, indeed, Miller’s essay demonstrates With good green wishes, art, architecture, landscape log and stone structures ‘take’ you to another place.” the role tenacious detective design, and place preserva- in which enslaved men, According to Helphand, the work can play in rewriting tion is generating a good women, and children were most effective memorials the history of place. deal of controversy. Certain housed and worked as black- elicit a response that is a In his profile of Louise landmark sites continue to smiths, joiners, bricklayers, combination of both mind Agee Wrinkle, the Founda- Elizabeth Barlow Rogers be interpreted idealistically field hands, road builders, and heart. tion for Landscape Studies President with the intention of inspir- ditch diggers, tree planters, 2019 Place Maker award fence menders, domestic recipient and author of servants, and stable boys. Listen to the Land: Creat- In telling the backstory of ing a Southern Woodland the construction of Thomas Garden, George Crow lauds a former president of the On the Cover: The site of Thomas Jefferson’s Joiner’s Shop on Monticello’s Mulberry Row. Built around 1780, the chimney was recently stabilized as part of a decades-long project to expand the interpretation of Monticello’s enslaved community. ©Thomas Jefferson Foundation at Monticello.

2 Reviving the Past: Landscapes of History

Mulberry Row: Telling the Story of Slavery at Monticello to Monticello to contemplate his personal and political life of the 607 men, women, and children he enslaved during n 1768, Thomas Jefferson paid local merchant and neighbor by touring the site’s immersive landscape and inspirational his lifetime. John Moore 180 bushels of wheat and 24 bushels of corn to architecture. After more than 180 years of private owner- Jefferson’s role as a leading Founding Father of his young create a level site for a grand house on a mountaintop in ship, Monticello formally became a museum in 1923 when nation was exceptional, but his status as a slave owner was Virginia’s fertile Piedmont. While enslaved workers hewed the Thomas Jefferson Foundation purchased the Mountain- typical. Much of Virginia’s wealth prior to the Civil War came into the dense red clay and living bedrock, the twenty- top. Visitation to the site grew rapidly in the years leading from the intensive cultivation of tobacco, and, eventually, Ifive-year-old Jefferson, a largely self-taught architect, drew up to the national bicentennial celebration and peaked with wheat on large plantations owned by a small group of promi- up plans for his future home. Famously, he would continue 671,000 people in 1976. In response to the growing numbers, nent families. At the center of these plantations was often a building and rebuilding Monticello for over fifty years. The restoration and interpretation efforts began to expand beyond main house surrounded by a tightly controlled landscape of house, with its Flemish-bond brick walls, cream-colored the main house to incorporate more of Jefferson’s wide- aesthetically and functionally arranged outbuildings, service classical details, and iconic dome served him throughout ranging interests. This deepening attention to the landscape yards, and gardens. The construction and maintenance of his life by reinforcing his national prominence and cultural surrounding the main house also shifted the historical focus these historic vernacular and designed landscapes was made sophistication. to uncomfortable truths about Jefferson and slavery. Jefferson, possible by the labor of enslaved workers. They cleared the Jefferson wished to be remembered for three principal the same man who wrote in the preamble to the Declaration fields, raised the buildings, leveled the terraces, constructed achievements – the Declaration of Independence, Virginia’s of Independence the words that would become the United the roads, planted the trees, and built the fences that created a Statutes of Religious Freedom, and the University of Vir- States’ aspirational vision and guiding philosophy, owed landscape rooted in English antecedents but heavily adapted ginia. But he was also a polymath, deeply interested in using his privileged lifestyle to profits made from the forced labor to the climate of Virginia. Jefferson’s Monticello may be his restless curiosity to elevate the taste and improve the economy of his young country. Agriculture, architecture, gar- dening, decorative arts, brewing, cooking, prison reform, history, politics, science, geography, natural history, and even the abolition of slavery fell within his purview. Visitors to Monticello have long been drawn to the house to learn more about these stories and experience a physical connec- tion to buildings and objects that relate to the founding of the United States. Similarly, the landscape surrounding the house – wide lawns, winding walks, and lovingly cultivated gardens and orchards – serves as a tangible link to Jefferson. Over the past four decades, however, one portion of his estate – a twelve hundred-foot-long, tree-lined road named Mulberry Row – has instead been adapted and restored to tell the stories of Monticello’s enslaved community. The recent work to reconstruct the buildings there, and the details of how this process has evolved, add up to a significant case study on how museums and historic sites can adapt their landscapes to confront the complexities of our historical past. Monticello has been a tourist attraction for almost two centuries. Even before Jefferson’s death in 1826, visitors came

A digital reconstruction of the Monticello Mountaintop around 1816, created by RenderSphere, LLC. All images ©Thomas Jefferson Foundation at Monticello.

3 unique in many ways, but in this respect, it was no different A digital rendering of Monticello than the other large plantations scattered across Virginia. and Mulberry Row as it It was not until the late 1960s and 1970s that historians appeared in about 1816, created like John Chester Miller and Winthrop Jordan began to by RenderSphere, LLC. develop a new understanding of Jefferson and slavery. In the following decade, integrating Jefferson’s role as a slave holder smoke houses, dairy, and into the interpretation of his undeniably important politi- washhouse used to maintain cal and cultural contributions to the United States became a the Jeffersons’ life at Monti- long-term goal of the Thomas Jefferson Foundation. Slavery cello; and the workshops that began to find its way into the house tour, and members of the enabled Jefferson to build enslaved community started to be mentioned in exhibits. his estate and support his Physical changes began to appear on the Mountaintop in experiments in small-scale, the 1980s. One of the first steps taken to reestablish a more plantation-based manufac- inclusive power of place at Monticello was restoring and turing. In total, thirty-two reconstructing lost landscape elements beyond the main buildings are known to have house’s curtilage. From the late 1970s through the 1980s, the been built along the road work of many scholars (including that of historian Lucia C. in Jefferson’s lifetime. Here Stanton, archaeologist William M. Kelso, architectural and blacksmiths spent their landscape historian William L. Beiswanger, curator Susan days hammering out nails; R. Stein, and landscape architect Rudy J. Favretti) guided carpenters transformed the first phases of this large-scale landscape restoration. As rough-cut planks into fine a result, an awkward, ill-conceived parking lot was removed architectural elements; and domestic workers salted hams, Mulberry Row was not a static landscape. It evolved almost from the Mountaintop and important historic features were washed clothes, prepared the day’s meals, and greeted friends constantly as Jefferson’s needs, desires, and interests changed. reconstructed. Some of these elements – the massive, dry-laid and relatives in the precious moments between these and Surviving documentation and archaeological evidence sug- stone retaining wall that supported Jefferson’s thousand-foot- the sundry other tasks that defined life for those enslaved at gest that from the late 1760s until around 1789, when Jeffer- long vegetable garden; the elaborate system of four recre- Monticello. Mulberry Row was so busy that today historians son returned from France, Mulberry Row consisted of eight ational carriage trails that circumnavigated the mountain; often call it Monticello’s “main street.” buildings: five houses for workers, a log storehouse, and a car- the gentled woodland grove reinstalled north and west of the Its built environment was modest. Almost two-thirds penter shop. By the 1790s Jefferson, energized by what he had house – reestablished Jefferson’s aesthetic vision for Monti- of the buildings were simple, one-story log structures. The seen in Europe, New York, and Philadelphia, made dramatic cello’s landscape. However, one restored landscape feature, workshops where the enslaved craftsmen spent their days changes to Mulberry Row. The new buildings supported his the utilitarian Mulberry were often rudimentary – ambitious plans for expanding the main house and estab- Row, stood apart from these clapboard-covered frame lishing small-scale manufacturing at Monticello. Enslaved pleasure grounds. structures supported by carpenters built the workshops and the dwellings needed to The ten-foot-wide Mul- posts buried directly in the support these activities. By 1796 the total number of buildings berry Row sits several ground. A few of the more on Mulberry Road had grown to twenty-three. hundred feet below the substantial buildings were Jefferson retired from the presidency and left public life main house on the south built from the light green in 1809. When he returned to Monticello, the house was side of the mountain. It is as basalt and pinkish, granite- largely complete, leaving many of the workshops redundant. straight as Jefferson’s state- like alaskite common to To prepare for what he hoped would be a peaceful retire- of-the-art surveying instru- the Mountaintop. However, ment, he transformed Mulberry Row one last time. Many of ments could make it and none of these buildings the crude workshops and log dwellings, no longer needed to laid out like a linear village. came close to rivaling the support his construction projects, were demolished. He also On this path, shaded and well-ordered beauty of the refined Mulberry Row’s built environment by ordering three sheltered by an allée of fruit- main house. This was a additional stone structures to be constructed. Historians producing mulberry trees, landscape of labor. and archaeologists believe that as a result only ten buildings sat the houses for enslaved remained on Mulberry Row by the 1810s. The sublime views and free workers; the stables, of the surrounding countryside, so characteristic of today’s Visitor parking lots on the eastern Mulberry Row, were hidden during this period by a ten-foot- half of the Mountaintop. The lots 4 were removed in the early 1980s. tall, riven-pale fence set hard against the back of the remain- the seamstress Sally Hemings, Jefferson’s enslaved concubine of the descendants of Monticello’s enslaved communities. ing buildings. The section of fence on Mulberry Row was part and mother to six of his children, lived on Mulberry Row In the 2000s the main house’s cellars and wings were rein- of a larger enclosure that also surrounded Jefferson’s large after she returned from France in 1789. She would stay on terpreted and partially restored. These spaces introduced south orchard. In his specifications for the fence, he ordered Mulberry Row until she moved into the South Wing around the enslaved workers associated with the tasks that hap- the rough pales to be set so near together that not even a 1802 along with at least two other enslaved domestic workers pened under the main house. Crossroads, an exhibit focused “young hare” could get in. However, a later order for a pad- whose work required that they be near the house. on important members of the enslaved domestic staff, was lock for the enclosure’s gate reveals that he also designed the The free and indentured residents of Mulberry Row, like installed in the house’s cellar. fence to keep the inhabitants of Mulberry Row from the fruits their enslaved coworkers, had diverse backgrounds. For On Mulberry Row, the installation of a comprehensive and vegetables within. Jefferson’s final round of alterations example, William Rice was an indentured English stonecut- exhibit in 2011 called Landscape of Slavery: Mulberry Row at reflected his ultimate vision of Mulberry Row as an ideal ter; John Neilson, a carpenter and house joiner, was a political Monticello was an interpretive milestone. The exhibit, devel- working landscape for enslaved men and women. exile from Ireland; David Watson, another joiner, was hired oped by a team of historians and curators led by Senior Cura- But at times during Jefferson’s life, Mulberry Row was an after he deserted from the British army during the American tor Susan Stein, installed stations along the row that used integrated landscape where at least eighty-seven enslaved Revolution; and Anthony Giannini, who worked along Mul- text, historic images, and archaeological artifacts to explain and free workers lived and labored alongside each other. berry Row in Jefferson’s orchard and vineyards, was an inden- the complex history of the site and its residents. Even more As with other Virginia plantations, enslaved workers were tured servant from Italy. At Monticello Jefferson is found not recently, Chad Wollerton, the foundation’s director of Digital always a clear majority, and their material world was clearly only in the landscape and architecture but also in the people Media and Strategy, led the initiative to develop an app that distinguished from the free workers who lived among them. he hired and the labors of his enslaved workers. includes additional information on Mulberry Row, as well as Instead of rough-hewn log houses, the free workers lived in a These stories are an important part of Monticello’s and audio files of descendants and historians and digital render- Palladian-inspired stone house and had ready access to better the nation’s history. In 1993, to return them to Monticello, ings of the long-lost buildings. Using these tools, visitors to clothes, money or credit, and food. It is also clear that the the foundation started to offer Monticello today can discover even more information on the work being done to the main house created this integrated Mulberry Row as it appears today. guided tours of Mulberry Row people who lived along Mulberry Row as they walk its length. landscape. After the house was substantially completed in Interpretive stations were installed devoted to the enslaved com- Each of these important steps has had a lasting impact, 1809, the itinerant free workers were no longer needed and so in 2011 as part of the Landscape of munity. That year also marked and yet more needed to be done. Although several of the miss- left to find other jobs. Jefferson made sure that when possible Slavery: Mulberry Row at Monticello the inception of the Getting ing buildings were outlined with low posts, loose rocks, or they trained the enslaved workers in their trades so that their exhibition. Photograph by Jack Word oral-history project that, railroad ties, visitors struggled to understand what the larger skills would remain at Monticello after the freed workers Looney. to this day, collects the stories landscape looked like when the enslaved workers lived on departed. As a result, by the time of Jefferson’s retirement, Mulberry Row. With the physi- Mulberry Row had become a complete landscape of slavery, cal presence of slavery miss- and it would stay that way for the rest of Jefferson’s life. ing, Monticello’s interpreters were forced to spend their lim- The diversity of the people who lived along Mulberry Row ited time with visitors helping may surprise many modern visitors. Isaac Granger, an them visualize the street itself enslaved, Philadelphia-trained tinsmith and blacksmith, instead of focusing on the lives made tin cups and other tinware in a small, log tin shop near and stories of its inhabitants. the center of Mulberry Row. Up to fourteen enslaved boys To solve this problem, aged ten to eighteen – including Wormley Hughes, Burwell another project was recently Colbert, and Moses Hern – produced tens of thousands of completed on Mulberry Row. nails near the tin shop in an eighty-seven-foot-long nailery. The first step was to finish the In a textile “factory,” enslaved weavers Mary Hern and Dolly work started in the 1980s to turned wool sheared from Jefferson’s own sheep, hemp grown restore the road that serves on the plantation, and purchased cotton into the clothes worn as Mulberry Row’s backbone. by Monticello’s enslaved workers. Other residents had more The last traces of the parking personal ties to the Jefferson family. The enslaved nurse Pris- lot were removed and the cilla Hemmings cared for Jefferson’s grandchildren and lived Kitchen Road, which con- on Mulberry Row in a twelve-by-fourteen-foot chestnut log nected Mulberry Row to cabin roofed with wooden slabs. Historians also think that the South Wing, was recon- structed. After the landscape

