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© 2013 Henrietta F. Sablove ALL RIGHTS RESERVED © 2013 Henrietta F. Sablove ALL RIGHTS RESERVED AS FACTS AND NOT AS SHADOWS: AMERICAN ARCHITECTS AND THEIR TRAVEL SKETCHES By Henrietta F. Sablove A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Art History written under the direction of Carla Yanni, Ph.D. and approved by ________________________ ________________________ ________________________ ________________________ New Brunswick, New Jersey May 2013 ABSTRACT OF THE DISSERTATION As Facts and Not As Shadows: American Architects and Their Travel Sketches by HENRIETTA F. SABLOVE Dissertation Director: Professor Carla Yanni, Ph.D. This dissertation examines American architectural and social history of the late nineteenth and early twentieth centuries through the material culture of study abroad. Focusing on sketchbooks, journals, drawings, correspondence, and photographs of three generations of architects, the study will explore attitudes toward European cultural hegemony, the perceived value of foreign travel, changes in architectural education in the United States, and the process of image-making in the age of photography. Although the idea of observing and drawing existing monuments is rooted in the tradition of the Grand Tour and the heritage of architectural theorists dating back to Vitruvius, this essay will argue that the practice took on new meaning during a period of expansion, urbanization, and industrialization in America, c. 1850 through the 1930s. Using case studies of Frank Miles Day, Eleanor Manning, William Jarrett Hallowell Hough, and Louis Skidmore, I have investigated historical, social, and scientific epistemologies, including visual theory, of the period, and the ways in which they affected the education and professional status of American architects. My dissertation also asks why architects continued to draw after photography became ii commonplace, and why study abroad remained de rigueur even when the first schools of architecture were established in America. In the conclusion, I have discussed the role of hand-drawing in the modern architectural office, and how the use of computer technology is altering architectural practice. iii ACKNOWLEDGEMENTS Like architecture, dissertation writing is a collaborative effort, requiring the expertise, cooperation, and generosity of those whom I will never be able to repay. I thank them all, beginning with Carla Yanni, my dissertation advisor, who never doubted the worth of this subject nor my ability to do it justice. Her patience, good humor, and talent for finding sensible solutions to seemingly-insurmountable problems provided me with the strength I needed to persevere. As a scholar she never ceases to challenge me; as a human being, she never ceases to astound me. The members of my committee were stalwart supporters whose enthusiasm and feedback made this a much richer study than it would have otherwise been. Emily Cooperman, Tanya Sheehan, and Susan Sidlauskas, I am eternally grateful for your insights and your thoughtful suggestions. I have been very fortunate to receive financial assistance from the Department of Art History at Rutgers University, as well as from the Mitnick-Jacobs and Mary Bartlet Cowdrey funds. I am also indebted to the Andrew W. Mellon Foundation for providing summer research funding. The department has been a second family over the past decade. Our administrators, Geralyn Colvil and Cathy Pizzi, were my lifesavers on more than one occasion. To say that these two women work magic on a daily basis is no exaggeration. I am very grateful to the faculty, including Tod Marder, who encouraged me to change my status from non-matriculating amateur to fully-fledged graduate student. He and all of those who welcomed me into their classes gave me far more than they will ever know: Meredith Arms Bzdak, Bill Foulkes, Archer St. Clair Harvey, Mark Hewitt, John Kenfield, Joan Marter, Sarah Blake McHam, Elizabeth McLachlan, Catherine Puglisi, Alla Rosenfeld, Jane Sharp, and Xander van Eck enriched my knowledge base and my life beyond measure. Others offered a helping hand when I needed it most. Andres iv Zervigón stepped in at the last minute to assist with my Master’s thesis. Don Beetham, Angela Howard, and Penny Small were energetic cheerleaders. And early on in this long voyage, the Rutgers Camden Art History Department enabled me to turn my undistinguished college record into something more creditable. Thank you, Debra Miller, friend and mentor, for laying a sturdy foundation and launching my new life in academia, along with Ann Brownlee and Roberta Tarbell. Scholars outside of Rutgers have also been most kind, particularly Jeff Cohen, Mark Crinson, Marta Gutman, Margaret Kuntz, Michael J. Lewis, John