DOCSLIB.ORG

Ocm13908389-1999.Pdf (1.455Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

~Ir.t (lIommonfu.ta:1t1r Df ~ssa:.clrlts.ttts Massachusetts Art Commission State House Room 72 Boston, MA 02133 Tel. (617) 727 - 100~"ext. 51~ Fax (617) 727-7700 ~. Peter L Walsh Chairman Bonita A. Flood Arlene E. Friedberg ANNUAL REPORT OF THE ART COMMISSION Paula M. Korol YEAR ENDING JUNE 30, 1999 Katherine B. Winter The members of the Massachusetts Art Commission respectfully submit the Annual Report for the year ending June 30, 1999. The Commission is charged under General Laws chapter 6, sections 19 and 20 with the "care and custody of the State House art collection" and thus serves as the curator of the Commonwealth's 200 year-old collection of paintings, sculptures, wall murals and artifacts by some of America's most important artists. The Commission conducts its programs of conservation and preservation of the art collection under an annual appropriation, which it receives through the Bureau of State Office Buildings, as well as its program of public infonnation and assistance CONSERVATION Since its program began in 1985 the Art Commission has required that all conservators working with objects in the State House Art Collection adhere to the Cafe of Ethics and Standanis for Practice of the American Institute for Conservation. This 0xIe ofEthics requires, in part, that all conservation procedures be reversible, and fully documented by both photograph and written report. These practices help insure that future curators and conservators will know what the conditions were, why the objects were treated, and what measures (materials and procedures) were taken to correct these conditions. During FY'99 the Art Commission continued its program of conservation and preservation of the State House Art Collection with the following projects. Maintenance of exterior monuments Following initial conservation treatment in 1986-1987, the Art Commission has contracted with professional conservators to conduct routine inspection and maintenance of the bronze statues and plaques installed on the State House grounds. Frequent evaluation, touch-ups in the protective acrylic coating, and renewal of the sacrificial topcoat of wax is crucial to preventing the on-set of the corrosion process that originally disfigured the bronzes. This year, the Commission extended its first-ever, three-year contract to Daedalus art conservators, Cambridge, to provide maintenance of seven full size statues and eight plaques on an annual basis beginning in June 1999. More frequent care of the bronzes by the conservators will greatly contribute to their on-going preservation as well as their overall appearance. MR 702M3 M4 1 1999 c.2 State Library of Massachusetts State Hous , Boston .... Annual Report of the Massachusetts Art Commission FY'99 Page 2 .. ' House Chamber Murals With kind pennission and generous funding from the Honorable Thomas Finneran, Speaker of the House, the Art Commission was able to undertake the cleaning and conservation of the murals in the House Chamber. The project was implemented under the direction of the Art Commission September - October, 1998, after abbreviated time schedules forced postponement last year. The five panels in the series, entided "Milestones on the Road to Freedom," were painted by Albert Herter in 1942. All were painted in oils on canvas in the artist's studio in New York, and later adhered to the wall of the Chamber with a technique called "muro-flaging." Previous treatment in 1965 was undocumented, but it is presumed that the murals had been damaged, requiring repairs. Thirtyyears later, the murals had become dull and lifeless. Grime build-up had masked much of the subde palette and actually hidden from view some fine detail. Gianfranco Pocobene, of Malden, a professional painting conservator, was contracted to examine, document and clean the murals. Staging was erected in three levels above the Speaker's platform in order to provide access to all areas of the murals, while allowing informal sessions to take place from the rostrum two times per week. Initial test cleaning and varnish removal trials revealed some unsuspected conservation conditions, and resulted in a two-part program developed in consultation with the Art Commission. Part one addressed panels 2-5, all of which exhibited the same conditions: stable murals, with an extremely heavy grime layer over a very thin varnish layer. When the grime layer was removed, the varnish layer was found to be in surprisingly good condition in that it had not discolored or become britde over the years. A curatorial decision was made to leave this varnish layer on the canvases. Part two addressed the Governor Wmthrop mural, on the far left, which exhibited significandy different conditions from the other four. This panel had received visible damage from water leaks and plaster that had gone into solution and dripped down the canvas. This appears to have been repeat damage. After removal of the grime layer, testing revealed that nearly half of the mural had been over-painted, probably in an attempt to blend repairs. In removing the