Exhibition Opens: A Gathering of Works by Marie Adrien Persac Volume XIX, Number 1 Winter 2001

Canal Street, North Side, 900 Block, ink and wash on pasteboard, by Marie Adrien Persac, 1873 (1958.78.1.8). Depicted is the French Quarter side of Canal between Burgundy and Dauphine Streets. The three Greek Revival buildings (no longer standing) were designed by Charles and James Dakin in 1836. Christ Episcopal Church, right, designed by T. K. Wharton, was built in 1847and demolished in the mid-1880s.

Marie Adrien Persac: Louisiana Artist presents a rare opportunity to see Persac’s work in a single location. Though many of the objects in the exhibition come from public collections (the Historic New Orleans Collection, Exhibition Opens: A Gathering of Works by Marie Adrien Persac

the Louisiana State University engineer, architect, artist, photographer, to present-day Basin Street offer a view and teacher. Though all of these pursuits of post-Civil War New Orleans that Museum of Art, the New Orleans undoubtedly contributed to the making of showed a city undamaged by war and Notarial Archives, and the the man and his work, “artist” is the term ready for business. Louisiana State Museum are all that seems to describe him best. Other examples of Persac’s production As a chronicler of the antebellum include the Gill map of Baton Rouge and lenders to the exhibition), many plantation scene and the post-Civil War other lithographs done for commercial of the opaque watercolors commercial architecture of New Orleans, purposes, such as the view of Exchange Persac has no equal. The two-dozen Alley, published in the Almanach de la (gouaches) are privately owned. gouaches of plantations provide an unpar- Louisiane and his rendering of Camp Marie Adrien Persac: Louisiana alleled picture of rural life in the southern Moore in Tangipahoa Parish, Louisiana. Artist, currently on view at the part of Louisiana along the Mississippi A third branch of the French-born River and surrounding bayou country. artist’s career was devoted to producing Historic New Orleans Collection, Executed in opaque watercolor, with a transparent watercolors of properties to be first opened in September at the photographic degree of detail, these rural sold at public auction. Over two dozen of Louisiana State University mansions, along with their outbuildings, these poster-sized watercolors, executed fences, and plantings are the finest visual between 1859 and 1867 and long a part of Museum of Art in Baton Rouge. documents of such houses known to exist. the public records held in the New Orleans The public’s perception of In the years since Persac painted them, Notarial Archives, were made by Persac. many have been destroyed. For those He adhered to traditions of the style most Persac’s works previously has remaining, the renderings provide valuable often used by his predecessors and to the derived from a few of his better evidence for restoring these buildings or legal stipulations connected with the pub- known images—this exhibition providing an understanding of how they lic sale of property. But within these con- functioned. Giving context to these indi- ventions Persac produced a body of work offers not only a comprehensive vidual buildings is Norman’s Chart of the that stands out among the thousands of view of his career but also a Lower Mississippi River, delineated by other renderings housed in the Archives. Persac, depicting plantation properties The gathering of the work by a single chance to place Persac into the along the river from Natchez to New artist represented in the Notarial Archives continuum of Louisiana art. Orleans. Though planned as a series of for a public exhibition has never been Persac, who lived in Baton Rouge, three maps that would extend upriver to done before. Manchac, and New Orleans, pursued an Memphis, Tennessee, only the lower sec- Marie Adrien Persac: Louisiana Artist artistic career in Louisiana from the mid- tion was completed. is on view in the Williams Gallery 1850s until his death in 1873. He was Lithographed views of single commer- from January 16 through April 14, 2001. born on December 14, 1823, in the cial establishments (drawn by Persac The exhibition is accompanied by a fully French hamlet of Saumur, and his early and printed by Benedict Simon) and the illustrated color catalogue with five essays training in France seems to have equipped 20 exquisite miniature drawings of the on Persac’s life and career, published by him well for a career in the visual arts. two sides of Canal Street in New Orleans LSU Press. Contemporary sources refer to him as stretching from the Mississippi River — John H. Law rence

2 Canal Street, South Side, 600 Block, ink and wash on pasteboard, by Marie Adrien Persac, 1873 (1958.78.2.4). This block is the uptown side of Canal Street between Camp and St. Charles Streets, with the Belknap Fountain at left on the corner of Camp and Canal. Several of the buildings are still standing. Inset, Belknap Fountain, stereograph slide by Samuel T. Blessing, 1876 (1995.68)

PERSAC’S CANAL STREET

In 1873 Louisiana artist Marie Adrien House. Although these are small, the turers, while past the Custom House— Persac created twenty ink-and-wash draw- details included are remarkable, as the which is depicted with a cornice, actually ings depicting each block of the commer- artist brings the 19th-century street to life not installed until years later—were large cial sector of Canal Street from near the with its ironwork galleries and balconies, wholesale clothing and hardware dealers Mississippi River to Basin Street. An mule-drawn streetcars, stone paving mingled with a few retailers. Between unfinished pencil sketch provides a bird’s- blocks, gas streetlights, and tall wooden Chartres and Rampart Streets was the center eye view of the wharves around the foot of poles supporting telegraph wires. of the city’s retail fashion and luxury trade, Canal Street, which includes outlines of The first few blocks of the street were and while there were a few men’s outfitters, buildings near the United States Custom lined with small warehouses and manufac- this was generally a woman’s domain of dry