Pinto, and Nancy Zerbe. My fellow graduate students have provided bottomless reserves of advice and friendship, most notably Catherine Boland, Susannah Fisher, Francis Fletcher, Cynthia Jacob, Annemarie Voss Johnson, Deba Leach, Lisa West, Sarah Wilkins, and Fatima Younus. Friends from other walks of life were the best of allies, even when I was at my worst. Carolyn Bray, Tina Breslow, Ann Büki, Ray Costello, and Susan and Tom Hemphill occasionally rolled their eyes but never wavered in their support. Special thanks are due to Natalie Nageeb, Joan Toborowsky, and the physicians, nurses, and technicians of the University of Pennsylvania Healthcare System, as well as Jay Rimmer and Rocky Citro. The research necessary to complete this dissertation would have been impossible without the legions of archivists and librarians who so freely shared their time, knowledge, and resources. My thanks to Sherry Birk of the American Institute of Architects and Octagon Museum; Elizabeth Terry Rose and Marilyn Ibach of the Library of Congress; Brian Wallace of the Bryn Mawr College Library; Bruce Laverty of the Athenaeum of Philadelphia; and the staff of the Library and Special Collections at the v Massachusetts Institute of Technology, the Rutgers University Art Library, the Paul Robeson Library, and the Fisher Fine Arts Library of the University of Pennsylvania. I offer heartfelt thanks for the hospitality of my home away from home during the past few years, the Architectural Archives of the University of Pennsylvania, its director, William Whitaker, and its extraordinary librarian, Nancy Thorn. For them, no box was too heavy, no question was too mundane, no request was too unreasonable. Members of my family have always been a source of pride. My parents, the late Iole Castelli and Otto Zinnie, taught me to love art and music, and insisted that I receive the education that had been denied to them and to many women of my generation. As long as I can remember, my amazing brother, Frank Zinni, has inspired me to do better and to be better, to do more and to be more. He and his wonderful wife, Ellen, shored up my confidence and kept me laughing when things were looking their bleakest. The ongoing pep-talks of my in-laws, Pelley and Steve Brown and Barbara and David Cooper, provided the energy and courage I needed throughout this endeavor. Finally, none of this could have happened without my husband and companion of nearly four decades, Herb Sablove, who nourished me with his love, selflessness, integrity, puns, extraordinary cooking, morning coffee, Sunday drives, silly dances, catspeak, and nearly-ridiculous optimism. He wouldn’t give up, so I couldn’t, either. To him – for all those reasons and for the many sacrifices that his own modesty would never allow me to enumerate – I offer my woefully-inadequate gratitude and dedicate this dissertation. vi TABLE OF CONTENTS ABSTRACT ................................................................................................................... ii ACKNOWLEDGEMENTS ........................................................................................... iv LIST OF FIGURES ....................................................................................................... ix FOREWORD ................................................................................................................. 1 INTRODUCTION .......................................................................................................... 3 CHAPTER I. “INDUSTRIOUS AND SELECT SEEING”: THE TRAVEL SKETCHES OF FRANK MILES DAY ..................................................................................41 A Whirlwind Tour in Pencil and Ink 1883-85 .....................................................52 Practice ..............................................................................................................60 The Mature Architect Abroad, 1893-95 ..............................................................62 The Late Travels, 1910-13 .................................................................................66 Face to Face with Façades: Day as Educator ......................................................67 II. AT HOME WITH THE DOMESTIC: THE TRAVEL NOTES AND SKETCHES OF ELEANOR MANNING O’CONNOR .....................................79 Education and Early Career ................................................................................79 First Travels, 1912-1913 ....................................................................................86 Back in Boston: Manning’s Partnership with Lois Howe ....................................98 Travels, 1930s ....................................................................................................99
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