5 restoration was finished, five buildings were reconstructed The first building the team reconstructed was the 1792 tin the archaeological site. In the future, archaeologists can dig or restored. Two of the long-vanished log structures were and blacksmith shop, which Jefferson called the Storehouse through the reconstructed, brick-paved floor to uncover the completely reconstructed on their original plots; two sur- for Iron. This simple, fourteen-by-sixteen-foot workshop 1792 floor built and used by the enslaved workers. Similar viving but heavily renovated Jefferson-era buildings were was rebuilt using newly hewn oak logs held together with care was taken at the other sites. Unless there were concerns restored; and a ruined chimney that once anchored Jefferson’s dovetailed joints in accordance with Jefferson’s instructions. about the structural stability of a surviving building, the Joiner’s Shop was stabilized and the shop’s footprint outlined Surprisingly, no chimney or roof duct was reconstructed remaining archaeological resources were preserved for future in stone. The foundation specifically selected these sites for to vent the forge. This unusual detail, occasionally found research and analysis. reconstruction and restoration because together they would in other eighteenth and early-nineteenth-century black- The Storehouse for Iron was selected for reconstruction help tell the complete history of Mulberry Row: a place that smith shops, was drawn from a key piece of evidence used to because it provides an important connection to Jefferson’s included housing as well as domestic and manufacturing reconstruct and restore these buildings: a detailed insurance experiments with manufacturing on Mulberry Row. Jefferson sites. policy and associated plat that describes all of the buildings had the building constructed to serve as Isaac Granger’s tin It was decided that the buildings selected had to date to on the Mountaintop in 1796. The interior is largely based on smithy. In a stroke of providence, a tin cup – thought to be Jefferson’s retirement period and to have survived until the evidence uncovered by archaeological excavations. A recon- potentially the only known example of Granger’s work – was mid-1820s, when he made his final improvements to the main structed forge occupies the corner near where the building’s discovered during the archeological excavations. The excava- house. Because Mulberry Row sits adjacent to, and is visible original forge sat. Similarly, evidence of an anvil post and tions also revealed that enslaved workers lived and forged from, the restored landscape that surrounds the main house, a floor paved with broken bricks prompted the inclusion of nails in the building. This was a particularly important reconstructing or restoring buildings that survived into the similar features in the new building. Because no plaster or discovery because Jefferson’s much larger nailery, located 1820s allows the two landscapes to dialog without any anach- whitewash was found archaeologically, the interior has been several hundred feet to the west of the Storehouse, was demol- ronistic restored elements. While the view from the main left unfinished, with the surface of the logs scarred by the up- ished around 1802 and so did not exist during his retirement house looking toward Mulberry Row will never be the same as and-down marks of a pit saw. period. Jefferson’s nail-making business is one of the most in Jefferson’s time, using only buildings from his later period Almost all of the archaeological evidence that guided the interpretively rich stories on Mulberry Row. Now, because the at Monticello provides a visual guide as to how the entire reconstruction has been preserved. The first goal of these tools and materials used for nail making can be exhibited at landscape may have appeared in the years before his death. projects was to do as little harm as possible to any historic the Storehouse for Iron, interpreters at the site of the long- The work of many historians, scholars, and architects fabric – above- and belowground – that survived from Jef- lost nailery can focus on telling the stories of the “nailery went into developing plans for the restored and reconstructed ferson’s time. So the building was built over, instead of on, boys” instead of how they forged the nails. buildings to ensure they were as accurate as possible. Histo- The second building rian Martha Hill assembled much of what is known about the reconstructed on Mulberry physical development of Mulberry Row into a comprehensive Row was another small log report. Fraser D. Neiman led both Monticello’s Archaeology structure. Called the Hem- Department and the Digital Archaeological Archive of Com- mings Cabin, it is one of parative Slavery in reanalyzing the results of the archaeologi- three twelve-by-ten-foot log cal investigations. Architectural historian Edward A. Chap- houses that Jefferson’s work- pell provided early designs for the reconstructed buildings men built in 1793 to house and shared his extensive knowledge of Virginia’s colonial slaves. The building was and early republic architecture throughout the entire project. selected for reconstruction Construction drawings for most of the buildings were pro- because of the large amount vided by architects at Mesick Cohen Wilson Baker, with the of information known about foundation’s historical architect Jobie Hill drafting the plans this grouping of three slave for the Hemmings Cabin. The work would not have been pos- quarters. Extensive archaeo- sible without the incredible generosity of David Rubenstein, logical excavations com- Fritz and Claudine Kundrun, the Sarah and Ross Perot, Jr. bined with Jefferson’s docu- Foundation, the Mars family, Richard and Sarah Page ments, which even specified Mayo, the Garden Club of Virginia, the Beirne Carter Foun- details such as how to dation, and the Robert H. Smith Family Foundation. prepare the logs, meant that the reconstruction could be very accurate. The hewn-log

The reconstructed Hemmings 6 Cabin. walls, wooden chimney, and wooden-slab roof The Stone Stable with its newly While having two stone cells are all derived from the historic records. The reconstructed, Palladian-inspired separated by an open space interior, with its exposed joists, dirt floor, roof set on surviving Jefferson-era sounds awkward, the build- and bare walls without plaster or whitewash, fieldstone walls. ing was gracefully restored reflects typical slave quarters during Jeffer- by reconstructing yet another son’s lifetime. low-pitched, Palladian-inspired roof covered in rounded Interpretively this site was also very rich. wooden shingles. It was known that Priscilla and John Hem- A Jefferson plat from 1809 shows that a long, frame addi- mings, two of the most important members tion may have been built on one end of the building. Since the of the enslaved community, lived in one of only evidence that the wing existed is this very small build- these quarters during Jefferson’s retirement. ing outline – no physical evidence or archaeological traces Priscilla was an enslaved nursemaid and were found – it was not reconstructed. This is not to say that domestic worker, while John was a talented the other reconstructed and restored buildings on Mulberry carpenter and joiner. Because of the Hem- Row do not include conjectural elements; almost every recon- mings’ close association with the Jefferson struction or restoration requires some educated guesswork. family, and because John was literate, more In this case, though, there was not enough evidence to allow is known about John and Priscilla than the Thomas Jefferson Foundation to reconstruct the wing almost any of the other members of Mulberry accurately. Row’s enslaved community. A description Jefferson had the Stone Stable constructed to house his of the interior of their quarters – furnish- horses, the supplies needed to maintain them, and his visi- ings included a bed, dressing table, counterpane, and even a even while Mulberry Row was a racially integrated landscape tors’ carriages. Unlike the living quarters or manufacturing banded box with a hunting scene that sat on a small shelf – for many years, Jefferson built a strict hierarchy into its fabric sites, the Stable is important because it returns to Mulberry was miraculously discovered while planning the building’s to reinforce the division between free and enslaved workers. Row a building used to help maintain Jefferson’s lifestyle and reconstruction. The building’s complex history also means that it can serve social standing. The stories that are told now in connection The three other structures – the Stable, the Stone House, both as a physical connection to Mulberry Row’s enslaved with this building include not only those relating to Jeffer- and the Joiner’s Shop – all partially survived, so they were and free laborers and to Jefferson’s use of enslaved labor for son’s horses and his daily habit of inspecting his plantation either restored or stabilized. The most intact of these sur- manufacturing. on horseback but also those of the enslaved hostler Wormley viving buildings was the Stone House, where the one-story The Stone House was originally constructed around 1778 Hughes, who was largely responsible for maintaining Jef- fieldstone walls, built around 1778, remained in place under to house the free workmen who were needed for the initial ferson’s stable, and of the enslaved wagoners responsible for an 1880s gambrel roof. In this instance, a Jefferson drawing construction and expansion of the main house. This changed transporting crops, food, and goods to and from the Moun- of the building’s elevation and plan survived. Archaeolo- when Jefferson was appointed the Minister to France in the taintop. gists and architectural historians were able to “ground truth” 1780s and work on the main house stopped. The free work- The final building included in the recent campaign is the many of the features shown in the drawing to prove that ers left Monticello for other jobs and the enslaved workers, ruined Joiner’s Shop found on the opposite end of Mulberry it did, in fact, reflect the building as constructed. Further undoubtedly looking for warmer and drier quarters, moved Row from the Stone Stable. Built around 1780, the once sub- details were uncovered when Jefferson-era framing and deco- into the building. When work restarted on the main house stantial, eighteen-by-fifty-foot, timber-frame building sat rative woodwork were revealed during demolition of the around 1796, the Stone House reverted into housing for on a three-foot-high fieldstone foundation. When the project later additions. free workers and Jefferson ordered the enslaved workers to started, only the stone chimney and scattered remains of the The Stone House, with its new, low-pitched, Palladian- leave. By Jefferson’s retirement, the structure appears to have foundation survived. inspired roof, rounded wooden shingles, brick-paved floors, changed uses yet again after the free workers left Monticello The Joiner’s Shop was included in this project because of masonry chimney, double-hung windows, and plastered inte- for good. This time Jefferson seems to have moved his spin- the important work completed in the building and the stories rior, stands in stark contrast to the humble reconstructed log ning and weaving operations into the Stone House. of successive generations of craftsmen passing their skills slave quarter found several hundred feet away. This dichot- Less remained of the 1809 Stone Stable than of the Stone on to younger carpenters. Here free and enslaved crafts- omy, now restored to the landscape, reinforces the fact that House, but two of its single-room fieldstone cells survived men worked together over decades to produce architectural under a later roof. Found at the far eastern end of Mulberry trim and furnishings for a house – Monticello – that is an Row and built on a hillside, the building’s most distinguish- ing feature was a ten-foot-wide central passage that allowed Jefferson’s carriages and carts to enter a protected stable yard.