overpaint we discovered that the previously damaged areas were actually quite small, and that extraordinary liberties had been taken in retouching such large areas of the canvas. Further, this over-paint had been protected by a heavy layer of varnish which had been tinted to a muddy gray color, also to integrate the areas of retouching. Combined, the extensive retouching and tinted varnish actually altered the true appearance of the mural. This is an illustration of why professional oversight of the collection according to museum standards is crucial to its care and preservation. Conservators implemented a five-part process to repair and restore the Winthrop mural: all areas of flaking and damaged paint were consolidated; the grime layer was cleaned, much in the same way as in the other four panels; all earlier over-paint was removed the canvas was entirely re-vamished with a clear synthetic varnish; small areas of damage were inpainted Inpainting is always conducted over the isolating layer of varnish so that the conservator's work never touches or mixes with the artist's original work. Annual Report of the Massachusetts Art Commission FY'99 Page3 ~, The five week treatment revealed the not only the lighter palette selected by the artist, but the extraordinary amount of detail that was worked into each panel. Despite their installation far above the viewer, much of this detail can now be seen from the floor, and each scene is more fully integrated without being distracting. We thank the Speaker for the opportunity to conduct this long­ awaited work. Collections Storage The Art Commission shares archival storage facilities in the sub-sub-basement of the west wing with the State House flag project, and monitors conditions in and around the vault area. Flooding of the rear corridors and mechanical rooms continues to be of the utmost concern in its threat to vault contents, and frequent pooled water which raises humidity levels to unacceptable levels. The Commission continues to alert building personnel to the threat of flooding during heavy rains until its recommendation of mechanical water alarms is addressed. The Commission met regularly with building personnel and project designers contracted to make recommendations for the renovation of HVAC systems in the vaults, addressing acceptable storage conditions for the historic textiles. The Commission also requested replacement of six smoke/heat detectors in the vault in June. ACQUISITIONS The Art Commission is pleased to report one new addition to the State House Art Collection: the 8th Air Force Memorial plaque was unveiled on June 14, 1999 by Albert Audette, President of the Massachusetts Chapter of the 8th Air Force Historical Society. The memorial is installed in the east wing entrance to the State House, and has been catalogued by the Art Commission as object # 1999.1. Art Commission member Paula Kozal, and Art Collections Manager Susan Greendyke Lachevre continue to serve on the Steering Committee for the Women's Leadership Memorial which will honor six women for their contributions toward the betterment of public life in Massachusetts. The Art Commission attended a daylong meeting in September 1998 at which five art finalists made presentations to an award paneL Following these presentations, the Chair, Ms. Koza~ and Ms. Lachevre commented on curatorial and conservation aspects of each design. The commission was awarded by the Steering Committee to Sheila Levrant de Bretteville and Susan Sellers for their proposal entided "Hear Us." The multi-faceted, multi-media project features marble plaques inscribed with quotes and inset with bronze portrait heads of the six honorees. The plaques will be placed against wallpaper printed with copies of pioneering legislation enacted through the efforts of each woman. The Commission has worked with project administrators from the Massachusetts Foundation for the Humanities and the artists to address specific design and other curatorial concerns. Paula Kozal also serves on the sub-committee which meets frequendy with the artists to review the work in progress. The memorial is scheduled to be unveiled in October 1999. Annual Report of the Massachusetts Art Commission FY'99 Page 4 ornER PROGRAMS Outreach and Public Information The Art Commission office continues to serve as a resource for information and images of objects in the art and artifact collections. Its research flles, and photo archives, in particular, are continuously tapped for information and images for scholarly publications on art and history, school texts, exhibitions, documentaries, and personal research. In lieu of a user fee, the Commission requests courtesy copies of all publications which feature images from the art and artifact collections, and our growing library attests to the variety of ways in which the collection has served historical and scholarly interests. In addition, the Art Commission addresses all research inquiries and requests for images from the state's historic battle flag collection for educational and scholarly use.
Recommended publications
  • Gov. Thomas Dudley's Letter to the Countess of Lincoln. March 1631