3 Canal Street, South Side, 1000 Block, ink and watercolor on pasteboard, by Marie Adrien Persac, 1873 (1958.78.2.8). The uptown side of Canal between Dryades Street (now University Place) and South Rampart Street contained several residences. The F. W. Tilton home, 1856, (no longer standing) is pictured at far left. The building became the home of the Shakespeare Club, a literary and theatrical organization about 1873. goods, notions, fashion, and jewelry stores. goods stores, too large to be accommodated to welcome the holidays, by shopping, Its counterparts were New York’s Broadway along Chartres Street, were appearing on viewing the first Christmas show-window and Chicago’s State Street. Beyond Basin Canal Street. There were new amenities in decorations of the season, and creating a Street, Canal Street became mostly resi- these establishments, such as gas lighting, cacophony of noise with drums, tin horns, dential—here Persac turns and looks polished wooden counters, and attractive fireworks, and random gunfire. straight down the street and shows people displays. The Touro Buildings, a shopping Less than half a century later, the viewing the annual Firemen’s Parade. and office complex built in the 1850s Christmas “tradition” was only a memory, Canal Street was in transition. There between Royal and Bourbon Streets, had and Canal Street was transformed in ways had been commercial structures between 300 feet of sparkling show windows to undreamed of in Persac’s day. By the mid- Royal Street and the river as early as the entice shoppers inside. 1880s electric streetlights replaced gas, and 1820s, but then the wide thoroughfare was By 1873 Canal Street was also the countless telephone and electric wires tan- predominantly residential. Until the 1840s center of town. Throngs of people gath- gled overhead on tall poles. Electric street- the city’s premier shopping district was ered here for events ranging from carnival cars replaced mules, while paving stones Chartres Street, with small highly special- parades to political demonstrations. gave way to asphalt. By the 1880s new ized shops. By this time retailing methods Christmas Eve had become a big event, as buildings were taller and more ornate and were changing across the nation, and dry thousands of people poured into the street stores were larger.

4 Canal Street, South Side, 700 Block, ink and wash on pasteboard, by Marie Adrien Persac, 1873 (1958.78.2.5). The Henry Clay monument, left, now moved to Lafayette Square, was a landmark at the corner of Canal and St. Charles Streets. Visible behind the Clay monument is the St. Charles Hotel, the second of three hotels by this name on the site. This block on the uptown side of Canal was bordered on the right by Carondelet Street. Inset, St. Charles Street at the corner of Canal by an unknown photographer (1965.90.261)

Although the French Quarter was kets. One of these was the Third District, elevations as a commercial project to be declining as a business center, Chartres and or Port Market, at the end of Elysian Fields reproduced and sold. It was also most likely Royal Streets still remained important Avenue. This was a focal point of another an advertising medium, since only a few shopping districts, but Bourbon Street, Persac gouache entitled Port and City of stores are identified, with additional sub- previously a fashionable residential area, New Orleans. This bird’s-eye view looks scribers to be added. Persac died before the was being invaded by commerce. The most across the market and its surrounding busi- series could be completed, but no matter important building on Bourbon Street was nesses toward the French Quarter and what his purpose, the legacy of these draw- the French Opera House. Built in 1859, it business district. The tiny but highly ings is to freeze Canal Street in time. Some too was depicted by Persac—this time as a detailed image was the prototype for an of the blocks and many of the buildings he splendid gouache. inset on Norman’s Chart of the Lower drew are unrecognizable today, but others There were also commercial areas Mississippi, a plantation ribbon map drawn are as familiar to us as they would have away from the center of town, with busi- by Persac. been to Persac. nesses often clustered around public mar- Persac probably drew the Canal Street — John Magill

5 he Historic New Orleans cates began (temporarily, it turned TT Collection and the New out) to be made available. Work Orleans Public Library have recently Funerary icon from a death notice, 1910 (89-537-RL) on the project resumed in 1998, signed a cooperative agreement that and volunteers were able to incor- paves the way for the institutions to pro- OBITUARY porate the missing obituaries into the vide computer access to the New Orleans index going back to 1837. Public Library’s Louisiana Biography and INDEX PROJECT When this part of the project was fin- Obituary Index, an enormous paper card ished, the New Orleans Public Library catalog located in the Louisiana Division at UNDERWAY could finally claim that the obituary file the Main Library. This file, containing was complete from 1837 through 1972. approximately 650,000 cards arranged While only the Daily Picayune/Times- alphabetically, indexes obituaries in New until December 1947 that the newspaper Picayune is fully indexed, the index also Orleans newspapers. Also included is bio- files and the WPA indexes were moved to includes references from the States and the graphical information from older reference the Main Library, located at that time on Item during the post-World War II years, tools. The cards usually include the date of Lee Circle. The library staff uncovered from all New Orleans dailies during the death, age, and an exact reference by page inadequacies in the file: references were Civil War era, and from a number of other and column to the original death notice made only to deaths of prominent citizens, newspapers, such as the Louisiana Gazette. and/or newspaper articles. and editorials or feature stories relating to Two THNOC staff members have The obituary file was begun by the deaths were usually omitted. The obituary been assigned to the public library for reg- Works Progress Administration (WPA) file was also divided into three sections: ular data input. The project will continue staff working in the city’s Archives 1804-1936, 1936-45, and “current,” the until all the information from the index Department in the 1930s. The department last category covering the portion of 1946 cards has been entered into the database. was located in City Hall (now Gallier Hall) that had been completed at the time of the After a substantial number of records are in and the adjacent annex building on St. transfer to the library. To remedy any the database, the information will be Charles Street. The archives housed the deficiencies, the library staff began index- uploaded to the web site of the New largest collection of bound New Orleans ing all obituaries from 1946 forward, while Orleans Public Library and linked to newspapers in existence. From this news- simultaneously filling in the gaps in the the web site at the Historic New Orleans paper archive the obituary index was creat- index beginning with the Civil War. Collection. ed as one of several WPA indexing pro- Work on the obituary file continued, —Collin B. Hamer, Jr., and jects. The indexes were kept up by the staff but in the early 1970s volunteers were Gerald F.Patout of the Archives Department after the WPA recruited to take over the project, bringing project ceased operation. full coverage as far back as 1858. The deci- Collin Hamer is head of the Louisiana Although the Archives Department sion was made to stop ongoing coverage of Division of the New Orleans Public Library. was transferred by ordinance in 1946 to obituaries at the end of 1972, when print- Gerald F. Patout is head librarian at the the New Orleans Public Library, it was not outs of indexes to statewide death certifi- Historic New Orleans Collection.