7 tion project was launched, these restraints will – his two sons Madison and Eston Hemings, the had reached the end of their useful life, and enslaved joiner John Hemmings, blacksmith Joseph Fossett, action was needed to ensure that the chim- and enslaved butler Burwell Colbert – were exempted. ney would not collapse into the garden beds Sally Hemings was also exempted. While not freed, she was below. “given her time” by Jefferson’s daughter Martha Randolph The decision of how to interpret the shortly after Jefferson’s death. Joiner’s Shop was perhaps the most interest- The buildings and workshops used by the enslaved com- ing of all of the choices made in restoring or munity would collapse quickly in their absence. In 1828 reconstructing the buildings along Mul- Jefferson’s granddaughter Cornelia Randolph wrote that the berry Row. The question that confronted the log buildings were “lying in little heaps of ruin.” By 1839 an foundation’s educational, architectural, and anonymous visitor described the Joiner’s Shop as reduced to archaeological staff members was whether it “tottering remains,” and even the more solidly built struc- was better to reconstruct the entire build- tures had fallen down. The same year, the roofless walls of ing or simply to maintain the chimney by one of the stone houses built to embellish Mulberry Row installing a new stabilization system. Unlike during Jefferson’s retirement had been repurposed to enclose the Stone Stable’s missing wing, an accurate the grave of the mother of Monticello’s new owner, Uriah reconstruction of the building was possible – Levy. By the mid-twentieth century, Mulberry Row, paved and amazing evidence embedded in the chimney regraded, had become the main entrance road to the increas- revealed details like the exact angle of the ingly busy historic site, and parking lots covered much roof rafters and the height of the ceiling. of its eastern end. Time and neglect had erased almost all A digital reconstruction of the internationally recognized However, the team decided instead that the best option was to traces of Mulberry Row’s enslaved people from the landscape. Joiner’s Shop, created by Render- masterpiece. The hired crafts- leave the remains largely as they were. The ruin provides not Today, however, Mulberry Row is considered by many to Sphere, LLC. men would train at least two only an untouched, authentic experience but also a physical be among the most significant sites at Monticello. Once of enslaved carpenters – John link to how Mulberry Row looked in the years after the Jef- interest primarily as the location of the quarters and sup- Hemmings and a man known only as Lewis – to be highly ferson’s death. With its new, cantilevered-steel gantry and the port buildings that made the construction of Monticello and skilled house joiners and furniture makers. Hemmings, original walls outlined with stones recovered from the site, its surrounding grounds possible, it has become one of the whom Jefferson’s overseer Edmond Bacon described as “a the physicality of the shop is returned to Mulberry Row, but premier places to learn about slavery in the country. Gain- very extra workman” who could “make any thing [sic] that its connection to a lost time is preserved. ing knowledge of slavery through sites like Mulberry Row is was wanted in woodwork,” would later be the principal joiner vital, since slavery, like Jefferson himself, was intrinsic to the for Poplar Forest, Jefferson’s octagonal retreat in Bedford Built and maintained by enslaved labor, Jefferson’s Monti- foundation of the United States. County, Virginia. Hemmings himself would pass along his cello was a vision that could not be sustained after its owner Even after the work done over the past forty years, the res- skills to two of Jefferson’s sons with Sally Hemings, Madison died on July 4, 1826. Jefferson had accumulated large debts toration and interpretation of Mulberry Row is not finished. and Eston Hemings, when they were old enough to help their throughout his life due to profligate spending. In addition, he Not only will ongoing research and archaeology shed new half-uncle in the shop. They were ready students, and the had inherited his father-in-law’s debts and cosigned a disas- light on its appearance and development, but the Thomas Jef- skills they learned helped to support them after they were trous loan for a friend who subsequently defaulted. Once he ferson Foundation’s dual mission of education and preserva- freed at Jefferson’s death. was gone, the great mountaintop plantation and architectural tion will continue to adapt to the questions routinely posed to Once Jefferson was gone, subsequent owners of Monti- masterpiece on which he had worked throughout his life it: What forces brought us together as a single nation? What cello neglected the Joiner’s Shop, and it fell to ruins around began to fall apart almost immediately. Almost everything he ideals bind us as a united people? What does it mean to be a 1839. By the early twentieth century, its former purpose had owned had to be sold at his death. Tragically, this included citizen of the United States? While the Monticello Mountain- been forgotten, and it was wrongly identified as the site of about 200 people. On the lawn of Monticello, just steps away top offers only a single voice in the chorus of scholarship and the nailery. By the time research and an early archaeological from where many of the enslaved had lived and worked their historic sites seeking to answer these weighty questions, its investigation in the 1950s corrected this error, soil had eroded entire lives, these men, women, and children were all sold contribution is not static. Just as hard questions about liberty, from under the surviving chimney, and it leaned precari- to the highest bidder. Only the five slaves freed in Jefferson’s race, and freedom in the United States have led Mulberry ously towards the terraced vegetable garden. To stabilize it, Row to its current incarnation, the questions asked by future an unconvincing system of steel cables and treated lumber generations about the complex legacies of Jefferson and the was installed in the 1960s. When the most recent restora- enslaved communities he held in bondage will prompt new changes to this ever-evolving landscape. – Gardiner Hallock