    Gov. Thomas Dudley's Letter to the Countess of Lincoln. March 1631

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Joshua Scottow Papers Libraries at University of Nebraska-Lincoln 1631 Gov. Thomas Dudley's Letter to the Countess of Lincoln. March 1631. Thomas Dudley Deputy Governor of Massachusetts Bay Colony John Farmer , Editor (1834 edition) New Hampshire Historical Society Paul Royster , Depositor University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/scottow Part of the American Studies Commons Dudley, Thomas; Farmer, John , Editor (1834 edition); and Royster, Paul , Depositor, "Gov. Thomas Dudley's Letter to the Countess of Lincoln. March 1631." (1631). Joshua Scottow Papers. 9. https://digitalcommons.unl.edu/scottow/9 This Article is brought to you for free and open access by the Libraries at University of Nebraska-Lincoln at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Joshua Scottow Papers by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. he following copy of the Letter of Thomas Dudley to the T Countess of Lincoln, written in March 1631, is the earliest complete printing of the text. It appeared in the New Hampshire Historical Collections, volume 4 (1834), pages 224-249. It was also issued separately in Concord, N.H., by Marsh, Capen and Lyon that same year. Approximately three-quarters of the letter had previously appeared in 1696, in the volume published in Boston titled Massachusetts, or The First Planters, possibly compiled and edited by Joshua Scottow. This present text was printed from a manuscript discovered “by one of the Publishing Committee” bound in a copy of Edward Johnson’s Wonder-Working Providence and Edward Winslow’s New England Salamander Discovered.
  • Dictionary of Norfolk Furniture Makers 1 700-1 840

    Dictionary of Norfolk Furniture Makers 1 700-1 840

    THE DICTIONARY NORFOLK FURNITURE MAKERS 1700-1840 ABEL, Anthony, cm, 5 Upper Westwick Street, Free [?by purchase] 21/9/1664. Norwich (1778-1802). P 1734 (sen.). 1/12/1778 Apprenticed to Jonathan Hales, King’s ALLOYCE, Abraham jun., tur, St Lawrence, Lynn, £50 (5 yrs). Norwich (1695-1735). D1802. Free 4/3/1695 as s.o. Abraham Alloyce. ABEL, Daniel, up, Pottergate Street; then Bedford P 1710, 1714. 1734 (jun.). 1734/5 - supplement Street, Norwich (1838-1868). (Aloyce). These entries may be for A.A. sen. apart Apprenticed to Thomas Bennett. Free 25/7/1838. from 1734 where both are entered. D 1852, 1854 - cm up, Pottergate St. 1864, 1868 ALLURED, John, up, Market Place, Yarmouth - Bedford St., St Andrews. (1783-1797). ABEL, Thomas, cm, Pitt Street, Norwich App to William Seaman 19/3/1783* (James (1839-1842). D 1839, 1842. Allured), free 15/6/1790. ADCOCK, John, joi, St. Andrew, Norwich Took app William Lyall, 25/12/1790, £40 (5 yrs); (1715-1735). George Allured, 15/12/1792, £20. 28/4/1715 Apprenticed to Charles King, £4. Free NC 5/8/1797: ...John Allured, the younger, of 15/8/1722 as son of Thomas Adcock, tailor. Great Yarmouth...Upholsterer...declared a P 1734, 1734/5 supplement. Bankrupt. ALDEN, James, cm, Norwich (1814). NC 23/9/1797: Auction...Sept. 26, 1797...[4 NM 3/12/1814: Sunday last was married, at St. d ays]...All the genuine Stock in Trade and Giles’s, Mr. James Alden, cabinet-maker, to Miss Household Furniture of Mr. John Allured, Steavens, both of this city.
  • MASSACHUSETTS: Or the First Planters of New-England, the End and Manner of Their Coming Thither, and Abode There: in Several EPISTLES (1696)