6 IN MEMORIAM: DODE PLATOU FROM THE DIRECTOR e are saddened Wby the loss of The Historic New Orleans Collection appeared in conjunction with an exhibi- Dode Platou. To us, mourns the loss of director emerita Dode tion of his paintings. the staff, she was men- Platou, who died on November 9, 2000. She was particularly pleased to oversee tor and friend, role Mrs. Platou joined the Collection staff as the acquisition of an important collection model, and our direc- chief curator in 1976, served as interim of the works of Alfred R. Waud, a 19th- tor. She was always director in 1986, and was appointed direc- century illustrator whose drawings depict- positive and always supportive. We trea- tor in 1987. She retired in ed the American scene sure the memories of her funny stories, her 1992. She was an active from the 1850s through boundless energy, and the creative and member of the city’s art the 1870s. She helped diverse experience she brought to every community as an artist, art acquire materials relating challenge. Many important collections educator, and curator. to the Arts and Crafts came to us because of her hard work. Joanne Pierson Club, a collection reflect- Under her leadership our operations grew Platou, called Dode by ing artistic life in New and our commitment to the standards of everyone who knew her, Orleans during the first collections care and preservation was grew up in Minneapolis half of the 20th century. strengthened. The Historic New Orleans and received a B.S. in art She also was instrumen- Collection will always reflect Dode’s education from the tal in acquiring the pho- accomplishments and contributions. University of Minnesota. After college she tographs and related photographic materi- Dode was an avid supporter of our was a columnist for the Minneapolis als of Clarence John Laughlin, which desire for professional development. Many Tribune before her marriage to Dr. Ralph resulted in the Collection becoming the organizations provide training for archival, V. Platou in 1942. That same year the cou- definitive repository for Laughlin’s work. museum, and library standards—from cat- ple moved to New Orleans where Dr. She maintained a special interest in the aloging methodology to ethics. One such Platou had accepted a position as chairman paintings of Boyd Cruise and, after her organization, the American Association of of the pediatrics department of Tulane retirement, continued to work on an Museums, has offered an accreditation University Medical School. Mrs. Platou inventory of Cruise paintings. program for 30 years. Museum accredita- immediately became involved in the life of Mrs. Platou’s commitment to art led tion is achieved through a rigorous pro- the community, establishing the medical to her participation in many art-related gram of self-study culminating in a site photography department at the Ochsner activities, including the Council of the visit by peers selected from similar institu- Clinic and teaching photography at Arts for Children where she served as tions. Over the years the criteria have Metairie Park Country Day School for a president in 1978-79 and the Arts Council become more and more developed. I am number of years. Encouraged by George of Greater New Orleans. She completed happy to announce that the Historic New Rickey, then head of the Newcomb Art a course in arts administration at the Orleans Collection, first accredited in School, Mrs. Platou decided to enroll at Harvard Business School. 1978, has just been awarded renewed Newcomb College where she earned an In her last director’s column for the accredited status. MFA in painting in 1959. She continued Historic New Orleans Collection Quarterly, Another important announcement is to paint, participating in solo exhibitions she wrote about arriving as chief curator in the appointment of Dr. John R. Hébert as and group shows. 1976 when there were fewer than 20 Advisory Scholar. Dr. Hébert is Chief of the In 1969 she was named curator of the employees: “We were constantly putting Geography and Map Division at the Library new Wisner Wing at the Delgado Museum up and taking down exhibitions. It was of Congress. He is a former Williams (now the New Orleans Museum of Art). hectic, intense, and fun.” She went on to Research Center symposium participant She also served as curator of education say that “we have seen the original nucleus and an informal consultant on other pro- during her seven-year tenure at the muse- of prints and maps acquired by the jects. More recently, he has been editing for um. In 1976, Mrs. Platou joined the Williamses broaden and deepen to become THNOC a historical atlas of Louisiana to Collection staff as chief curator, with an outstanding collection for the study be published in conjunction with the 2003 duties that ranged from planning exhibi- of Louisiana history and culture.” Louisiana Purchase bicentennial celebration. tions and catalogues to caring for the col- Mrs. Platou’s contribution to this growth We are proud to have John on board in an lections and establishing an acquisitions has been integral to the success of official adjunct capacity! committee. She produced a book about the Collection. — Priscilla Lawrence artist and former director Boyd Cruise that — Louise C. Hoffman

7 PAUL MORPHY: NEW ORLEANS’S KING OF CHESS

contest however, and Morphy traveled to Queyrouze notes that Morphy’s “most Paris, where he met and defeated Europe’s salient characteristic always was an invinci- most formidable players. In one particularly ble aversion to popularity, which gradually developed into an unusual disdain of celebrity.” In 1860, Morphy made his last challenge, open to any player in the world, adding that he would grant his opponent a pawn and the first move. His challenge was not accepted, and Morphy stunned the chess world by perma- nently retiring from professional Today the pink building at play after a career of only two years, 417 Royal Street is famous as a move that would earn him the Brennan’s Restaurant, but in the sobriquet “the Pride and Sorrow of mid-19th century it was known Chess.” as the family home of chess mas- Queyrouze’s manuscript stands ter Paul Morphy, whose celebrity apart from other biographies of extended far beyond Louisiana. Morphy in that it describes intimate In New York and Paris, the young episodes from his obscure later Morphy was besieged by female years, told from the perspective of a admirers and sought out by family friend and confidante. She artists and aristocrats. describes Morphy’s deliberate dis- An unpublished manu- avowal of his fame as a chess player script in the Collection’s hold- and his long decline into mental ill- ings, “First and Last Days of ness. Morphy’s mother foresaw his Paul Morphy,” by Constant early death in July 1884, telling Beauvais, examines the life of Queyrouze that Morphy would “die the celebrated man. Beauvais Top, chess piece from a set owned by Paul Morphy (1983.51.1.7); above, daguerreo- of apoplexy like his father.” Apart was the nom de plume of Léona type of Paul Morphy, between 1857 and 1859 (1996.75) from the advantage of her access Queyrouze Barel, a family friend to the reclusive Morphy, Léona of the Morphys. A contemporary reader stunning display, Morphy played the eight Queyrouze seemed to understand and of her manuscript might be struck by best players in Paris simultaneously. identify with Morphy’s solitary genius. In Queyrouze’s lavish praise of her subject, Furthermore, he did so blindfolded, calling many ways, she was as remarkable a person but other biographers and chess scholars out his moves in fluent French and track- for her time as Paul Morphy. have confirmed Morphy’s genius. ing the positions of each game solely by Among other things, she was a musi- In 1850, when Morphy was just 13, memory. After ten hours, during which he cian and composer, a linguist, an essayist, he played Hungarian chess master Janos remained seated and blindfolded, Morphy and a poet who published her work in Lowenthal and defeated him in three out won six games and drew two. It is hard for L’Abeille. She fenced and was the only of three games. In October 1857 Morphy us to imagine the excitement generated by female member of L’Athénée Louisianais. In commenced his reign as chess’s acknow- these matches, and the clamor of huge the 1880s Queyrouze was the first woman ledged champion: he easily swept away the crowds straining to catch a glimpse of this in New Orleans to give a public speech. best players in the United States before quiet young American. She was a proponent and teacher of French challenging England’s Howard Staunton, In 1859, Morphy returned home in language and culture and corresponded who was thought by many to be the best triumph, but his reign as the “King of with Emile Zola and French President Paul player in the world. Staunton refused the Chess” was not to last. In her biography, Deschanel. She was also a close friend of