8 Being There While Here Newfoundland Memorial Park. ow can one feel a connection to a loss of human life Preserved trenches from the that occurred in another place and time? How can Somme battlefield. Beaumont- the experience in one place “take” you to another? Hamel, France. Can being “here” take you “there”? These are the challenges posed by anyone attempting to memo- year and place of deporta- Hrialize a tragedy – whether famine, war, murder, or disease. tion, final destination, and And yet some physical designs can, indeed, “take” you to fate – most often ERMODET another place. When these designs are most effective, there is (murdered). a connection made that is both intellectual and emotional, a Thus each block is inad- combination of thought and feeling. vertently discovered – stum- Such connections to the tragedies of the past are perhaps bled upon – perhaps even most easily made in situ: we have all visited places where an with a bit of guilt for having event of historical significance is said to have happened “right stepped on what is mani- here.” Sometimes the surroundings exude a spirit or even festly a memorial. After have an aura, a type of energy that can be felt. This is vivid at looking at your feet, your sites of assassinations: Ford’s Theater in D.C., Dealey Plaza eyes are inevitably drawn in Dallas, Lorraine Motel in Memphis, or Rabin Square in upward. You may be in Tel Aviv. front of the same building At other times, though, adding and subtracting vari- that was there seventy years ous elements from the landscape, designing a path through ago, where this person once it, and providing additional information about the events taught or wrote or slept, that occurred there can dramatically alter perception and dreds of thousands or millions, as at Auschwitz or the killing or it may have been replaced. The fact that the location is response. Many responses are intellectual; others might be fields of Cambodia, horror mingles with incomprehension. At ordinary amplifies the impact as your imagination attaches it visceral, giving rise to a lump in one’s throat or a wave of nau- the Newfoundland Memorial Park in France, the trenches of to the victim’s extraordinary fate. Perhaps you even consider sea. Being at the site of extreme events can conjure extreme the Battle of the Somme are preserved in the exact landscape whether such a thing could have happened to you, for you emotions. where the Newfoundland Regiment suffered catastrophic are walking the same streets. The surrounding gray blocks I have traveled to landscapes inscribed with catastrophic losses. Every summer, young people from Newfoundland devoid of names suggest the willful ignorance or complicity events all over the globe, and I have found simply being there serve as guides to the site there, creating a link between the of the victim’s neighbors. Demnig said, “If you read the name enormously powerful. Standing at the beaches in Normandy homeland of those who perished and the living. of one person, calculate his age, look at his old home and conjured up the historic and heroic events of D-Day. Hav- However, these places, with their powerful historical wonder behind which window he used to live, then the horror ing a picnic there seemed almost sacrilegious. Taking the associations, are set apart from the bustle of quotidian has a face to it.’’ small skiff to the Pearl Harbor Memorial places you atop the existence. How do we memorialize, in the neighborhoods Sometimes sculptural representations of suffering can sunken battleship Arizona. Portions of the ship are visible where they once lived, those who were plucked from their create an imaginative bridge to the past. At the Franklin beneath the surface, and oil still seeps from the hull after daily activities to be deported and murdered far from their Delano Roosevelt Memorial in Washington, D.C., the sculp- seven decades. Visitors homes? One answer to this challenge is the tures by George Segal include a life-size breadline, and it is respond appropriately, stand- Stolpersteine (stumbling blocks) Holocaust common for people to “join” the line to be photographed. At ing in silence or speaking in Memorial project conceived by the German the nearby Korean War memorial, larger-than-life statues of muffled voices, for the sailors artist Günter Demnig. The project consists soldiers trudge through an abstraction of a rice paddy. When are entombed beneath. of concrete cubes with brass plates in the I fell into conversation with a veteran at the memorial, he In other places, where the center that are roughly the same size as the remarked, “It is exactly the way it was.” numbers of those slaugh- granite squares that pave many Europeans In other instances, though, forcing the viewer to supply tered climbed to the hun- streets and sidewalks. More than seventy what is missing can be equally powerful. As landscape archi- thousand of these stumbling blocks have tect Susan Herrington has noted, “landscapes can provide Stolpersteine (“stumbling blocks”). been placed in over twelve hundred locations tangible evidence of the absent.” The Shoes on the Danube Brass plates created by the artist throughout Europe. Each one has an inscrip- Bank Memorial in Budapest consists of casts of sixty pairs G¨unter Demnig located in the tion: HIER WOHNTE – “Here lived” (or else of period-appropriate footwear, made of iron and attached pavement at the homes of victims “worked,” “practiced,” “studied,” “taught”) – to the embankment at the exact location where Jews were murdered by the Nazis in Berlin. All followed by the person’s name, year of birth, photographs by Kenneth Helphand. 9 told to remove their shoes, before they were shot and their The Irish Hunger Memorial in bodies dumped in the river. The lack of representation only lower Manhattan. A fragment of the intensifies the emotional connection: we feel what it would hunger landscape replicated in New have been like to be in their shoes. York. Artist Brian Tolle, Landscape What about memorials that are trying to transport the Architect Gail Wittwer-Laird. viewer not only through time but through space as well? Names are perhaps the most common and the most powerful miniature canyon. Walls of way to honor the dead. Even a century later, the lists of young limestone blocks ten meters men in the village squares of small English towns who were high envelop you. Inscrip- killed during the First World War can evoke the magnitude tions filling the entire walls of the nation’s loss. Sometimes the directional orientation of periodically punctuate the a monument can also be significant, as with the innumer- passage. Moving closer, you able memorials to those who have died at sea. Invariably, they read the names of cities, are facing the ocean, as close as possible to sites known or towns, and villages. Many are imagined. Typically there is a figure of a fisherman or sailor familiar: Paris, Berlin, Vilna, looking out over the water. Sometimes the imagery is more Kraców, Strasbourg. Others literal, with representations of a ship capsizing or sinking, or are unfamiliar: Domažlice, the fragment of a vessel. Butla, Vercelli, Thann, Bis- Planes as well as ships are lost at sea. In 2009, en route tra. Gradually you become from Rio de Janeiro to Paris, Air France flight 447 vanished aware of what you are look- over the Atlantic Ocean with 228 people aboard. There are ing at: this wall and its list is two parallel memorials to the victims, respectively located Germany; another, Poland; in the cities of the flight’s origin and destination. One is at another, France; another, the Père-Lachaise cemetery in Paris; the other is outside of Rio, Netherlands. The valley is overlooking the ocean. On each the names are listed on the a geography of destruction: base and a pane of transparent glass rises above, etched with a three-dimensional atlas of 107 walls; an abstracted map of waves of the experience transmitted through time. 228 birds in flight as well as the names of the thirty-three Europe and North Africa. As J. B. Jackson wrote in his classic essay “The Necessity home countries of the dead. The identical memorials connect The genius of the labyrinthine walk through the valley is for Ruins,” a monument “can be nothing more than a rough these two distant places, the arc between them re-creating the in the associations that it conjures up and its ability to act as stone, a fragment of a ruined wall as at Jerusalem, a tree, or plane’s intended journey. a grand mnemonic device. The experience is simultaneously a cross. Its sanctity is not a matter of beauty or of use or of How one moves through these spaces is also of critical instructive and visceral, of mind and body. There is no age; it is venerated not as a work of art or an antique, but as importance: often there is a walk or progression through escape from it. Its size is a reminder of the Holocaust’s vast an echo from the remote past suddenly become present and a designed landscape that allows the visitor time to both and insidious reach, not only in the great cities but also actual.” The western Irish landscape is littered with such anticipate and reflect on the experience. The competition into the hidden valleys, caves, and root cellars of the coun- memorials in the form of “famine cottages,” the abandoned brief for the Vietnam Memorial demanded a listing of all the tryside, where people hoped they would be safe. We know the stone homes of families who fled or perished during the Irish Americans who were killed or still missing. In Maya Lin’s number – six million – but here we are reminded that those Potato Famine. These ruins now sit amid overgrown vegeta- design, visitors cannot approach the memorial head-on but millions lived in thousands of places. From the shtetl to the tion in the countryside, a poignant reminder of events 175 are instead filed along its angled wall of names – a chrono- metropolis, there was no refuge. years ago. logical litany of the dead, from the war’s first casualty to its No Jews remain in most of these five thousand communi- The artist Brian Tolle has forged a link to that landscape last. The path also angles down into the earth and then up ties. Each place name on the wall is a world obliterated. The by re-creating it thousands of miles away. His Irish Hunger again, so that at the memorial’s center, where the names on Jewish inhabitants’ ways of life, their languages, the mundane Memorial near Battery Park in New York City resembles a the polished black granite are thickest, one can no longer see and profound rituals that made up the character of a civiliza- giant swath of the famine landscape of western Ireland, with over the wall. The result is an emotionally charged journey tion were all deliberately destroyed. If Yizkor books document native grasses and wildflowers and the remnants of a house through time and space. the people and places lost during the Holocaust, the valley is transported from Attymass Parish. (The illuminated texts Israel’s memorial to the Holocaust, the Valley of the a Yizkor book carved in stone. As one moves between these beneath it include information not only about this particular Communities at Yad Vashem, combines a physical journey high walls and reads these place names, their horrific fate tragedy but also about world hunger today.) The drama of through space with the mapping of places. From an upper resonates in the body like a series of deep echoes, the rippling the memorial is compounded by its location – between New terrace, you descend through a zigzagging passageway into a York Harbor, where so many Irish immigrants fleeing the famine first arrived, and the glass towers of lower Manhattan. 10 For the pathway through the memorial’s artificial yet real another – is an example of how a fragment or artifact can A Case of Mistaken Identity: terrain, Tolle included stones from each of Ireland’s thirty- hold within it the power of the place, acting as a synecdoche A Historian’s Hunt for Buried Treasure two counties. of the entire place or event. Dramatic contemporary examples s the historian for the Central Park Conservancy – Of course, relics have significance in many faiths. Most are the many 9/11 memorials that have incorporated frag- the nonprofit organization that has restored, common are the bones of a saint or martyr, but they can also ments from the ruins of the World Trade Center site as a focal maintained, and managed the park since 1980 – I be a piece of fabric (the Shroud of Turin), a mark of the pres- point of their design. Witnessing a piece of crushed steel have given hundreds of tours to visitors. Some have ence of an individual (relics of the footprint of the Prophet conjures up images of the destruction of the twin towers in come from as near as Central Park South and oth- Muhammad), an artifact (the Chains of Saint Peter, a piece Manhattan. Aers from as far away as the mountains of Peru, but often their of the cross). A relic is commonly contained in a reliquary, At the National Memorial for Peace and Justice, the first question is the same: “So, what was here before it became which is often ornate and beautifully crafted. Sometimes the national lynching memorial in Montgomery, Alabama, a park?” For me the social history of the pre-park starts with relic itself is hidden from view and only exposed on ritual eight hundred steel panels represent each U.S. county the native Lenape peoples and ends when co-designers Fred- occasions. where racially motivated lynchings occurred. Each panel is erick Law Olmsted and Calvert Vaux won the design competi- Tolle’s memorial suggests that we can think of a land- inscribed with the names of the victims known to have been tion in 1858 with their “Greensward” plan, the genesis of their scape design as a reliquary as well – as a container for a relic lynched in that county. The adjacent museum houses a col- masterpiece. Some clues to Central Park’s past are still buried or an artifact. As entire stories can be embodied in a relic, lection of jars with soil from lynching sites across the United in the ground, waiting to be discovered during landscape res- so too can they be embodied in the setting and design of a States. It is as if the ground itself retains the memory of the toration. Others are far more familiar to the park’s visitors, landscape. Babi Yar in Ukraine is the infamous site where horrific violence that took place, as well as the society that but their history may have been lost or forgotten over time. thousands of Jews from Kiev were slaughtered in a ravine that witnessed, condoned, and even celebrated it. Such was the case with the cannon and mortar which I first then became a mass grave. At the Babi Yar Memorial Park in Duplicates of the panels are waiting to be claimed and saw lying in a storage facility on Randall’s Island. Denver, designed by Lawrence Halprin and Satoru Nishita, placed in their respective counties – an act that would reunite, It was the year 1995, and I was curating an exhibit called the progression through the site takes you down into a bowl like Demnig’s Stumbling Blocks, the names of the dead with Northern Exposure about the history of the land above 96th suggesting the topography of the massacre. At the bottom of the communities they called home. This gesture would not Street in Central Park, which focused on its role in Dutch the bowl is a small, inscribed only honor the memory of the victims but also help Ameri- and English colonial culture, the Revolutionary War, and the Babi Yar Memorial Park, Denver, medallion, informing the cans of all colors come to terms with our past. As the Equal War of 1812. It included historical photographs and prints Colorado. The topography of the reader that buried beneath Justice Initiative explains on its website, “EJI shares historical and maps, but I had heard about a cannon that had once park echoes the site of the 1941 that spot is soil from Babi Yar. and educational material with community members, encour- been mounted on the empty granite base where Fort Clinton massacre near Kiev. Landscape This collection of soil – the ages participation with communities of color, and works with had stood, west of Fifth Avenue at approximately the line of Architects Lawrence Halprin and transportation of the actual partners to find an appropriate geographic location for each present-day 106th Street. I called Jonathan Kuhn, the Parks Satoru Nishita. ground from one place to monument to ensure that the process of claiming monu- Department’s Director of Arts & Antiquities, and asked if we ments helps local communities engage with could borrow it for the exhibit. this history in a constructive and meaning- Jonathan was delighted that the conservancy was willing ful way.” to take the gun out of storage and bring it back to Central The question of what we take home from Park. “Do you want the mortar, too?” he asked. these sites is an important one. Many of us, “What’s that?” I asked. after visiting a significant site or making He explained that it was a cannon with a shorter barrel. I some private pilgrimage, bring back some said we’d love to have them both. object – whether bought or found – as a The north end of Central Park has long been associated talisman or keepsake. In 2004 I visited the with the War of 1812. During the Revolutionary War, approxi- Warsaw Ghetto while doing research for my mately seventy years before the park’s creation, a promontory book Defiant Gardens: Making Gardens in War- there had been part of a chain of fortifications held by British time. I spent days walking through the site of and Hessian troops. It overlooked the future intersection of what was once the ghetto, seeking the exact Fifth Avenue and 106th Street on the east and the only road location of gardens that I knew had been cul- through McGowan’s Pass (named after the family that owned tivated there under Nazi rule. I took a stone a nearby tavern) on the west. Thirty-eight years later, after from one of these sites. Every year I place it on our Passover Seder plate with the tradi- tional objects, as a reminder of the Warsaw Ghetto uprising that began the first night of Passover in 1943. – Kenneth I. Helphand 11 a surprise attack on Stonington, Connecticut, in 1814, New I decided to take a trip to the New-York Historical Soci- shape. They look like they have been underwater for decades.” Yorkers rushed to fortify these strategic locations, fearing ety library to see what else I could find out about the Hussar. Of course, I couldn’t have been more pleased with his initial that the British might attack New York next. The fortification There I found a three-inch-thick folder filled with reports assessment! on the eastern promontory was named Fort Clinton in honor and newspaper clippings on the dives, one of which was Fortunately, Cox was also captivated by the mystery – he of DeWitt Clinton, mayor of New York at the time. It became conducted as recently as 1962. These accounts confirmed that was, after all, a former NYPD detective sergeant. After pho- part of Central Park during the park’s expansion in 1863. numerous guns were recovered from the sunken ship, as well tographing and measuring the two “tubes” (as he called the By the time Edward Hagaman Hall wrote his history of the as several manacled skeletons of American prisoners of war guns) on that first day of inspection and during several subse- upper park in 1905, these two cannons, which had been lying and a firkin (wooden barrel) of still-fresh butter. Based on quent visits to the park, Cox substantiated that the “mortar” on the ground at Fort Clinton for decades, finally had been this evidence, the pitted and rusted cannon and mortar in the is a rare carronade, a specialized naval gun originally made given a place of honor there, on a newly created granite base. park’s possession might well be booty from one of the many in Carron, Scotland, in 1776 and found on many ships of the There was ample evidence that the site had been armed – in attempts to retrieve the Hussar’s gold rather than military rel- Royal Navy by 1780. A carronade was designed to throw a large fact, the New-York Historical Society owns a series of beau- ics from the War of 1812. projectile with short range. It could punch a big hole in the tifully preserved watercolors portraying the fortifications, My new theory suddenly made sense from another angle side of a wooden ship, making it particularly useful as a gun troops, and guns at Fort Clinton during the war, which the as well. If these relics of American history had been at Fort on a naval vessel such as the Hussar. army had hired the artist John J. Holland to execute. Hall Clinton during the park’s construction, Frederick Law The origin of the cannons now seemed certain – but how, logically assumed that these “two old pieces, deeply pitted Olmsted, Calvert Vaux, the Board of Commissioners of the when, and why had they wound up lying on the ground at with rust” were two of the guns that had been brought to Fort Central Park, and its pious and patriotic comptroller, Andrew Fort Clinton at the end of the nineteenth century? The most Clinton to protect the city. This explanation of the origins of Haswell Green – who was an ardent preservationist and later likely answer can be found by tracing the places where gifts the cannon and mortar was accepted as fact for nearly a cen- the founder of the American Scenic and Historic Preserva- given to the park were once stored and exhibited. Begin- tury, and I, too, identified them as dating to the War of 1812 in tion Society – would surely have given them a place of honor. ning in 1858, all gifts given to the park – some living! – were the Northern Exposure exhibit. And yet they had not. I then tried to track down photographs, displayed in the Arsenal, the park’s first museum, located at I came to question this assumption quite by accident three illustrations, or any mention of the guns in nineteenth-cen- Fifth Avenue and 64th Street. After the Civil War, however, years later, on April 26, 1998 – which happened to be the 176th tury Central Park guidebooks, but my search proved fruit- various items, including some weaponry, were transferred to anniversary of Olmsted’s birth. In preparation for my annual less. The first photograph that I could find of the cannon and New York’s first uptown museum, located in a two-story for- birthday tour, I randomly opened the Board of Commissioners mortar on the Fort Clinton site showed them lying on the mer chapel that was once part of a motherhouse and academy of the Central Park Annual Report for the Year 1865. Customar- ground, just as Hall had described. The picture was in a 1903 of higher education for girls and young women built by the ily these reports detailed items that had been donated to the book about Harlem, published only two years before the guns Sisters of Charity of Saint Vincent de Paul in 1847. The com- park, and my eyes fell upon the following in the 1865 list: were placed on the granite pedestal. plex, near what is now Fifth Avenue and 105th Street, ended an anonymous gift, received in October, of “One cannon, To confirm my hunch, I one small Mortar, one 18 lb. Ball and Grape Shot, all taken needed a weaponry expert. from the wreck of British Frigate Hussar.” The pairing of Richard Cox, a technician at the large and small guns immediately caught my attention: the Harbor Defense Museum it seemed highly unlikely that a different cannonand mortar and a retired member of the would have been donated to the park. And yet these had been New York Police Depart- donated after the Civil War, which seemed to contradict the ment (NYPD), offered to lore that they had participated in the city’s defense in 1814. examine the cannon and This mystery clearly demanded further investigation. mortar, which had been The internet was not yet the research tool it is today, so I transferred from a storage reached for the authoritative Encyclopedia of New York City on facility on Randall’s Island my bookshelf. And there, to my shock, was an entry for the to one in Central Park. His Hussar – a British ship that “struck Pot Rock, and sank near first remark, before I had had Hell Gate [the stretch of the East River between Randall’s and a chance to even tell him my Wards Islands and the Astoria waterfront] in November 1780.” suspicions, was, “I’m sorry to The entry continued, “Reports that the Hussar carried gold to say they are really in very bad pay the British troops fighting in the Revolutionary War led to a number of salvage attempts into the twentieth century.” According to an account from an officer who survived the View at Fort Clinton, McGowan’s disaster, one hundred and seven crew lost their lives. Pass, 1812, D.T. Valentine, Manual of the Corporation of the City of New 12 York for 1856. Private Collection. up within the confines of Central Park (where The conserved cannon and donated Parrot shell from Fort the park’s composting operation is today). carronade on Fort Clinton, Sumter cemented inside its One of the Sisters of Charity’s former Central Park. Photograph by bore. An even bigger surprise, buildings became a restaurant, and the chapel Sara Cedar Miller. lodged inside the carronnade, became an art museum. On the upper level was the Hussar’s “18-pound of the museum was a display of plaster casts ball” – part of the gift to the park back in 1865. Once Reiley by Thomas Crawford, featuring the most and Harrigan removed the gun’s built-up iron scale, the can- famous works he sculpted for the exterior nonball easily rolled out, revealing a more explosive discov- of the U.S. Capitol Building in Washington, ery: a one-pound, twelve-ounce packet of gunpowder wrapped D.C. The lower level, however, was used to in two-hundred-and-thirty-year-old wool. The NYPD bomb exhibit assorted gifts to the park, such as the squad was called immediately, and the ammunition was taken skeleton of a whale, a stone idol from Utatlán away. Like the shot heard round the world, the discovery of (the K’iche’ Mayas’ ancient capital, located the gunpowder was reported in international newspapers. in today’s Guatemala), a plaster bust of the It turned out that the corroded cannon and carronade had Prince of Wales, and photographs of the been under water for over sixty years. This meant that before members of National Hose Company No. 24 these weapons could be returned to the park, they had to and Newark Hose Company No. 1. Also shown be soaked in a desalinization tank for twenty-four months, were one 450-pound shell and one Parrott until the metal was sufficiently stabilized, because salt is shell from Fort Sumter in Charleston Harbor, terrible for metal. Only then could they be properly sealed where the opening battle of the Civil War and secured on their original 1905 Fort Clinton pedestal. was fought, and a six-pound shell presented Now, however, these artifacts are memorialized not as defense by the Marquis de Lafayette to General Cropper. Although The empty chunk of granite where they had been positioned weapons of the War of 1812 but as guns once belonging to I could find no proof that the cannon and mortar were in symbolized the loss of New York City’s fiscal power to main- HMS Hussar, which sank in 1780 in the treacherous waters the museum collection other than the 1865 annual report, tain its park and its historic monuments. of the strait that connects the East River with Long Island conservancy conservationist John Harrigan discovered an After having been correctly identified with the help of Sound. 1872 article that mentioned that the Central Park museum Richard Cox in 2001, the guns remained in the 79th Street The hunt for the Hussar still goes on. In 2013, the very contained “some cannon, rusty and misshapen, which once Ramble Shed, waiting for the moment when the Central Park year that Reiley and Harrigan began restoring the weapons, did duty aboard the Hussar, and people gaze at them with Conservancy would turn its attention to restoring the fort’s the New York Times reported that treasure hunter Steven stimulated remembrances of the curious story of the ship.” landscape. The plan was never to re-create the fortifications Smith had discovered curved wooden joints on the shores In 1881 the uptown museum burned down as a result of per se – there would be no Williamsburg-type reconstruction, of the South Bronx after the disturbances from Hurricane a fire in the adjacent restaurant. The cannon and mortar no park employees dressed as War of 1812 soldiers, and no Sandy. He believed them possibly to be a part of the Hussar. survived the conflagration, but perhaps it was at this point staged military battles. Instead the restoration would consist In Central Park, though, these old and misshapen cannons that the records documenting their provenance were lost. of improved infrastructure and irrigation, seating areas are the only tangible British artifacts from the Revolution- Presumably it was after the fire that park officials decided that featured beautiful views of the Harlem Meer, new plant- ary War, more valuable as a commemoration of those people to place them on nearby Fort Clinton, with the intention of ings, and – at last – the conservation of the badly corroded and events than whatever treasure may or may not be bur- commemorating the park’s military history. Unfortunately, cannons. ied under the East River. Indeed, the British soldiers man- the cannon and mortar were frequently rolled down the hill In 2013 my colleague John Harrigan, assisted in part by ning the city’s forts in 1780 might have viewed that disaster by vandals, and more than once had to be retrieved from the Matthew C. Reiley (both artists/sculptors in their personal through their spyglasses from the exact spot where the can- Harlem Meer. By the time they were mounted, any connec- lives), pursued the questions I’d raised about the guns further, non and mortar from that doomed ship are now installed. tion with the Hussar had been completely forgotten. consulting with armament experts Richard Patterson of the – Sara Cedar Miller The guns remained there until sometime in the 1960s or Old Barracks Museum in Trenton, New Jersey, and Leslie Jen- 1970s, the years when Central Park experienced the grimmest sen and Brian W. Rayca of the West Point Military Museum Parts of this article were published in a different form as “Central days in its century-old history. After the cannon and mortar to learn more about the cannon and mortar’s provenance. Park’s Sunken Treasure,” New-York Journal of American History had been vandalized repeatedly, Parks Department authori- After extensive research, John proved beyond the shadow of a 65, no. 3 (Spring 2004): 93–97. ties wisely removed them to the storage facility on Randall’s doubt that the guns were from the HMS Hussar and that the Island before they were further damaged or, worse, stolen. “mortar” was, indeed, one of the first carronades ever made, and “one of two earliest carronades still in existence.” Then, at last, the guns came out of storage. The first course of action was to open the cannon, which contained the 13