    MASSACHUSETTS: Or the First Planters of New-England, the End and Manner of Their Coming Thither, and Abode There: in Several EPISTLES (1696)

    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Joshua Scottow Papers Libraries at University of Nebraska-Lincoln 1696 MASSACHUSETTS: or The first Planters of New-England, The End and Manner of their coming thither, and Abode there: In several EPISTLES (1696) John Winthrop Governor, Massachusetts Bay Colony Thomas Dudley Deputy Governor, Massachusetts Bay Colony John Allin Minister, Dedham, Massachusetts Thomas Shepard Minister, Cambridge, Massachusetts John Cotton Teaching Elder, Church of Boston, Massachusetts See next page for additional authors Follow this and additional works at: https://digitalcommons.unl.edu/scottow Part of the American Studies Commons Winthrop, John; Dudley, Thomas; Allin, John; Shepard, Thomas; Cotton, John; Scottow, Joshua; and Royster,, Paul Editor of the Online Electronic Edition, "MASSACHUSETTS: or The first Planters of New- England, The End and Manner of their coming thither, and Abode there: In several EPISTLES (1696)" (1696). Joshua Scottow Papers. 7. https://digitalcommons.unl.edu/scottow/7 This Article is brought to you for free and open access by the Libraries at University of Nebraska-Lincoln at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Joshua Scottow Papers by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Authors John Winthrop; Thomas Dudley; John Allin; Thomas Shepard; John Cotton; Joshua Scottow; and Paul Royster, Editor of the Online Electronic Edition This article is available at DigitalCommons@University of Nebraska - Lincoln: https://digitalcommons.unl.edu/ scottow/7 ABSTRACT CONTENTS In 1696 there appeared in Boston an anonymous 16mo volume of 56 pages containing four “epistles,” written from 66 to 50 years earlier, illustrating the early history of the colony of Massachusetts Bay.
  • Myth and Memory: the Legacy of the John Hancock House

    Myth and Memory: the Legacy of the John Hancock House

    MYTH AND MEMORY: THE LEGACY OF THE JOHN HANCOCK HOUSE by Rebecca J. Bertrand A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in American Material Culture Spring 2010 Copyright 2010 Rebecca J. Bertrand All Rights Reserved MYTH AND MEMORY: THE LEGACY OF THE JOHN HANCOCK HOUSE by Rebecca J. Bertrand Approved: __________________________________________________________ Brock Jobe, M.A. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Debra Hess Norris, M.S. Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS Every Massachusetts schoolchild walks Boston’s Freedom Trail and learns the story of the Hancock house. Its demolition served as a rallying cry for early preservationists and students of historic preservation study its importance. Having been both a Massachusetts schoolchild and student of historic preservation, this project has inspired and challenged me for the past nine months. To begin, I must thank those who came before me who studied the objects and legacy of the Hancock house. I am greatly indebted to the research efforts of Henry Ayling Phillips (1852- 1926) and Harriette Merrifield Forbes (1856-1951). Their research notes, at the American Antiquarian Society in Worcester, Massachusetts served as the launching point for this project. This thesis would not have been possible without the assistance and guidance of my thesis adviser, Brock Jobe.
  • Construction of the Massachusetts Constitution