8 writer Lafcadio Hearn, who once observed that Queyrouze was “all fire and nerves and scintillation; a tropical being in mind and physique, and I could never be to her what HE HADOW OF OUBT I should like to be.” Hearn visited T S D Queyrouze at her family’s home at 17 Rue St. Louis (now 523-5 St. Louis), where she helped him translate the French Creole idioms that would appear in his novel Chita. It was Hearn who encouraged her to Shortly after daybreak, on the morning of finish “that Morphy Sketch” which he October 20, 1991, Thomas E. Weiss wit- understood as a “psychological work” nessed the cypress coffin containing the reflecting not only Morphy, but remains of his brother Dr. Carl Austin Queyrouze as well. Weiss carefully lifted from a vault at Queyrouze wrote and published her Roselawn Cemetery in Baton Rouge. Also reminiscences of Hearn in the early 1930s, in attendance were Carl’s son, grandson, and the Morphy manuscript was com- and a team of forensic scientists led by posed under similar circumstances. Late in James E. Starrs of George Washington life, Queyrouze had become nearly blind University. A mobile X-ray unit was on site and wrote her initial drafts on large sheets as well to document precisely the condi- of paper in huge script. These were tran- tion of the remains and the location of scribed by her brother, J. Maxime metallic objects in the coffin before it was Queyrouze, who then read it back to her, transported to a pathology laboratory. The noted her oral corrections, and neatly reason for the exhumation and subsequent copied out the final versions. The Morphy forensic investigation was to put to rest manuscript is written on lined paper, the nagging doubts about Carl’s violent and leaves of which have been encapsulated mysterious death at the hands of Huey P. and bound. Penciled corrections are scat- Long’s bodyguards in 1935. Carl Austin Weiss (89-37-L) tered throughout its 76 pages. Queyrouze’s A recent donation to the Williams obituary, which appeared in the Times- Research Center documents Thomas assumed that Carl had assassinated Long, Picayune on January 9, 1938, states that Weiss’s quest to find out what had hap- and some who opposed Long’s political her brother had intended to publish her pened to his brother. When it was reported views went so far as to praise Weiss as a manuscript posthumously, but no publish- that Long had been shot and that Dr. Carl self-sacrificing martyr for the cause of er was ever found. Weiss was the alleged assassin, Weiss’s fam- democracy. A second collection, the Weiss Now part of the manuscripts collection ily, and those who knew him well, found Family Papers, also the donation of at the Williams Research Center, “First and the news both baffling and unbelievable. Thomas Weiss, contains hundreds of let- Last Days of Paul Morphy,” written by an Nothing in Carl’s demeanor suggested that ters of condolence to the Weiss family fol- extraordinary woman, sheds light on a leg- he might be capable of such a thing. He lowing Carl’s death. A nun from Ireland endary figure in New Orleans history. was, by all reports, content with life— wrote, “Our hearts ache for you in the —Jason Wiese happily married and recently a father. His awful death of your gentle, intellectual, ______medical practice was doing well and a wonderful son. If only it had been some- Sources: Constant Beauvais [Léona Queyrouse Barel], “First and Last Days of Paul Morphy,” promising future lay ahead. On the body else who had delivered the state of THNOC; Jonathan Cott, Wandering Ghost: the evening of September 8, 1935, Carl Weiss this man. You may be sure that God had Odyssey of Lafcadio Hearn (New York, 1991); Hill made a house call to a patient before stop- regard for the motives and intentions more Memorial Library, “Louisiana Authors: B,” web page, accessed Jul. 26, 2000; Hill Memorial Library, ping by the hospital to do a pre-operative than for the acts, and your boy’s intentions “Manuscript Resources on Women’s History in the procedure on two children who were hav- were noble and patriotic. May he rest in Louisiana and Lower Mississippi Valley Collections, ing their tonsils removed the following peace.” An anonymous man from Hill Memorial Library, LSU,” web page accessed Jul. day. It seemed unthinkable that on the way Brooklyn, New York, wrote: “Your family 26, 2000; Michael L. Kurtz, “Paul Morphy: Louisiana’s Chess Champion,” Louisiana History 34, back from his medical duties—and with- can feel proud to have produced so fine a no. 2 (1993); David Lawson, Paul Morphy: The out giving any sign of distress—he would man. Such courage, such unselfishness, Pride and Sorrow of Chess (New York, 1976); Léona walk into the Louisiana State Capitol such greatness of heart to be willing to sac- Queyrouse Barel, The Idyl: My Personal Reminiscences of Lafcadio Hearn (Toyko, 1933); building to assassinate Huey Long. rifice his life for humanity.” The Weisses Times-Picayune New Orleans States, Jan. 9, 1938. Many of the general public, however, responded to all these letters with a reply