Placemaker the club’s entrance and built The front entry into the house their house there in 1938. It is accessed from an enclosed and had a unique entry that fasci- formal motor court. nated me as a child. From the Louise Wrinkle road, it appeared to be a typi- circulation. As a result, its hen I was a boy, each approaching June cal two-story brick home in spaces flow into one another, brought great anticipation of spending the the Georgian style that would maintaining their relation- summer with my grandparents in Alabama. normally have a front door ships to the whole rather The trip from South Carolina began with in the center. In this case, than being set apart. “My boarding the Southerner at dawn for the however, the formal entry lifelong connection with Wexciting train journey to visit them. Once there, hot summer was on the side of the house, this piece of Alabama wood- days were spent imagining, exploring, and enjoying the com- adjacent to a motor court and land has taught me how to pany of older cousins who often sat on the long front porch of flanked by a sunken parterre hear its particular voice,” the house telling stories of their travels and adventures. Over garden. she writes. the bed in my room, my grandmother had placed a photo- During Louise’s child- Like her mother, Louise graph of her great-niece, Louise, who shared her name. A hood, the sloping land was always interested in beautiful young debutante when the photo was taken, Louise behind the house was horticulture, and she joined had recently married and started a family. My young mind covered by an almost impen- a local garden club not long often wondered about my cousin and her life in Birmingham, etrable forest overgrown with after her marriage. After her as I would see this photograph every day throughout the sum- honeysuckle, poison ivy, and weed trees. Louise and her sister two daughters were born and became old enough to ride, they mer. It was not until later in life that I really got to know her, called it the Jungle. They spent many hours there damming devoted most of their free time to horseback riding. It wasn’t but during these boyhood summers, I often went to visit her the stream at the bottom of the hill and playing with crawfish until her daughters left home for college that, as she put it, parents at their beautiful home in Mountain Brook. and salamanders. Many years later, when she moved back into “the plant bug bit.” After serving as a regional representa- Mountain Brook, Alabama, was originally designed in her family home, Louise decided to work with this unique tive to the National Horticulture Committee of the Garden the 1930s as a suburb “over the mountain” from downtown site in the foothills of the Appalachians to create a natural Clubs of America (GCA), she was asked to become its chair. Birmingham. Inspired design and development created a woodland garden, for which she is now being recognized As she traveled across the country speaking to local chapters, residential community of beautiful homes along winding with the Foundation for Landscape Studies’ Place Maker she made an effort to learn as much as she could about each roads that followed the natural contours of the mountain. award. The garden has continued to evolve over the last three region’s plants and the ways in which they were cultivated. “I The roads connected three planned villages – Mountain decades, and a few years ago Louise decided to record her wanted to emphasize that plants have specific needs in spe- Brook Village, Crestline experiences, and the lessons she learned, in cifc places,” she recalls. Understanding this basic gardening Village, and English Vil- Listen to the Land: Creating a Southern Woodland principle saves people from trying things that are doomed lage – that provided stores Garden (available online at louisewrinkle.com). to failure. and other amenities for the The book includes stunning photographs that Working with the GCA, Louise learned the latest styles in residents of the community. reveal her garden in all weathers and seasons. floral arrangement using a variety of plants, both potted and The Mountain Brook Club “People often talk about genius loci, or the cut specimens, that had been grown to perfection. As chair, with its spacious golf course spirit of a place, but too often they impose she also observed that, while many members knew how to was built along Shades their own preferences and patterns on a piece arrange flowers beautifully, they were often less knowledge- Creek, and building lots were of land,” Louise writes in her introduction. able about how these flowers grew. Louise writes that “some- laid out by the developer to Rather than emulate any particular existing times we growers feel that the arrangers assume that the accommodate homes and style, she resolved to “listen” to the land and let flowers come from the coolers at the wholesale florist, just gardens nearby. Louise’s its contours suggest her garden’s plantings and as children think that milk comes from the grocery store.” parents purchased a two-acre She worked to develop a wider appreciation among her fellow lot on Beechwood Road near members for the whole process of gardening, from propaga- tion to final display.

14

Her GCA role gave Louise a chance to meet experts and motor court was developed to include a seasoned gardeners from all over the country who were dedi- subtle fountain, and the existing sunken cated to growing and showing and sharing their knowledge. parterre garden beyond was greatly enhanced Perhaps her greatest teacher, however, has been her own gar- by establishing a “Belgian fence” by bend- den, which she took on after moving back into her childhood ing crabapple trees to form a freestanding home following her mother’s death in 1986. For the dedicated espaliered shape. gardener, Louise believes that tending a garden over time is A cutting garden for fresh flowers was an ongoing experiment, an ever-evolving process of discover- also created, and a stone storage building ing through trial and error what will fail and what will thrive. was later designed and built at its far end to As Louise and her husband began their renovations, she enclose the garden and resemble a stone wall formed the “Committee,” which was made up of an architect, in the distance. a landscape architect, and several landscape contractors. They Most ambitious, however, was the trans- followed Louise’s decision to let the land itself suggest the formation of the Jungle behind the house most natural way to design both an addition to the house and into a carefully curated woodland landscape. the garden’s plantings and circulation. Feeling that too many “I feel the less done the better,” Louise nonnative plants had come to dominate local gardens, Louise writes, “but I’m very much in favor of leaving decided instead to use plants native to the southeastern space to breathe. In an appreciation of forest United States, favoring those that offered attractive combina- aesthetics, a certain amount of editing must tions of seasonal color, texture, and form. be done to eliminate clutter and emphasize The first order of business was to move the driveway so the grandeur around us.” that it created a graceful curve up the hill into an expanded The spring-fed brook at the rear of the motor court. At the beginning of the driveway, there hap- property that Louise had so loved as a child pened to be a large grouping of native azaleas to which were was no longer visible from the house and was virtually inac- two acres, it feels much larger. Stone steps with natural wood added other wild azaleas from around the property. The cessible, choked with privet, honeysuckle, and poison ivy. Surprises await at every turn – railings lead to paths that wind It took two weeks to clear a tiny patch of meadow, a rustic throughout the woodland garden. the Jungle. Stonework was bench, a bed of wild phlox in then added to stabilize the bloom. Louise points out that stream’s banks, and two the lack of a horizon adds to our sense of space: “If we can bridges were built to allow only see a few dozen yards in front of us, we’re busy figuring visitors to experience the out where we are and tend to overemphasize the acreage at brook from both sides. hand.” And of course visits at different times of year yield Today the woods behind fresh rewards. It is in winter, she observes, “when the dis- the house are threaded with tracting splash of color and bloom has disappeared,” that the a series of winding paths anatomy of a garden is most apparent. that use large and beautiful With insight and sensitivity, Louise devotes a section stones for steps and have in her book to creating seasonal color through choices in railings made from natural planting and location. Numerous innovative ideas have been limbs and branches as well imaginatively applied to the garden for which she is being as iron. honored, and she generously shares them in Listen to the Land. Although the entire We can all be grateful that she included a chapter entitled garden is little more than “Plant Profiles” that lists many of the plants she has used in developing her garden along with photographs of each specimen and helpful notes on its pruning and proper care. – George Crow