    Construction of the Massachusetts Constitution

    Construction of the Massachusetts Constitution ROBERT J. TAYLOR J. HI s YEAR marks tbe 200tb anniversary of tbe Massacbu- setts Constitution, the oldest written organic law still in oper- ation anywhere in the world; and, despite its 113 amendments, its basic structure is largely intact. The constitution of the Commonwealth is, of course, more tban just long-lived. It in- fluenced the efforts at constitution-making of otber states, usu- ally on their second try, and it contributed to tbe shaping of tbe United States Constitution. Tbe Massachusetts experience was important in two major respects. It was decided tbat an organic law should have tbe approval of two-tbirds of tbe state's free male inbabitants twenty-one years old and older; and tbat it sbould be drafted by a convention specially called and chosen for tbat sole purpose. To use the words of a scholar as far back as 1914, Massachusetts gave us 'the fully developed convention.'^ Some of tbe provisions of the resulting constitu- tion were original, but tbe framers borrowed heavily as well. Altbough a number of historians have written at length about this constitution, notably Prof. Samuel Eliot Morison in sev- eral essays, none bas discussed its construction in detail.^ This paper in a slightly different form was read at the annual meeting of the American Antiquarian Society on October IS, 1980. ' Andrew C. McLaughlin, 'American History and American Democracy,' American Historical Review 20(January 1915):26*-65. 2 'The Struggle over the Adoption of the Constitution of Massachusetts, 1780," Proceedings of the Massachusetts Historical Society 50 ( 1916-17 ) : 353-4 W; A History of the Constitution of Massachusetts (Boston, 1917); 'The Formation of the Massachusetts Constitution,' Massachusetts Law Quarterly 40(December 1955):1-17.
  • Civil War Generals Buried in Spring Grove Cemetery by James Barnett

    Civil War Generals Buried in Spring Grove Cemetery by James Barnett

    Spring Grove Cemetery, once characterized as blending "the elegance of a park with the pensive beauty of a burial-place," is the final resting- place of forty Cincinnatians who were generals during the Civil War. Forty For the Union: Civil War Generals Buried in Spring Grove Cemetery by James Barnett f the forty Civil War generals who are buried in Spring Grove Cemetery, twenty-three had advanced from no military experience whatsoever to attain the highest rank in the Union Army. This remarkable feat underscores the nature of the Northern army that suppressed the rebellion of the Confed- erate states during the years 1861 to 1865. Initially, it was a force of "inspired volunteers" rather than a standing army in the European tradition. Only seven of these forty leaders were graduates of West Point: Jacob Ammen, Joshua H. Bates, Sidney Burbank, Kenner Garrard, Joseph Hooker, Alexander McCook, and Godfrey Weitzel. Four of these seven —Burbank, Garrard, Mc- Cook, and Weitzel —were in the regular army at the outbreak of the war; the other three volunteered when the war started. Only four of the forty generals had ever been in combat before: William H. Lytle, August Moor, and Joseph Hooker served in the Mexican War, and William H. Baldwin fought under Giuseppe Garibaldi in the Italian civil war. This lack of professional soldiers did not come about by chance. When the Constitutional Convention met in Philadelphia in 1787, its delegates, who possessed a vast knowledge of European history, were determined not to create a legal basis for a standing army. The founding fathers believed that the stand- ing armies belonging to royalty were responsible for the endless bloody wars that plagued Europe.
  • A History of George Varnum, His Son Samuel Who Came to Ipswich About