9 that their son was not the assassin. Some correspondents even went so far as to ACQUISITIONS send financial gifts to the family, which were returned. THE HISTORIC NEW gained the governorship, advocating public The Weiss family never accepted the ORLEANS COLLECTION education and increased state regulation of scenario that was reported by the media. encourages research in utilities; he carried through a number of Carl’s father repeatedly defended his son’s the Williams Research changes, including a new state constitu- memory against claims that he was the Center at 410 Chartres tion. A collection of letters (1903-1916) assassin. After the Journal of the American Street from 10:00 a.m. from Roosevelt to Parker donated by his Medical Association wrote an obituary to 4:30 p.m. Tuesday grandson, Blanc A. Parker, reveals a lasting using the word assassin, Carl’s father wrote through Saturday friendship. Salutations of “My dear Mr. to the editor: “You know but one side of (except holidays). Parker” evolved into “Dear John,” and let- this gruesome affair, and knowing only the Cataloged materials available to ters frequently involved arrangements to garbled lie…you uncharitably credit my researchers include books, manuscripts, meet for hunting or socializing. Roosevelt’s son with the assassination.” paintings, prints, drawings, maps, pho- enthusiasm for military action is docu- Long died of his wounds about a day tographs, and artifacts about the history mented in a 1915 letter outlining a plan to and a half after the shooting—and, as zeal- and culture of New Orleans, Louisiana, raise troops if needed to go toMexico and a ous as his opponents were, his followers and the Gulf South. Each year the 1917 letter speculating on his service in a were equally devoted. Although convinced Collection adds thousands of items to its war with Germany. Also included are a of Carl’s innocence, his father feared that holdings by donation or purchase. Only a copy of a 1917 letter from Parker to some sort of mob violence might threaten few recent acquisitions can be noted here. President Woodrow Wilson supporting the family. After Carl’s funeral service, the Roosevelt’s offer to raise a division for Weisses took refuge in New Orleans at a MANUSCRIPTS World War I service, news clippings, pro- hotel on St. Charles Avenue. They The Progressive Party was organized as an grams, copies of speeches, and other letters. remained there about four days until alternative to the Democratic and The role James Wilkinson (1757-1825) friends in Baton Rouge said that it was safe Republican parties at the beginning of the played in the settlement of the West has to return. Even then, Thomas Weiss 20th century because its supporters feared been the subject of scholarly speculation. remembers that he and his father would that the traditional parties were dominated After serving as an adjutant general in the keep rifles at the front and back windows by unhealthy business and political Revolutionary War (1775-1783), James of the house and would watch for any alliances. When Theodore Roosevelt Wilkinson settled in Kentucky and became unusual activity. (1858-1918), a Republican who had served involved in its quest for independence At the time of the event only a mini- two terms as president (1901-1909), failed from Virginia and statehood. The critical mal investigation was done. The examina- to regain the Republican nomination in need for trade rights on the Mississippi tion of Carl’s remains indicate that at least 1912, he ran unsuccessfully as the River prompted exchanges with Spanish 23 bullets struck his bones—it has been Progressive presidential candidate. Among Governor Esteban Miro (ca. 1744-1795) estimated that Weiss was shot as many as the party’s issues were revision of political that included support of Spanish interests 60 times. The specialists who studied the nominating mechanisms, woman’s suf- and advocacy of Kentucky’s independence bullet impact points concluded that Weiss frage, abolition of child labor, and conser- from the United States. Wilkinson was was in a defensive posture, which is con- vation. appointed, along with W. C. C. Claiborne, trary to the accounts given by the body- Although individuals continued to to receive Louisiana from France in 1803. guards. In addition to the forensic reports, fight for these ideas, the Progressive Party Hugh Wilkinson III has donated two let- Weiss’s gun and some lost police reports disintegrated as a national political force, ters that James Wilkinson wrote in 1825 to resurfaced as a result of the renewed inves- not fielding another presidential candidate his son, Joseph B. Wilkinson, expressing tigation. Unfortunately, none of this new until 1924. John Milliken Parker (1863- his concerns about land interests in Texas. information clarified the events of 1935 1939), one of the wealthiest businessmen James Wilkinson died shortly afterward in but, in the words of forensic scientist and planters in the South, was an acquain- Mexico City. James E. Starrs, merely “lengthened the tance of Roosevelt and a supporter of pro- The Harvey Canal Limited Partnership shadow of doubt.” gressive causes.The youngest president of has added several plans of the Harvey —Mark Cave the New Orleans Cotton Exchange and a Canal Locks that enhance its previous ______member of the New Orleans Board of donation of records (Quarterly, Vol. XVIII, Sources: Weiss Family Papers, THNOC; Dr. Thomas Weiss Papers Relating to Dr. Carl Austin Trade, Parker ran unsuccessfully for gover- Number 2, Spring 2000). The seven Weiss, 1935-1995, THNOC; Interview with Dr. nor of Louisiana as a Democrat in 1912. plans include those for the gate cast Thomas E. Weiss, July 28, 2000. As a Progressive candidate in 1920, he housing, lock chambers, anchor plate, sill

10 A very rare and fine 1819 edition of The Columbian Navigator by John Purdy has recently been acquired. The only other known North American copy of this important work is found in the library holdings of the Mariners’ Museum in Newport News, Virginia. As the extensive subtitles explain, The Navigator provided early sailing directions for the coasts and harbors of North America. Beginning with Halifax, Nova Scotia, the navigational instructions conclude with directions to the Mississippi River. This second-edition publication, printed for noted British chart sellers James Whittle and Richard Holmes Laurie, brings together informa- tion from a variety of original documents and surveys. Purdy declares that “it appears the mouth or principal entrance to the Missisipi [sic] is in latitude 29º 5' or 29º 6' º Selections from a letter from Theodore Roosevelt to John Milliken Parker (2000-62-L) and longitude 89 8' from Greenwich, or nearly so.” He goes on to say, “New

plate, and whole locks (with watercolor). Henry A. Peeler’s name appears on one of the plans. — M. Theresa LeFev re LIBRARY In a presidential election season, it is inter- esting to note that Zachary Taylor, the twelfth president of the United States, was administered the oath of office on Monday, March 5, 1849. The designated date, March 4, fell on a Sunday, raising the question as to whether the nation was without a president for a day. Adding to the Collection’s materials related to Taylor and His Generals, illustration from The Life of General Zachary Taylor and a History of the War in Zachary Taylor, THNOC has recently Mexico, Giving an Account of the Battles (2000-168-RL) acquired a rare 1847 campaign pamphlet entitled “The Life of General Zachary an illustrated portrait of General Taylor as Orleans is composed of neat brick houses, Taylor….” This item provides an account well as five illustrated plates of Taylor’s var- with a greater proportion of miserable of how “Old Rough and Ready” spent ious battles. Taylor’s presidency was short- wooden ones. The town consists of three nearly a quarter of a century policing the lived. On July 4, 1850, after participating streets, parallel with the river. The public western frontier and reviews his successes in a ceremony laying the cornerstone of buildings are the townhouse, church, mili- at Monterrey and Buena Vista during the the Washington Monument, Taylor fell ill tary and civil hospital, barracks, custom- Mexican War. The pamphlet also includes and was dead within five days. house and theatre.”