Freestanding crabapple trees form an espaliered “Belgian fence.” 15 Book Reviews

California Mission Land- charged with managing and mides about “America’s best accounts have contributed to 1900s, when “nature” served a scholarly challenge as well scapes: Race, Memory, and interpreting historic sites idea.” Few other cultural completely new understand- as an antidote to the condi- as a political one. Integrat- the Politics of Heritage and other parks for the gen- enterprises tell us more ings of the “precontact” tions of industrial cities for ing indigenous perspectives By Elizabeth Kryder-Reid eral public have long sought about our highest values people and landscapes of the urban middle classes, on landscape history and University of Minnesota to enrich the narratives and aspirations while at the the Americas that belie later and “history” typically park interpretation requires Press, 2016 associated with these land- same time revealing the less descriptions of an uninhab- reinforced the identities extensive, site-specific scapes by including stories lauded forces and conflicts ited and ahistorical hemi- and narratives they favored. research, which is neces- The preservation that previ- that have always supported sphere awaiting European These social constructions sarily interdisciplinary and of scenic and ously had been and accompanied them. settlement. remain important to mil- ethnographic. Collabora- historic places muted. The The landscape-manage- Despite decades of these lions of the people who visit tion with tribal groups is for public benefit history of racial ment practices and cultural findings, the myth of the these places yearly. Recog- as critical to these efforts has a long slavery is no associations of precolonial pristine wilderness has nizing the significance of as historical and archeo- history in the longer ignored indigenous peoples have remained remarkably per- indigenous occupation and logical studies are. For many United States, at most ante- proved to be particularly sistent, as Denevan himself management of the land parks and historic sites, the characterized by bellum planta- difficult to integrate into has pointed out. Recent threatens both the notion needed partnerships and positive accom- tion and Civil the practices of park agen- scholarship aided by remote that the Americas were once long-term research pro- plishments, War battlefield cies. There is no lack of sensing technologies on the an unpeopled wilderness grams simply do not exist. challenges sites. The scholarship on the topic, size of pre-Columbian cities, and the historical narra- This is, in part, what makes overcome, displacement but its implications can for example, or the exten- tives of settlement that Elizabeth Kryder-Reid’s and successes of immigrant be daunting. At least since sive, early cultivation of the have shaped not only our California Mission Landscapes that have been and African 1992, when the geographer Amazon Basin still makes national identity but group such a welcome and impor- emulated elsewhere in the American communities William Denevan described headlines. The idea of the and individual identities as tant book. world. Our national and to create urban parks has what he called the “pristine wilderness of the New World well. While general his- California’s mission state park systems in par- been the subject of research myth,” it has been clear remains enshrined not tories of Native American churches are among the ticular figure prominently and publication in recent that before 1492 the Ameri- only in the legislation that societies are rarely absent oldest buildings in the in any inventory of the more decades, as has the dispos- cas had been far more guides the management of from national and state state and most visited of its admirable achievements of session of tribal groups populated – and cultivated – many parks but in the public park interpretative pro- historic sites; their placid American society. But the in the establishment of than had ever been acknowl- imagination as well. grams today, it is fair to say courtyard gardens have acclaim sometimes obscures national parks. Historians edged. The population of There are many reasons that more full and specific been favorite destinations complex questions that have made clear that some the New World, in fact, was for the endurance of older accounts of the meanings for generations of tourists have always been raised by park advocates have been comparable in size to that historical frameworks that and practices those groups and schoolchildren. Most historical investigations into motivated by the prospect of of the Old World. By waging effectively eliminate the invested – and often con- of them have reverted to the the park movement: which financial rewards from real war against its indigenous role of indigenous people in tinue to invest – in these ownership of the Catholic “public benefit” was typi- estate and tourism revenue, peoples and exposing shaping their landscapes, “preserved” places are far Church in some capacity. cally served, whose rights of just as other activists have them to diseases they had thereby restricting serious rarer. Absent a deeper his- Two are California state possession or use may have been driven by concern for no immunities against, consideration of the cultures torical context of the indig- parks, and all are designated been abrogated, and why did scenic preservation and Europeans created pris- and narratives associated enous cultural landscape, California landmarks. The tension and conflict often public health. The subject of tine wilderness more than with them. Most of the conveying the continued themes embodied by the accompany the seemingly park history is considerably they discovered it. Twenty- United States’ scenic and meanings and associations full history of the mission unalloyed good intentions of richer than the simple and first century archeologists historic places were desig- of Native people today for landscapes, however, make preservationists? still-all-too-familiar bro- have documented that nated as such between the parks and historic sites can these preserved sites among To their credit, public pre-Columbian cultivated mid-1800s and the mid- be impossible. historians and officials landscapes and settlements To make these stories were continental in scale. both vivid and accessible is Analyses of early written 16 the most problematic in well as religious practices. transformation occurred – Father José Maria Romo provided a somewhat more thousand people, who man- the United States. Kryder- The violent conscription one that was closely tied to at Mission Santa Barbara, intricate plan for the garden aged that landscape through Reid, who is a professor of the population to the the emerging identities and where he was sent to run in 1903, maintaining its controlled burning, selec- of anthropology, has not mission plantations and the favored historical narratives the Franciscan boys’ college basic character. In a matter tive harvesting, and seed neglected to include a deep terrible conditions often of Californians of Euro- that had been established of years, the mis- spreading. Unfortunately, and comprehensive account experienced by these unpaid pean descent. The missions there four years earlier. sion garden was understood the author observes, the his- of the people who inhabited laborers amounted to little attracted the attention of Romo supervised renova- to be a central legacy of the tory of the missions has not and shaped the landscapes more than slavery, and the artists, preservationists, and tions to the buildings and Spanish Colonial era – a yet been “fully mined” for in which the missions traditional ways of life for business and civic leaders, the creation of a cloister misconception that has been its potential as an “avenue to were first established. She tens of thousands were dras- who sponsored restora- garden, probably inspired passed along to genera- understanding the politics employs an ethnographer’s tically altered or destroyed. tion efforts. As Kryder-Reid by historical precedents he tions of tourists and visiting of the past as a continuum approach and perspective to Following Mexican observes, this was at a time saw while in Europe. This school children ever since. between the Spanish deepen the formal history of independence, an emancipa- when “California was seeing impressive garden became Kryder-Reid’s book, the colonial period, emerging the mission gardens and to tion order was issued for the a growing Anglo-American the primary influence for result of decades of research, American nationalism, and illustrate how these cultural Indian “neophytes,” and in influence in political and the gardens built over the provides detailed histories the contemporary heritage landscapes have embodied the 1830s the missions were social circles, and the efforts following decades at most of the design and manage- industry.” the shifting and contentious secularized. By that time, to cast the missions as rel- of the twenty other Califor- ment of all of California’s And yet, if the California relationships of indigenous however, the circumstances ics of a halcyon Hispanic nia missions. A four-square mission gardens, most of missions embody, as the and non-indigenous people of the indigenous popula- [colonial] era served to both plan with a central fountain, them influenced by the author puts it, some of the in California. The result is a tion of Alta California had romanticize and to distance” the garden was planted with precedent at Santa Barbara. most difficult and conten- basis for a far more mean- become a human disaster, the problematic past. orange and cypress trees, as The significance of her tious themes of “race, mem- ingful interpretation and one that only intensified The reinvention of the well as beds of mixed “suc- work, however, is that these ory, and the politics of heri- appreciation of a difficult as the mission system mission gardens themselves, culents, ground cover, cacti, interesting and needed tage” that exist in the United and controversial history. collapsed and California which once had been “dusty, roses,” and other peren- histories are fully contextu- States today, California Mis- The Franciscan Order became part of the United bustling work and social nial and annual flowers. alized in the history of the sion Landscapes exemplifies established and operated the States at mid-century. By spaces,” was a key focus of The result was a sacred and larger landscape of which the rewards of grappling California missions between 1870 the Native population the project. Located in the meditative space that soon they were once a part. She with the challenges posed the 1760s and the 1830s. of California was probably courtyards or forecourts of became a favorite of photog- explores the complex issues by such deeply significant The purpose of the mis- one-tenth of what it had the mission churches, they raphers, including William of their heritage and the cul- places. Its fresh conclu- sions was both to convert been just over a century ear- were designed in the late Henry Jackson, who in 1894 tural confrontations that led sions and original insights regional tribal groups to lier, when the first mission nineteenth and early twen- praised the “ancient” beauty to their reinvention. These demonstrate the potential of Catholicism and to prepare had been established in San tieth centuries as peace- of the missions and the restored churches with their landscape history to encom- for the 1804 establishment Diego. Mission lands were ful retreats, with central “riches of history which they appealing courtyard gardens pass ethnographic, political, of the Spanish colony of privatized, and buildings fountains, flower beds, small possess.” He was particu- were the centers of large and environmental themes, Alta California. Monks were began to deteriorate. By the trees, and structured paths. larly taken with the garden agricultural enterprises and and to explore, with nuance accompanied to the region 1890s, when preservationists Each has a specific history at Mission Santa Barbara, of an entire colonial proj- and respect, how the same by Spanish soldiers who first began to take notice, of its creation, but all shared “which was, and still is, a ect that had tragic results landscape can have starkly drove indigenous people many of the missions had basic characteristics that place of peculiar beauty.” for indigenous people. And different meanings for the off their lands and forced fallen into ruins. make them important and The architectural firm these plantations were, societies that made it. them to relocate to the new In the course of the twen- influential examples of the of Newsom and Newsom in turn, sited in a larger – Ethan Carr mission settlements. There tieth century, a remarkable Spanish Colonial Revival landscape of indigenous the monks instructed them design of the era. occupation and use by an in European agricultural as The process began in estimated three hundred 1872, with the arrival of

17 Oasis in the City: The Abby in the city”: a sculpture gar- by seven contemporary mately declared too danger- whose landscape firm con- artist’s death was cast in Aldrich Rockefeller Sculpture den to display the museum’s photographers. ous and removed.) tinues to oversee the garden bronze. Aristide Maillol’s Garden at The Museum of collection out-of-doors. In the chapter “A Garden At Abby Rockefeller’s today. Groves of weeping The River, a falling woman Modern Art To celebrate its eightieth Grows,” Reed and Ann Tem- death in 1948, her sons beeches, European birches, cast in lead, is placed Edited by Peter Reed and anniversary, MoMA has kin explain that in its first Nelson and David engaged and two plane trees were at the edge of one pool. Romy Silver-Kohn published a 16 x 11¼ inch, configuration (designed by Philip Johnson, then the complemented by ground Pablo Picasso’s pregnant New York: The Museum of 284-page tome titled Oasis John McAndrew, Curator of director of the Department covers of evergreen pachy- She-Goat – an assemblage Modern Art, 2018 in the City: The Abby Aldrich Architecture and Industrial of Architecture, to redesign sandra, lily of the valley, in bronze of objects the art- Rockefeller Sculpture Gar- Design, and Alfred H. Barr the sculpture garden in her and Geneva bugle, along ist had scavenged in local When the den at The Jr., the founding director), memory. A Miesian convert with seasonal plantings and junkyards, which was origi- Museum of Museum of the garden was planned as (after encountering the changing flora in terracotta nally on display in his own Modern Art Modern Art. a biomorphic form with a Barcelona Pavilion, with its pots. For many years, Beth garden – is a great favorite opened its Generously few groves of trees, a gravel- single figurative sculpture Straus, a leader of MoMA’s of children. And finally, first build- illustrated, strewn surface, curvilinear standing in a pool), Johnson International Council, there is the entrance gate to ing, on West the volume background screens, and sought “the urban sophisti- guided the seasonal plant- a Paris subway (Métropolitain) Fifty-third serves as dividers of wattle, plywood, cation of an Italian piazza.” ings. A lot left vacant at the station, ca. 1900, crafted by Street in a veri- or wire. The authors liken He got it right, and even eastern end for future devel- Hector Guimard in painted Manhattan, table time it to work by Roberto Burle though there were altera- opment was shielded by a cast iron, glazed lava, and on May 10, machine, Marx or Alvar Aalto: a con- tions around the perimeter row of Lombardy poplars. glass, rescued from the City 1939, one can only imagine transporting us back trast to the grid of the build- over the decades to accom- And, of course, the Harry of Paris before its disman- the clarity with which the through the garden’s devel- ing’s architecture. The first- modate new construction, Bertoia wire chairs became a tling. In all, one hundred event contributed to the new opment and transforma- generation sculptures on his design is essentially the ubiquitous feature. sculptures are represented era – Modernism. The 1939 tions. If readers could only view were figural bronzes, garden we know today: a Four sculptures appear to in the book, by a total of New York World’s Fair had handle it like a flip book, like Gaston Lachaise’s Float- walled courtyard with four be displayed in the garden sixty-one artists. opened just ten days earlier. they would experience, as ing Figure and Elie Nadel- asymmetrical display areas, at all times, even as the Succeeding sections Abby Aldrich Rockefeller, with a high-speed camera, man’s Man in the Open Air, divided by steps, plantings, collection rotates annually, of this chapter deal with one of the visionary found- the exhilarating flow of the followed over time by pieces and bridges, and paved sometimes in relation to the inevitable expansions ers; her husband, John D. placement and removal of in carved stone, like those with slabs of striated white an exhibition in the galler- of MoMA that altered the Rockefeller Jr.; and his sculpture, including those by Henry Moore and Isamu marble. He then designed ies or, since 1989, as part dimensions of the sculp- father generously donated pieces commissioned for the Noguchi, and then by works two staggered, rectangular of a series called Artist’s ture garden while giving it their townhouse proper- garden. The editors, Peter made of fabricated steel. reflecting pools with jets Choice. Among these, Henri different points of access. ties to provide the land. Reed and Romy Silver-Kohn, A later photograph shows of water. Matisse’s abstract sculptural The first addition, by Philip With a leftover plot in back have masterfully organized the curator Dorothy Miller The Abby Aldrich Rock- bronze reliefs of a female Johnson in 1964, included a on Fifty-fourth Street, the the book in three sections: a and five workmen setting efeller Sculpture Garden back – The Back (I) to The raised terrace with a grand building’s architects, Philip five-part architectural his- up Alexander Calder’s Black opened on April 29, 1953. Back (IV) – are against the staircase at the east end L. Goodwin and Edward tory of the building and the Widow stabile. (His Man- Collaborating at first with Fifty-fourth Street wall; that he called “architecture Durell Stone, oversaw the sculpture garden; an almost- Eater with Pennants, with its a landscape architect from originally only three were in motion.” In the 1984 creation of what the press year-by-year catalogue of swinging parts, was ulti- New Canaan, Johnson was acquired, but a plaster of a redesign, Cesar Pelli added release heralded as an “oasis important acquisitions and eventually assisted with fourth discovered after the a four-story, glass “Garden staged events; and, finally, a planting plans by Robert Hall,” with an escalator that portfolio of commissioned Zion and Harold Breen, offered views of the garden photographs of the garden and the city beyond as one