    A History of George Varnum, His Son Samuel Who Came to Ipswich About

    THE VARNUMS OF DRACUTT (IN MASSACHUSETTS) A HISTORY -OF- GEORGE VARNUM, HIS SON SAMUEL WHO CAME TO IPSWICH ABOUT 1635, AND GRANDSONS THOMAS, JOHN AND JOSEPH, WHO SETTLED IN DRACUTT, AND THEIR DESCENDANTS, <.tomptlet> from jfamill] ll)aper.s ant> @ffictal 'Necort>.s, -BY- JOHN MARSHALL VARNUM, OF BOSTON, 19 07. " trr:bosu mbo bo not tnasmn up tbe mimotl!: of tbdt S!nmitats bo not bumbt ta bi nmembtttb bl!: lf)osttrit11:." - EDMUND BURKE, CONTENTS. PAGE PREFACE 5 HISTORY OF THE FAMILY, BY SQUIRE PARKER VARNUM, 5 1818 9 GENEALOGY: GEORGE V ARNUM1 13 SAMUEL V ARNUM2 16 THOMAS V ARNUM3 AND HIS DESCENDANTS 23 JOHN V ARNUM3 AND HIS DESCENDANTS - 43 J°'OSEPH V ARNUM3 AND HIS DESCENDANTS - 115 SKETCH OF GEORGE V ARNAM1 13 WILL OF' GEORGE VARNAM - 14 INVENTORY OF ESTATE OF GEORGE V ARNAM - 15 SKETCH OF SAMUEL V ARNUM1 16 DEED OF SHATSWELL-VARNUM PuROHASE, 1664 17 TRANSFER OF LAND TO V ARNUMS, 1688-1735 21 SKETCH OF THOMAS VARNUM3 28 w ILL OF THOMAS VARNUM - 29 SKETCH OF SAMUEL V ARNUM4 30 INVENTORY OF ESTATE OF THOMAS V ARNUM4 31 SKETCHES OF THOMAS V ARNUM1 34 DEACON JEREMIAH V ARNUM8 35 MAJOR ATKINSON C. V ARNUM7 36 JOHN V ARNUM3 45 INVENTORY OF ESTATE OF JOHN VARNUM 41 iv VARNUM GENEALOGY. SKETCH OF LIEUT. JOHN V ARNUM4 51 JOURNAL OF LIEUT. JOHN VARNUM~ 54-64 vVILL 01' L1EuT. JoHN VARNU111• - 64-66 SKETCHES OF JONAS VARNUM4 67 ABRAHAM V ARNUl\14 68 JAMES VA RNUM4 70 SQUIRE p ARK.ER VARNUM. 74-78 COL, JAMES VARNUM" - 78-82 JONAS VARNUM6 83 CAPT.

  • The Vice Presidential Bust Collection Brochure, S

    Henry Wilson Garfield. Although his early political success had design for the American buffalo nickel. More than (1812–1875) ⓲ been through the machine politics of New York, 25 years after sculpting the Roosevelt bust, Fraser Daniel Chester French, Arthur surprised critics by fighting political created the marble bust of Vice President John 1886 corruption. He supported the first civil service Nance Garner for the Senate collection. THE Henry Wilson reform, and his administration was marked by epitomized the honesty and efficiency. Because he refused to Charles G. Dawes American Dream. engage in partisan politics, party regulars did not (1865–1951) VICE PRESIDENTIAL Born to a destitute nominate him in 1884. Jo Davidson, 1930 family, at age 21 he Prior to World War I, BUST COLLECTION Sculptor Augustus Saint-Gaudens originally walked to a nearby Charles Dawes was a declined to create Arthur’s official vice presidential town and began a lawyer, banker, and bust, citing his own schedule and the low business as a cobbler. Wilson soon embarked on politician in his native commission the Senate offered. Eventually he a career in politics, and worked his way from the Ohio. During the war, reconsidered, and delivered the finished work in Massachusetts legislature to the U.S. Senate. In a he became a brigadier politically turbulent era, he shifted political parties 1892. One of America’s best known sculptors, Saint-Gaudens also created the statue of Abraham general and afterwards several times, but maintained a consistent stand headed the Allied against slavery throughout his career. Wilson was Lincoln in Chicago’s Lincoln Park and the design reparations commission.
  • AMERICAN MANHOOD in the CIVIL WAR ERA a Dissertation Submitted