11 Another useful maritime-related acqui- sition is a 1903 index to the reports of the Corps of Engineers projects from 1866 to 1900. The Chief of Engineers and Officers of the Corps of Engineers, United States Army, 1866–1900 was published in Washington by the Government Printing Office. It is arranged alphabetically by location. Nearly 100 pages cover a variety of projects on the Mississippi River, Lake Pontchartrain, and on other rivers and streams in Louisiana. Also acquired is a two-volume set, pub- lished in 1834, that chronicles the journey of Theodore Marie Pavie in 1829 on the Mississippi River, with stops at Natchez and New Orleans. Atlantische Erinnerungen. Reisebilder Aus Canada Und Den Vereinigten Staaten Von Nord Amerika is the first German edition of this travel- ogue. Pavie, who was 18 years old when he Silver tea service presented to Samuel J. Peters, October 1, 1850 (2000.42.1-5) made the trip down the Mississippi River, wrote about Indians, camping, bear hunt- ing, and various aspects of nature. The A number of donations enrich the pho- Jane Aucoin, C.S.J., have donated a 1981 only other known copy of the book is in tographic collections. Fred L. Logan has color lithograph showing the first three the New York Public Library. donated a late 1890s photograph of the Catholic bishops of Lafayette, Louisiana. — Gerald Patout yacht B. D. Wood. Twenty views of the The lithograph was designed by Floyd 1984-1985 Louisiana World’s Fair held in Sonnier and published by Beau Cajun Arts CURATORIAL New Orleans, showing amusement rides, Production. A silver tea service presented to Samuel J. exhibition buildings, the Wonder Wall, Three maps showing New Orleans, Peters on October 1, 1850, by the officers and the Mississippi River Bridge is the gift Lafayette, and the parishes of Pointe and clerks of the Custom House is a recent of the late Dode Platou. D. Clive Hardy Coupée and Feliciana come from John E. acquisition. The engraved coin-silver set, has contributed photographs of the Walker. Mary Ross Berridge has con- manufactured by H. E. Baldwin and Fernand Tessier Class of the Knights of tributed carnival ball favors and other Company of New Orleans, includes a hot Columbus Council (1924), an early 1920s memorabilia associated with carnival. A water urn, teapot, creamer, and covered group at the Baptist Bible Institute, small painting of a streetcar by New sugar bowl. Each piece, rich with floral and Brother Leonard’s Boys School Class (ca. Orleans artist Cecilia M. Seixas Willey, foliate scroll chasing, bears an inscription 1930), and three uptown residences. who was the wife of French Quarter artist to Peters, who served briefly as collector of Mitchell Gaudet has donated a group of Philo L. “Chief” Willey, is the donation of customs. A banker and businessman, Vieux Carré street scenes including views Mrs. Robert Killeen. Michael D. Wynne Peters championed public education and of Jackson Square, St. Louis Cathedral, the has contributed posters focusing on state civic improvements in New Orleans. At Bosque Court, and the Brulatour politics including the Long family dynasty, the 1848 national Whig convention, he Courtyard. An 1881 view of the Colton Jimmie Davis’s governorship, and that of played a prominent role in nominating family residence, titled “Our Homestead,” Murphy J. Foster and Murphy J. “Mike” Zachary Taylor as the party’s presidential comes from Kharin Mishan. Eric J. Brock Foster. candidate. Peters was disappointed in his has given a color photograph of Rabbi Ashley Woods, Blake Woods, and Joyce expectation of being named secretary of Maximilian Heller. From William K. Kelly have donated a sign from the John the treasury by the new president, but Greiner comes a photographic portrait of a McCrady Art School. The sign, which Taylor did appoint him collector of cus- family member by Joseph Woodson “Pops” hung outside the McCrady School on toms in New Orleans. When the appoint- Whitesell as well as a group of materials Bourbon Street from 1946 through the ment was not confirmed by Congress, relating to the Kross Lumber and early 1950s, was a landmark for the art Peters returned to private business and Wrecking Company. community in the French Quarter. civic activities, prompting the gift of this The Sisters of St. Joseph of Medaille, — Judith H. Bonner silver service. Archives of the Southern Region, via Sister

12 DONORS: ADVISORY SCHOLAR JULY–SEPTEMBER 2000 APPOINTED Alachua County Historic Trust: Else J. Martin Matheson Museum, Inc. George H. McLoughlin Melissa Ashurst Michael Ginsberg Books Mary Ross Berridge Kharin Mishan Sarah V. Bohlen in memory of Ernest C. Villeré Jackson L. Molaison Dr. Patricia Brady Neighborhood Development Foundation Eric J. Brock Betty Jane Nolan Mrs. Peter C. Broussard Blanc A. Parker Cahn Family Foundation Gerald F. Patout, Jr. Mrs. John W. Calhoun Carol Hood Pierce Walter Carroll, Jr. Jean-Pierre Piqué he board of directors announces the Catholic Library Association Dode Platou Viola S. Claverie Jo Anne Gosselin Plessala Tappointment of Dr. John Hébert as Mrs. Walter Diaz Alexander Ritter Advisory Scholar, beginning the first of Educational Technology Review Center John Robert Sarpy January. Dr. Hébert is the Chief of the Fairfax County Public Library Elizabeth Gentry Sayad Faubourg Marigny Improvement Association George Schmidt Geography and Map Division, Library of Dorothea G. Garrett James Shelby Sessums Congress. He was the coordinator (1989- Mitchell Gaudet Sisters of Saint Joseph of Medaille, Archives of the 1993) of the five-year program sponsored by Goudeau Antiques Southern Region Edith Greenwood Smithsonian Anacostia Museum and Center for the Library of Congress, 1492-1992: An William K. Greiner African American History and Culture Ongoing Voyage. Roland Guidry Sons of the Revolution in Louisiana A native of Louisiana, he is a graduate Virginia Van der Veer Hamilton Dr. S. Frederick Starr of the University of Southwestern D. Clive Hardy Harriet Swift Harvard University Press Roulhac Toledano Louisiana and received a doctorate in Harvey Canal Limited Partnership University of South Alabama, Center for Latin American history from Georgetown Anna Heiduk Archaeological Studies University. Dr. Hébert has written exten- Skip Henderson John E. Walker George A. Hero III Françoise Watel sively on the 18th-century Spanish pres- Herbert Hey Mr. and Mrs. Hugo Wedemeyer ence in the United States (the Spanish bor- Dr. J. E. Isaacson, Jr. Merlyn Weilbaecher derlands), historical cartography, and Zide Jahncke West Baton Rouge Parish Library Mrs. George B. Jurgens Routh T. Wilby Latin American bibliography. He is the Joyce Kelly Hugh M. Wilkinson III editor of a historical atlas of Louisiana, to Mrs. Robert J. Killeen Ashley Woods be published by the Historic New Orleans Mrs. W. Elliott Laudeman III Blake Woods Collection in conjunction with the bicen- Dr. Alfred E. Lemmon Michael D. Wynne Fred L. Logan tennial of the Louisiana Purchase in 2003.