18 ascended, and replaced Marcel Breuer’s famous The of the garden itself, but none I wanted to confirm the American Eden: David world. The Jardin royal des Johnson’s upper terrace with House in the Museum Gar- more so than Shigeru Ban’s presence of the four peren- Hosack, Botany, and plantes médicinales, launched a two-story café and restau- den (1949) and Gregory Ain’s Paper Arch in 2000, his first nial sculptures. The fall- Medicine in the Garden of in 1626 with the support of rant. In 2004 Yoshio Tani- Exhibition House (1950), project in the United States. ing woman, the goat, and the Early Republic Louis XIII, was understood guchi created new build- which both demonstrated Having invented brown- the subway entrance were By Victoria Johnson to serve the king and state in ings on the east and west postwar solutions for Ameri- paper tubing as a low-cost all accounted for: only one New York: Liveright, 2018 all matters botanical. Royal that gave the garden a new can suburban families that but strong construction Matisse back was missing. I scientists collected and entrance and view from the combined economy of space material for quick-fix hous- also noted that Isa Genken’s In 1783, when cultivated plants west side; it became a true with elegance of form. ing in earthquake-shattered giant, long-stemmed Rose II, David Hosack and studied courtyard surrounded on Recognizing that the Kobe, for MoMA he cre- a more recent addition, may was a young them for medici- four sides by MoMA build- principles behind the open ated an arched trellis of the be acquiring permanent teenager, Wil- nal and other ings and the Fifty-fourth interiors of these Western material that spanned the status. liam Livingston, uses. By the Street wall. houses, like Ain’s with its garden’s entire width. It The leafless branches of governor of the time Crèvecoeur In the meticulously sliding panels and walls, suggested the lightness of the weeping beeches and sil- state of New contacted Gov- researched second chap- had been formulated by the a weathered bamboo trellis ver birches were like etched Jersey, received ernor Livings- ter, “Oasis in the City: Japanese three hundred in an old Japanese garden as lines in the air. No water in a letter from ton, the French Eighty Years of the Sculp- years earlier, Arthur Drexler, visitors sat under its veil of the pools, but Peter Fischli’s Hector St. John had established ture Garden” by Reed and the curator of architecture, crisscrossed shadows. Snowman, encased in his de Crèvecoeur. finely tuned Silver-Kohn, the reader is commissioned the most When I finished reading freezer, was appropriate to Crèvecoeur, who administra- introduced to a staggering popular house in the series, the book, I went downtown the season. Actually, had just pub- tive procedures number of stimulating exhi- the traditional Japanese to take a walk in the sculp- Fischli had selected the lished his Letters through which bitions, happenings, and Exhibition House designed ture garden as I have done whole collection on view for from an American Farmer, they aggressively sought events – especially the Sum- by Junzo Yoshimura (1954). a hundred times before. I this year’s Artist’s Choice was now writing in his new out plants from colonies mergarden performances It was also the most gar- grew up in Trenton, New exhibition. Also, for the role as French consul. He around the globe in order to that began in 1971. In denesque, with a landscape Jersey, and my parents first time, I looked up and presented to Livingston, as grow their own geopolitical addition we learn that there designed by Tansai Sano, belonged to MoMA, so I saw Rachel Whitbread’s he did to the governors of power. was occasionally outdoor who was descended from visited the museum with Water Tower of translucent New York and Connecticut, Governor Livingston architecture to complement seven generations of garden- them as a child on our resin and painted steel a formal proposal from passed along the French drawings and models in the ers at Ryoan-ji. It included excursions into town; along on the roof. Finally, dusk the French government: proposal to the Assembly of galleries. In 1942 Buck- a pond, a waterfall, and a with the art, I recall the descended, and the guard if New Jersey established the State of New Jersey and minster Fuller’s Dymaxion contemplative sand garden chic, penthouse restau- asked us to leave. From a botanical garden, the reported back to Crèvecoeur Deployment Unit was exhib- featuring raked, wavelike rant for members and the inside the museum, the French would share speci- that the assembly expressed ited: a circular steel grain designs symbolizing water. original Bauhaus staircase garden in the dimming mens from their collections thanks and wished “to bin adapted into a family It was eventually recon- (which it is still fun to light resembled the slightly in exchange for American assure him that whenever dwelling that could be used structed with a garden in rediscover in the depths of blurred, black-and-white plants. The offer from the this state hath formed an as a bomb shelter or a beach Philadelphia’s Fairmount the museum). On this dark, photographs by Hiroshi French was indicative of the Establishment of a Botanical house. This was followed Park, where it serves as a wintry afternoon, however, Sugimoto in the final sec- botanically forward-think- Garden, His Most Chris- by two furnished houses, local center for Japanese tion of the book: art imitat- ing policies of the French tian Majesty’s offer will culture. ing art imitating art. government, which could be gratefully accepted.” In Other built components – Paula Deitz safely claim to have one of other words, if New Jersey complemented the structure the most fully furnished botanical gardens in west- ern Europe and hence in the

19 ever decided to build such the story of how Americans quickly realized how little the backdrop of the history millennia-old theory of the informed that they can be a garden, the French would learned to think about both he knew of medical botany, of science and medicine in humors in favor of prac- supplied with Medicinal be welcome to contribute the natural world and their which was an essential part the eighteenth and nine- tices based on knowledge Herbs and Plants, and a specimens. But New Jersey own bodies.” It is also, as of the study of medicine teenth centuries. Hosack’s gleaned from anatomical large assortment of Green did not build a botanical the author goes on to argue, in Britain. To correct that discovery of medical botany and pharmaceutical study. and Hot House Plants, &c.” garden. Nor did New York “the story of how one of deficit he proceeded to coincided with a golden The assemblage of an ency- But it was also a labor-inten- or Connecticut (though a the world’s greatest cities London, where he studied age of the study of plants clopedic botanical garden sive and expensive endeavor New Haven medical society became just that.” with William Curtis in the in Britain, France, and the was therefore essential, that Hosack could not tried). The French quickly American Eden is first Brompton Botanic Garden. Sweden of Carl Linnaeus. and New York City, let alone sustain financially on his lost patience with the young and foremost a biography In so doing he developed a In America Thomas Jeffer- the United States (as the own. He therefore waged a republic and decided to of Hosack. Johnson begins lifelong passion for botany son and George Washing- French had lamented), did decades-long and ultimately bypass it in 1785 by sending with his early quest to and a strong conviction that ton were only two of many not have one. unsuccessful bid to convince their own botanist, André acquire a medical educa- botanical knowledge was American elite gentlemen Hosack launched his Columbia and the State of Michaux, to carry out the tion. He began his formal key to improving medical who were enthusiastic efforts to create one in 1801 New York of the benefits French mission. Michaux training at Columbia Col- practice. Back in the United gardeners and plant col- when, with his own money, of, first, taking ownership established a French nursery lege in 1786; he also became States Hosack launched lectors. The most serious he purchased the first of of the garden and, second, garden in New Jersey that an apprentice to London- his professional career in among them collaborated, several plots of land north of appropriating sufficient excited the curiosity of trained military surgeon medicine, a lengthy and conversed, and collected via the city and began the con- funds for its maintenance. Americans, but no American Richard Bayley, whose work vaunted career that through the informal but cosmo- struction of the site that he Even the scientifically garden materialized. at New York Hospital and his prodigious energy would politan “republic of letters” would call the Elgin Botanic forward-thinking Thomas It was in this institu- anatomical dissections pro- include teaching botany and and formal academies and Garden after the Scottish Jefferson initially rebuffed tionally underdeveloped vided practical preparation. later medicine at Columbia societies: Hosack was elected birthplace of his father. Its Hosack’s efforts. The garden context that David Hosack, When public suspicion grew University; teaching medi- a Fellow of the Linnaean precincts would eventu- eventually fell into ruins. Its the hero of Victoria John- around Bayley’s anatomi- cine at its rival, the College Society of London after ally include a handsome site, once in the city’s rural son’s American Eden, waged cal dissections in 1788 and of Physicians and Surgeons; his studies there and was conservatory and thou- environs, is now covered a lifelong effort to build the his laboratory came under maintaining a private eventually named a Fellow sands of plant specimens by Midtown Manhattan’s first U.S. botanical garden attack, Hosack chose to con- medical practice through of the Royal Society. And, that Hosack himself had Rockefeller Center. (the Dutch had built one in tinue his education at the which he catered to an elite like his contemporaries, collected or had acquired Yet, as Johnson writes, the seventeenth century) in College of New Jersey (now roster of patients, including he believed that unlocking from his now international Hosack’s “greatest legacy New York City. He encoun- Princeton University). He Alexander Hamilton and the secrets of botany could and extensive network of is perhaps the one that is tered intellectual curiosity returned to New York after Aaron Burr; seeing patients bring about a revolution in botanical correspondents in hardest to see. He showed and enthusiasm all along that for advanced training, at charity hospitals as well; the practice of medicine. Britain and France and on his fellow citizens how to the way, but unfortunately and then in 1790 moved to and encouraging the growth If Linnaeus had, through the frontiers of America. It build institutions.” And in the new country did not yet Philadelphia where he stud- of the arts, sciences, and his classification system, was an astounding achieve- this sense, Johnson’s biogra- have the mature institu- ied under Benjamin Rush. especially botanical sciences found the key to identify- ment that drew visitors and phy is also a history of New tions needed to support But Hosack yearned for in New York City. ing similarities between botanists from around the York City and its emergence his vision. As a result his more rigorous medical Central to all of these different plants, surely country. Its purpose was over the course of Hosack’s efforts would prove both instruction. In 1792, leav- efforts was Hosack’s estab- resemblances between their both practical and commer- professional life as the dramatically successful and ing his wife and child with lishment of a botanical medicinal properties could cial: in 1807 he advertised financial and cultural center ultimately unsustainable in his parents, he set across garden in New York City. be identified, tested, and in a New York newspaper of the new republic. John- the Early Republic. Yet his the Atlantic to study at the Johnson narrates his cru- deployed pharmaceutically. that “Our citizens are now son’s account transports the life, Johnson writes, “tells University of Edinburgh. sade to build one against The medical field was reader back to a late-eigh- There he embarked on a experiencing great change teenth and early nineteenth- rigorous course of study, but as practitioners finally century New York City began to abandon the that is both crackling with 20 Awards