    AMERICAN MANHOOD in the CIVIL WAR ERA a Dissertation Submitted

    UNMADE: AMERICAN MANHOOD IN THE CIVIL WAR ERA A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor in Philosophy by Michael E. DeGruccio _________________________________ Gail Bederman, Director Graduate Program in History Notre Dame, Indiana July 2007 UNMADE: AMERICAN MANHOOD IN THE CIVIL WAR ERA Abstract by Michael E. DeGruccio This dissertation is ultimately a story about men trying to tell stories about themselves. The central character driving the narrative is a relatively obscure officer, George W. Cole, who gained modest fame in central New York for leading a regiment of black soldiers under the controversial General Benjamin Butler, and, later, for killing his attorney after returning home from the war. By weaving Cole into overlapping micro-narratives about violence between white officers and black troops, hidden war injuries, the personal struggles of fellow officers, the unbounded ambition of his highest commander, Benjamin Butler, and the melancholy life of his wife Mary Barto Cole, this dissertation fleshes out the essence of the emergent myth of self-made manhood and its relationship to the war era. It also provides connective tissue between the top-down war histories of generals and epic battles and the many social histories about the “common soldier” that have been written consciously to push the historiography away from military brass and Lincoln’s administration. Throughout this dissertation, mediating figures like Cole and those who surrounded him—all of lesser ranks like major, colonel, sergeant, or captain—hem together what has previously seemed like the disconnected experiences of the Union military leaders, and lowly privates in the field, especially African American troops.
  • New Exhibit Explores John F. Kennedy's Early Life

    New Exhibit Explores John F. Kennedy's Early Life

    ISSUE 20 H WINTER 2016 THE DEPARTMENT OF EDUCATION AND PUBLIC PROGRAMS AT THE JOHN F. KENNEDY PRESIDENTIAL LIBRARY AND MUSEUM New Exhibit Explores John F. Kennedy’s Early Life efore he was president, John F. Kennedy was known simply as “Jack” to his friends and family. Young Jack, a new permanent exhibit at the BJohn F. Kennedy Presidential Library and Museum, features documents, photographs, and objects that provide an intimate look at his childhood and family life, intellectual development, foreign travels, and military service. Through engagement with these primary sources, students may explore how a somewhat Senator John F. Kennedy signs a copy of Profiles rebellious, fun-loving and academically under-achieving teenager took a serious in Courage for a young fan, ca.1956–1957. interest in international affairs and started on the path of leadership that would Profiles in Courage one day lead to the White House. Turns 60! School Years In 1954, John F. Kennedy took a A wooden desk from Choate, the private boarding school he attended from leave of absence from the Senate 1931-35, evokes the time Jack spent there as a spirited high school student to undergo back surgery. During struggling to keep his grades up. Accompanying the desk are revealing excerpts his recuperation, he set to work researching and writing the stories from correspondence between Jack and his father, along with this quote from of US senators whom he considered a report by his housemaster: to have shown great courage under “Jack studies at the last minute, keeps appointments late, has little enormous pressure from their parties and their constituents: John Quincy sense of material value, and can seldom locate his possessions.” Adams, Daniel Webster, Thomas Hart Young people who are experiencing their own challenges, Benton, Sam Houston, Edmund G.
  • Ocm01251790-1863.Pdf (10.24Mb)

    Ocm01251790-1863.Pdf (10.24Mb)