Persac Symposium: Taking the Measure of preservation group in St. Louis, and chair- Marie Adrien Persac, presented by the ANNOUNCEMENTS man of the group’s commemoration of the Historic New Orleans Collection and the Symposium in Spain: Bourbon Louisiana: bicentennial of the Louisiana Purchase. She LSU Museum of Art, Saturday, February 17, Reflections of the Spanish Enlightenment, the serves on the national advisory committee 2001, 9:00 a.m.–3:00 p.m., Williams WRC annual symposium repeated in Spain, for the Purchase bicentennial. Free and open Research Center, 410 Chartres Street. March 23, 2001, Universidad de Alcalá. The to the public. Speakers: Barbara SoRelle Bacot, Sally K. tour departs from New Orleans March 17 Second Annual Bill Russell Lecture: To Reeves, John Magill, John Lawrence, and H. and returns March 27. The group will stay in complement the William Russell Jazz Parrott Bacot. The exhibition Marie Adrien Madrid and Seville. Call Peter McLean, Ltd., Collection, THNOC will present the second Persac: Louisiana Artist opened at the at 504-833-6275 for reservation information. Bill Russell lecture on Thursday, April 19, Collection January 16. Reservations recom- 2001, 7:30 p.m., at the Williams Research mended. Call 504-598-7171. Lecture: “Two Hundred Years of Celebrations and Legacies Inspired by the Center, 410 Chartres Street. Barry Martyn and Spanish Exhibition in Jackson, Mississippi: Louisiana Purchase” presented by Elizabeth Dr. Bruce Boyd Raeburn will present musical THNOC-sponsored bus tour to Jackson to Gentry Sayad, April 3, 2001, at the Historic demonstrations of early New Orleans drum- view The Majesty of Spain: Royal Collections New Orleans Collection, 533 Royal Street. mers including Alfred Williams, Sammy Penn, from the Museo del Prado and Patrimonio The lecture is sponsored by Les Amis des Baby Dodds, and Josiah Frazier. Free and open Nacional, March 4, 2001. $55 per person. Vieilles Maisons Françaises. Mrs. Sayad is to the public. Reservations recommended. Call 504-598-7171 for more information. the founder of Les Amis, the French colonial Call 504-598-7171.

13 TAFF Music Library Association; Alfred Lemmon, S Chicago Humanities Festival and Society of American Archivists; Pamela Arceneaux, Gulf AAM IN THE COMMUNITY South History and Humanities Conference; Fred Smith, member of the board of direc- Gerald Patout, Amy Baptist, and Jason ACCREDITATION tors of the Kemper and Leila Williams Wiese, Louisiana/Southern Mississippi Foundation, has joined the board of the Chapter of the Special Libraries Association Salvation Army. Priscilla Lawrence was and library preservation lecture at THNOC; featured in New Orleans Magazine’s John Magill and Amy Baptist, Southeastern “People to Watch” issue. Library Network workshops. John Lawrence, Carol Bartels, presi- Oracle 18 for photography curators. dent, Louisiana Archives and Manuscripts Every ten years the American Association; Pamela D. Association of Museums evaluates Arceneaux, chair of the institutions that have received Lucy B. Carol Bartels AAM accreditation. The associa- Foote Award Louise Hoffman tion has recently renewed accredi- Committee, Louisiana Lynn Adams tation for the Historic New Library Association; Judith H. Bonner, Louisiana Orleans Collection for the third state director for the Pamela Arceneaux time. Accreditation certifies that a Southeastern Museums museum operates according to Conference; Jan Brantley and Diane Plauché standards set forth by the museum John Lawrence, photographs Mary Mees profession, manages its collections in the Preservation Resource responsibly, and provides quality Center’s opening exhibition in the Leeds-Davis building; service to the public. Of the 8,000 John Lawrence, photograph museums nationwide, only some Judith Bonner on exhibit, New Orleans 750 are accredited. Museum of Art; Bettie Pendley, board of Maclyn Hickey Linda Epstein directors of the Vieux Carré Property Heidi Hitter Owners, Residents, and Associates; John CHANGES Magill, WLPB-TV interview for PBS pro- Mary Mees, publications assistant; Lynn duction about Kate Chopin. Adams, editor; Louise Hoffman, senior Speeches: Patricia Brady, Daughters of editor; Diane Plauché, shop manager; THE SHOP the American Revolution and Jefferson Heidi Hitter, volunteer, vertical file collec- Parish Library; Gerald Patout, Daughters of tion; Linda Epstein, volunteer, Historic the American Revolution, Culture Club, Districts Survey Project; Maclyn Hickey, and New Orleans Center for Science and special projects and volunteer, Williams Mathematics; Mark Cave and John Magill, Research Center. Tulane University sociology class; John Lawrence, Louisiana Colonials; Mark Cave, PUBLICATIONS New Orleans Genealogical Society. The Louisiana Purchase Bicentennial Series in Louisiana History: Vol. XV–Visions and MEETINGS Revisions: Perspectives on Louisiana Society Patricia Brady, Southern Historical and Culture includes Pamela Arceneaux’s Association and White House Historical “Guidebooks to Sin: the Blue Books of Association; Carol Bartels, Louisiana Storyville,” and Patricia Brady’s “Free Men Archives and Manuscripts Association; of Color as Tomb Builders in the Judith Bonner, Southeastern Museums Nineteenth Century.” Bettie Pendley and Conference and South Central Modern John Magill, Preservation in Print; John Language Association; Alfred Lemmon Magill, Cultural Vistas; Judith Bonner, Woodward-inspired scarf and Nancy Ruck, Southeast Chapter of the New Orleans Art Review.