intellectual excitement and opted to forgo footnotes, 2019 David R. Coffin ington/Cedar/Sammamish, 2019 John Brinckerhoff profiles of twenty-four rural political possibility, and but Johnson’s erudition and Publication Grant and Snohomish watersheds, Jackson Book Prize cemeteries reveal the evolv- frighteningly gritty and exhaustive research into the The Foundation for Land- is overseeing this compen- The Foundation for Land- ing design features of this dangerous. archival sources surround- scape Studies is pleased to dium of contributions by a scape Studies is pleased to distinctive landscape genre The terrible significance ing her subject are consis- acknowledge the following group of scholars, novelists, announce the awardees of before and after the Ameri- of Hosack’s work as a physi- tently rewarding. The reader 2019 awardees of the David poets, and garden enthusi- the John Brinckerhoff Jack- can Civil War, facilitating cian was forced upon him will be both delighted by the R. Coffin Publication Grant asts on the legacy of nurs- son Book Prize for a distin- their identification and throughout his life: even as story of Hosack’s life and to authors or publishers of eryman Fujitaro Kubota, guished, recently published preservation. In addition, he strove to advance medical convinced that he left the forthcoming books that will who transformed a Puget work on a subject related to Grave Landscapes places rural and pharmaceutical knowl- world and his city a far bet- advance scholarship in the Sound swampland in south- the history of designed and cemeteries in the broader edge, he was unable to save ter place than he found it. field of garden history and ern Seattle into a version of vernacular landscapes. context of American land- his first wife, his first child, David Hosack was landscape studies. the Japanese garden. scape design, thereby illu- Theodosia Burr, Alexander decades ahead of his time. James R. Cothran and minating their influence on Hamilton’s son Philip, and The young United States Jane Amidon Helen L. Horowitz Erica Danylchak the creation of public parks. then Hamilton himself, let could not be persuaded to Dan Kiley Traces of J. B. Jackson, Grave Landscapes: The late James R. alone the many hundreds fund a national botanical Volume Five, Library of The Man Who Taught Us The Nineteenth-Century Rural Cothran was a landscape of patients lost to yellow garden until 1820, when the American Landscape to See Everyday America Cemetery Movement architect, urban planner, fever, smallpox, and other Columbian Institute for the History’s Modern University of Virginia Press University of South Carolina and garden historian in communicable diseases that Promotion of Arts and Sci- Landscape Design series Press, January 2018 Atlanta, Georgia, where he plagued America. So Hosack ences pushed a bill through Helen Lef kowitz Horowitz, served as an adjunct profes- soldiered on, a leading but Congress, signed by Presi- Jane Amidon, professor of a Smith College professor This beauti- sor of garden by no means solitary force dent Monroe, which granted Landscape Architecture at emerita, is the author of fully illustrated history and in Enlightenment America a plot of land for such pur- Northeastern University, books ranging from archi- volume features preservation at who believed in the poten- poses. This was almost half teaches studio, lecture, and tecture to women’s studies. more than the University tial of the new nation and a century after Crèvecoeur’s seminar courses focused 150 historic of Georgia and the progress of science. He proposal, and it would still on the ideas, histories, and Pennsylvania Academy of photographs, Georgia State built networks of botani- be years before serious design strategies of chang- the Fine Arts stereographs, University. A cal and scientific exchange plant collecting began. But ing cities. From the Schuylkill to the postcards, fellow of the with the leading botanists of Hosack had inspired genera- Hudson: Landscapes of the engravings, American Soci- Europe, cultivated rivalries tions of American botanists, Elizabeth Butler Early American Republic, maps, and ety of Landscape with contemporaries like and after his death in 1835 Spirited Stone: Lessons from exhibition catalogue contemporary Architects, the Peales in Philadelphia, they continued his mission. Kubota’s Garden images that Cothran is the and tirelessly contributed One of his last students, Chin Music Press This handsome volume illuminate the author of Gar- to and shaped the learned John Torrey (as leader of will accompany an exhibi- origins of rural cemeteries, dens of Historic Charleston, Elizabeth Butler, outdoor societies and institutions what came to be called the tion organized by Anna O. their physical evolution, and Charleston Gardens and the grants manager for the that would mold America – Torrey Botanical Club) even Marley, curator of historical the nature of the landscapes Landscape Legacy of Loutrel Salmon Section of the including the New-York succeeded in cultivating American art at the academy they inspired. Extended Briggs, and the award-win- Duwamish/Green/Central Historical Society and the the necessary political and and director of the Center ning Gardens and Historic Puget Sound, Lake Wash- New York Horticultural financial support among for the Study of the Ameri- Plants of the Antebellum South. Society, to name just two. New York’s wealthiest citi- can Artist. The publisher of Ameri- zens to create the New York can Eden has frustratingly Botanical Garden – one of the most important botani- cal institutions in the world today. – Elizabeth Hyde 21 Erica Danylchak holds Dümpelmann explains, this Hansjörg Gadient, tions. Two plans, reprinted Victoria Johnson and an associate professor of degrees in history from Bos- is not a new phenomenon. Sophie von Schwerin, and at original size, accompany American Eden: urban policy and planning ton University and heritage Focusing on two cities in Simon Orga this volume. David Hosack, Botany, and at Hunter College in New preservation from Georgia the nineteenth century – Migge: The Original Land- Hansjörg Gadient is Medicine in the Garden of York City. She teaches on State University. She has New York City and Berlin – scape Designs Die Originalen an architect, landscape the Early Republic the history of philanthropy, worked in archival science she discusses the plant- Gartenpläne 1910-1920 architect, and professor at Liveright, June 2018 nonprofits, and New York at the Cherokee Garden ing of trees to improve the Birkhäuser, October 2018 Rapperswil University of City. She holds a doctorate Library and the Kenan urban climate and how this Applied Sciences (HSR), American Eden tells the in sociology from Columbia Research Center at the practice affected the larger “Gardens where he forgotten story of David University and an under- Atlanta History Center, and social, cultural, and political for every- teaches the Hosack, a young New Yorker graduate degree in philoso- in preservation as executive aspects of urban life. man!” was the design and who set out to put his raw, phy from Yale. director of the Buckhead Sonja Dümpelmann is central credo planning of commercial city on the Heritage Society. Danylchak a landscape historian and of Leberecht urban open scientific and cultural map Catherine Seavitt served as a research fellow associate professor of land- Migge (1881– space in the of the United States. In Nordenson for the Georgia Historic scape architecture at the 1935), one bachelor’s 1801, on twenty acres of Depositions: Landscape Initiative and in Harvard University Gradu- of the most and master’s Manhattan farmland, Roberto Burle Marx and Public 2009 received the Jenny D. ate School of Design. She is influential study pro- Hosack founded the first Landscapes under Dictatorship Thurston Memorial Award the author of Flights of Imagi- landscape grams. public botanical garden in University of Texas Press, from the Atlanta Urban nation: Aviation, Landscape, architects of Sophie von the new nation, amassing April 2018 Design Commission. Design (2014) and a book on the twenti- Schwerin is a a spectacular collection of the pioneering twentieth- eth century. His estate was gardener, landscape archi- medicinal, agricultural, In this book the author Sonja Dümpelmann century Italian landscape thought to be lost until the tect, and historian of garden and ornamental plants. (See explores a pivotal moment Seeing Trees: architect Maria Teresa discovery of more than three art who joined the Institute review, page 19.) in the preeminent modern- A History of Street Trees in Parpagliolo Shephard (2004). hundred original plans and for Landscape and Open Victoria Johnson is a ist landscape architect’s New York City and Berlin In addition, she served as drawings in the Archives Space at the HSR in 2012 and former Cullman Fellow at career: the years in which he Yale University Press, editor of A Cultural History of of Swiss Landscape Archi- has served as curator at the the New York Public Library was an appointed member of January 2019 Gardens in the Age of Empire tecture. This book presents Archives of Swiss Landscape the Federal Cultural Council (2013) and coeditor with Dor- numerous projects, many Architecture since 2015. in Brazil. While serving on Today cities othee Brantz previously unknown, rang- Simon Orga is an archi- this advisory panel created around the of Greening the ing from large-scale plans tect who joined the staff at by the country’s military globe are plant- City: Urban for housing settlements to the Institute for Landscape dictatorship in the mid- ing street trees Landscapes in detailed designs for luxuri- and Open Space at the HSR 1960s, Burle Marx authored to mitigate the Twentieth ous private gardens. Intro- in 2012 and has been a eighteen environmental the effects of Century (2011). ductions to the historical member of the team of the position pieces. Together climate change. period and to Migge’s ideas Archives of Swiss Landscape with her translation Seavitt However, as put the plans in context. Architecture since 2015. landscape Indices of persons, places, historian Sonja and plant names comple- ment the text and illustra-

22 Contributors

design adaptation to sea- trated with plans and pho- Ethan Carr, Ph.D., FASLA, is Kenneth I. Helphand is the Elizabeth Hyde, Ph.D., is level rise in urban coastal tographs, the book explores a professor of landscape ar- Philip H. Knight Profes- Associate Professor and environments and explores Shipman’s ability to create chitecture at the University sor Emeritus of Landscape Chair of the Department of landscape-restoration prac- intimate spaces through of Massachusetts Amherst Architecture at the Univer- History at Kean University. tices within the dynamics of dense plantings, evocative and the graduate program sity of Oregon. He is the She is the author of Culti- climate change. water features, and orna- director. He is a landscape author of Colorado: Visions of vated Power: Flowers, Culture, ment. This updated edition historian and preservation- an American Landscape (1991), and Politics in the Reign of Judith B. Tankard of a book first published in ist specializing in public Yard Street Park: The Design Louis XIV (2005) and is cur- Ellen Shipman and the 1996 includes many newly landscapes. He has written of Suburban Open Space (with rently writing Of Monarchi- American Garden discovered gardens as well two award-winning books, Cynthia Girling) (1994), cal Climates and Republican University of Georgia Press, as color photographs of Wilderness by Design (1998), Dreaming Gardens: Landscape Soil: Nature, Nation, and May 2018 surviving gardens, such and Mission 66: Modern- Architecture & the Making of Botanical Diplomacy in the as those at the Cummer ism and the National Park Modern Israel (2002), Defiant Franco-American Atlantic Nordenson presents per- Between 1914 Museum of Art Dilemma (2007) and is also Gardens: Making Gardens in World, a book that explores tinent examples of Burle and 1950, Ellen and Gardens the volume editor of The Wartime, and Lawrence Hal- the cultural and political Marx’s public projects in Shipman (1869– and Tranquil- Early Boston Years, 1882–1890 prin (2017). He is the former dimensions of the trans- Brazil – several of which 1950) designed lity Farm. (2013), the eighth volume of chair of the Senior Fellows Atlantic botanical exchange were commissioned by the more than Judith B. the papers of Frederick Law in Garden and Landscape of plants, trees, and knowl- military regime. Depositions six hundred Tankard is Olmsted. His latest book is Studies at Dumbarton Oaks, edge in the 18th century offers new insight into Burle gardens, from a landscape The Greatest Beach: A History Washington, D.C. through the work of French Marx’s outstanding land- Long Island’s historian, of Cape Cod National Sea- botanist André Michaux and scape oeuvre and elucidates Gold Coast author, and shore (University of Georgia Gardiner Hallock is the his American counterparts. his transition from prolific to the state of preservation Press in association with the Robert H. Smith Director of designer to prescient politi- Washington. consultant. Library of American Land- Restoration and Collections Sara Cedar Miller, the his- cal counselor. Her secluded, She received scape History, forthcoming at the Thomas Jefferson torian and photographer Catherine Seavitt Nor- lush, formal an M.A. in in 2019). Foundation. Before joining for the Central Park Con- denson is an associate pro- gardens attracted a clientele art history from the Insti- the foundation he was the servancy for thirty-four fessor of landscape architec- that included the Fords, Edi- tute of Fine Arts, New York George Crow graduated director of architectural years, is now Central Park ture at CUNY’s City College sons, Astors, and du Ponts. University, and taught at from Emory University and research at James Madison’s Historian Emerita. She is of New York and principal Shipman’s imaginative the Landscape Institute of received a Master of Montpelier and manager the author of Central Park, An of Catherine Seavitt Studio. approach merged elements Harvard University for over Architecture from Clemson of restoration at Mount American Masterpiece (2003), Her research focuses on of the Colonial Revival and twenty years. University and a Master Vernon. His prior scholar- and the author and photog- Arts and Crafts movements of Science in Landscape ship has included works on rapher of the forthcoming with a unique planting style Design from Columbia Uni- Monticello’s Mulberry Row, books Seeing Central Park, enlivened by impressionistic versity. He is a residential vernacular architecture, and second edition (Abrams, washes of color. Richly illus- designer based in New York architectural conservation. 2020), and Before Central Park City. (Columbia University Press, 2021). Paula Deitz is editor of The Hudson Review. Her book, Of Gardens: Selected Essays (2011), will soon be released as an audiobook by Redwood Audiobooks.

23 Volume xiiii, Number ii Spring 2019

Publishers: Editor: Lewis Bernard Elizabeth Barlow Rogers Vincent Buonanno Associate Editor: Scott Burns Alice Truax Richard Gilder and Lois Chiles John A. Pinto Assistant Editor: Reuben M. Rainey Margaret Sullivan Frederic C. Rich Copy Editor: Theodore C. Rogers Margaret Oppenheimer Margaret Sullivan Designer: Board of Directors: Griffin + Skeggs Collaborative Frederic C. Rich, Contributors: Chairman Ethan Carr Elizabeth Barlow Rogers, George Crow President Paula Deitz Antonia Adezio Gardiner Hallock Vincent Buonanno Kenneth I. Helphand Scott Burns Kenneth I. Helphand Elizabeth Hyde Robin Karson Sara Cedar Miller Nancy Newcomb Laurie Olin Therese O’Malley John A. Pinto Reuben M. Rainey Margaret Sullivan udies t dscape S an L tion r fo

For more information about the Foundation for Landscape Studies,

ounda visit www.foundationfor landscapestudies.org, 7 West 81st Street7 New York, NY 10024

F or contact [email protected]