    u ^- ^ " ±i t I c Hon. JONATHAN E. FIELD, President. 1. —George Dwight. IJ. — K. M. Mason. 1. — Francis Briwiej'. ll.-S. .1. Beal. 2.— George A. Shaw. .12 — Israel W. Andrews. 2.—Thomas Wright. 12.-J. C. Allen. 3. — W. F. Johnson. i'i. — Mellen Chamberlain 3.—H. P. Wakefield. 13.—Nathan Crocker. i.—J. E. Crane. J 4.—Thomas Rice, .Ir. 4.—G. H. Gilbert. 14.—F. M. Johnson. 5.—J. H. Mitchell. 15.—William L. Slade. 5. —Hartley Williams. 15—H. M. Richards. 6.—J. C. Tucker. 16. —Asher Joslin. 6.—M. B. Whitney. 16.—Hosea Crane. " 7. —Benjamin Dean. 17.— Albert Nichols. 7.—E. O. Haven. 17.—Otis Gary. 8.—William D. Swan. 18.—Peter Harvey. 8.—William R. Hill. 18.—George Whitney. 9.—.]. I. Baker. 19.—Hen^^' Carter. 9.—R. H. Libby. 19.—Robert Crawford. ]0.—E. F. Jeiiki*. 10.-—Joseph Breck. 20. —Samuel A. Brown. .JOHN MORIS?5KV, Sevii^aiU-ut-Anns. S. N. GIFFORU, aerk. Wigatorn gaHei-y ^ P=l F ISSu/faT-fii Lit Coiranoittoralllj of llitss3t|ttsttts. MANUAL FOR THE USE OF THE G-ENERAL COURT: CONTAINING THE RULES AND ORDERS OF THE TWO BRANCHES, TOGETHER WITH THE CONSTITUTION OF THE COMMONWEALTH, AND THAT OF THE UNITED STATES, A LIST OF THE EXECUTIVE, LEGISLATIVE, AND JUDICIAL DEPARTMENTS OF THE STATE GOVERNMENT, STATE INSTITUTIONS AND THEIR OFFICERS, COUNTY OFFICERS, AND OTHER STATISTICAL INFORMATION. Prepared, pursuant to Orders of the Legislature, BY S. N. GIFFORD and WM. S. ROBINSON. BOSTON: \yRIGHT & POTTER, STATE PRINTERS, No. 4 Spring Lane. 1863. CTommonbtaltfj of iBnssacf)useits.
  • James Bowdoin: Patriot and Man of the Enlightenment (Pamphlet)

    James Bowdoin: Patriot and Man of the Enlightenment (Pamphlet)

    JAMES BOWDOIN N COLLEGE May 2 8 — September i 2 1976 Digitized by the Internet Archive in 2015 https://archive.org/details/jannesbowdoinpatrOObowd_0 JAMES BOWDOIN Patriot and Man of The Enlightenment JAMES Bowdoin's role in the American Revolution has never re- ceived frofer fublic recognition. Bowdoin^s friendship with Franklin, Washington, Revere and others fut him in the midst of the struggle for Independence; at the same time his social position and family ties gave him entree to British leaders and officials. In lyyo, his own brother-in-law was Colonial Secretary for the Gover- nor, yet Bowdoin wrote the tract on the Boston Massacre, which clearly blamed the British for the incident and sent Boston down the road toward Revolution. This exhibition seeks not only to reveal Bowdoin^s importance in the Revolution, but also his contributions in the field of finance, science, literature and the arts. He was as well educated as any American in the eighteenth century and subscribed to the principles of The Enlightenment, which encouraged iyivestigation into the nat- ural world and practice of the graces of life. To accomplish these goals, the Museum commissioned the frst major biography of Bowdoin in the form of a catalogue which will be published on July 4, igy6. We are most grateful to Professor Gordon E. Kershaw, author of The Kennebeck Proprietors, 1749- 1775, and specialist on James Bowdoin, for writing the catalogue. The Museum has also attempted to tell the Bowdoin story purely with objects of art. Like books, objects contain data and ideas. Their stories can be ^Wead^^ if only one examines the object and asks certain questions such as: what kind of society is needed to produce such a work? What traditional or European motifs are used, which motifs are rejected and what new ones are introduced? What was the use or function of the object? Beyond this, the exhibition is intended to show that James Bowdoin expressed an interest in art not only in commissions for painting and silver but also in the execution of a bank note or scientific instrument.