14 WE SALUTE

The Quarterly turns the spotlight on three volunteers who have contributed to the work of the Harry Redman Richard Jackson Historic New Orleans Collection Mary Ann Hymel Editors: Patricia Brady for many years. By generously Louise C. Hoffman sharing their talents, these volunteers have Alejandro O’Reilly. Other translations Head of Photography: helped further the Collection’s goal of pre- include Iberville’s prospectus for the set- Jan White Brantley The Historic New Orleans Collection serving and interpreting the history and tling of Louisiana and materials in the Ste- Quarterly is published by the Historic New culture of New Orleans and the Gulf Gême Papers. Orleans Collection, which is operated by the Kemper and Leila Williams South. Richard Jackson started volunteering Foundation, a Louisiana nonprofit corpora- Mary Ann Hymel, a New Orleans at the Collection in 1995 after moving tion. Housed in a complex of historic build- ings in the French Quarter, facilities are open native, joined the docent department as a back to New Orleans. He was formerly to the public, Tuesday through Saturday, from 10:00 a.m. until 4:30 p.m. Tours of the volunteer in 1983. In 1988, she moved head of the Americana Collection in the history galleries and the Williams Residence across Lake Pontchartrain to Mandeville New York Public Library’s music division are available for a nominal fee. Board of Directors: but still comes in every Thursday to give at Lincoln Center until his retirement. He Mrs. William K. Christovich, President tours of the Williams Residence. She is cataloging the papers of a New Orleans John E. Walker Fred M. Smith enjoys telling visitors about the elegant fur- civic leader, the late Mrs. E. B. Ludwig. He Charles A. Snyder nishings and about the collector’s vision previously worked on various parts of the Drew Jardine that was shared by Leila and Kemper William Russell Jazz Collection. Mr. G. Henry Pierson, Jr., emeritus Priscilla Lawrence, Director Williams. Jackson contributed an essay, “Fess The Historic New Orleans Collection Dr. Harry Redman began volunteer Manetta: Maisons de Joie,” to the 533 Royal Street New Orleans, Louisiana 70130 work at the Collection in 1992 after retir- Collection’s 1998 publication Jazz (504) 523-4662 ing from the French Department at Tulane Scrapbook: Bill Russell and Some Highly [email protected] www.hnoc.org University. He is originally from northwest Musical Friends. ISSN 0886-2109 © 2001 Florida. He is currently translating letters Many others contribute their time The Historic New Orleans Collection in the Grima Family Papers and has and talent to THNOC on an on-going recently translated a document issued by basis. We thank them all. Additional photography by: Dustin Booksh, Jennifer Berger, and Amanda Fuller

PLEASE SEND PLEASE SEND Amount Quantity Amount ______Silk scarf, 34" x 34": $100______Silk scarf, ______Marie Adrien Persac: Louisiana34" Artist x 34": $100 Cloth, $39.95Marie Adrien Persac; Louisiana Artist ______Paperback, $24.95Cloth, $39.95 ______Persac postcard packet, 20 images,Paperback, $24.95 ______featuring the north and south sidesPersac of Canal postcard Street, 1870s, packet, $18.95 20 images, Shipping and Handling scarf, $7 (UPS)featuring the north and south sides ______of Marie Adrien Persac, Canal Street, 1870s: $18.95 ______cloth: $5; paper: $4 Shipping and Handling Persac postcard packet, $2;scarf, $7 (UPS) ______additional cards, $.50 Marie Adrien Persac, ______Taxes as applicable: 9% Orleans Parishcloth: $5; paper: $4 ______4% other La. residentsPersac postcard packet, $2; ______additional cards,Total $.50 Amount Due ______

A scarf inspired by artist Ellsworth offering Marie Adrien Persac: Louisiana Artist, Name: Woodward’s beautiful 1930s masterpiece, published by LSU Press, with full color illus- Address: Backyard in Covington, is now available for trations and essays by H. Parrott Bacot, City, State, Zip: purchase. A Shop exclusive, the hand-painted Barbara SoRelle Bacot, Sally Kittredge Reeves, Visa MasterCard Check or Money order scarf with hand-rolled edges is the work of John Magill, and John H. Lawrence. Also Account Number: New Orleans artist Kathy Schorr. And, for available are postcard packets featuring Persac’s Exp. Date: anyone interested in Louisiana art, the Shop is Canal Street views, suitable for framing. Signature:

15 LEILA WILLIAMS TEA HONORS DONORS

The fourth annual Leila Williams Tea honoring the Collection’s donors for the year 2000 was held on December 12 and featured a special exhibition, Philanthropy & Foresight: The Legacy of Kemper and Leila Williams, on view in a new gallery adjacent to the Counting House. Pictured at the tea are, top row, Tim Pickles; Gloria Wilkinson and Priscilla Lawrence; and Mimi Calhoun. Second row, Nell Nolan Young and Elsa Schneider; Kinzey Branham (sculptor of the bronze busts of Kemper and Leila Williams). Third row, Kathleen Perschall, Elizabeth Davidson, and Judith Bonner; Raymond Calvert, Noreen Lapeyre, and Gladys Jurgens

KEMPER AND LEILA WILLIAMS FOUNDATION THE HISTORIC NEW ORLEANS COLLECTION Museum • Research Center • Publisher 533 Royal Street New Orleans, Louisiana 70130 (504) 523-4662 Visit the Collection on the Internet at www.hnoc.org ADDRESS SERVICE REQUESTED