Letters & Papers of John Singleton Copley and Henry Pelham, 1739
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John Adams, Political Moderation, and the 1820 Massachusetts Constitutional Convention: a Reappraisal.”
The Historical Journal of Massachusetts “John Adams, Political Moderation, and the 1820 Massachusetts Constitutional Convention: A Reappraisal.” Author: Arthur Scherr Source: Historical Journal of Massachusetts, Volume 46, No. 1, Winter 2018, pp. 114-159. Published by: Institute for Massachusetts Studies and Westfield State University You may use content in this archive for your personal, non-commercial use. Please contact the Historical Journal of Massachusetts regarding any further use of this work: [email protected] Funding for digitization of issues was provided through a generous grant from MassHumanities. Some digitized versions of the articles have been reformatted from their original, published appearance. When citing, please give the original print source (volume/number/date) but add "retrieved from HJM's online archive at http://www.westfield.ma.edu/historical-journal/. 114 Historical Journal of Massachusetts • Winter 2018 John Adams Portrait by Gilbert Stuart, c. 1815 115 John Adams, Political Moderation, and the 1820 Massachusetts Constitutional Convention: A Reappraisal ARTHUR SCHERR Editor's Introduction: The history of religious freedom in Massachusetts is long and contentious. In 1833, Massachusetts was the last state in the nation to “disestablish” taxation and state support for churches.1 What, if any, impact did John Adams have on this process of liberalization? What were Adams’ views on religious freedom and how did they change over time? In this intriguing article Dr. Arthur Scherr traces the evolution, or lack thereof, in Adams’ views on religious freedom from the writing of the original 1780 Massachusetts Constitution to its revision in 1820. He carefully examines contradictory primary and secondary sources and seeks to set the record straight, arguing that there are many unsupported myths and misconceptions about Adams’ role at the 1820 convention. -
Boston Massacre, 1770
Boston Massacre, 1770 1AUL REVERE’S “Boston Massacre” is the most famous and most desirable t of all his engravings. It is the corner-stone of any American collection. This is not because of its rarity. More than twenty-five copies of the original Revere could be located, and the late Charles E. Goodspeed handled at least a dozen. But it commemorated one of the great events of American history, it was engraved by a famous artist and patriot, and its crude coloring and design made it exceedingly decorative. The mystery of its origin and the claims for priority on the part of at least three engravers constitute problems that are somewhat perplexing and are still far from being solved. There were three prints of the Massacre issued in Massachusetts in 1770, as far as the evidence goes — those by Pelham, Revere, and Mulliken. The sequence of the advertisements in the newspapers is important. The Boston Ez’ening Post of March 26, 1770, carried the following advertisement, “To be Sold by Edes and Gill (Price One Shilling Lawful) A Print, containing a Representation of the late horrid Massacre in King-street.” In the Boston Gazette, also of March 26, I 770, appears the same advertisement, only the price is changed to “Eight Pence Lawful Money.” On March 28, 1770, Revere in his Day Book charges Edes & Gill £ ç for “Printing 200 Impressions of Massacre.” On March 29, 770, 1 Henry Pelham, the Boston painter and engraver, wrote the following letter to Paul Revere: “THuRsD\y I\IORNG. BosToN, MARCH 29, 10. -
Download a PDF of Imagining the Boston Massacre
Imagining the Boston Massacre Imagining the Boston Massacre asks students to consider images of the one of the most important and controversial events of the Revolutionary era. This lesson invites students to examine and interpret depictions of the Boston Massacre—the deadly confrontation between Bostonians and British troops on the evening of March 5, 1770—by examining contemporary engravings of the event by Henry Pelham and Paul Revere of Boston and Jonathan Mulliken of Newburyport, Massachusetts, as well as later versions of the same image. The goals of the lesson are for students to understand the importance contemporaries attached to the event, how the event reflected and shaped colonial resistance to British authority, and how powerful images can focus popular attention and shape political views. Like the other lessons in this series, Imagining the Boston Massacre asks students to go beyond obvious questions about the literal accuracy of images to consider them as valuable sources for understanding how artists and their audiences understood the events depicted. Suggested Grade Level Middle and High School Recommended Time Two +/- fifty minute class periods Objectives and Essential Questions At the conclusion of the lesson, students will: • understand how the artists and their audiences understood the events of March 5, 1770; • understand how the Boston Massacre contributed to the growth of Revolutionary sentiment by stirring popular outrage at the British army and the British ministry; • develop skills needed to analyze and interpret visual images through close comparison of similar, but not identical, images; and • understand how the publication of dramatic images reflects and shapes popular opinion. -
Fashion and Transgressive Dressing in the Mid-To-Late Eighteenth Century British North Atlantic Brenna Buchanan Iowa State University
Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2017 "To Dress Against Nature and Reason": fashion and transgressive dressing in the mid-to-late eighteenth century British North Atlantic Brenna Buchanan Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the History Commons Recommended Citation Buchanan, Brenna, ""To Dress Against Nature and Reason": fashion and transgressive dressing in the mid-to-late eighteenth century British North Atlantic" (2017). Graduate Theses and Dissertations. 15267. https://lib.dr.iastate.edu/etd/15267 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. “To dress against nature and reason”: Fashion and transgressive dressing in the mid- to-late eighteenth century British North Atlantic by Brenna Holly Buchanan A dissertation submitted to the graduate faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Rural Agricultural Technological and Environmental History Program of Study Committee: John Monroe, Co-major Professor Julie Courtwright, Co-major Professor Kathleen Hilliard Margaret LaWare Pamela Riney-Kehrberg The student author and the program of study committee are solely responsible for the content of this dissertation. The Graduate College will ensure this dissertation is globally accessible and will not permit alterations after a degree is conferred. Iowa State University Ames, Iowa 2017 Copyright © Brenna Holly Buchanan, 2017. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
Beyond Midnight
March 2019 Number 97 American Antiquarian ALMANAC Society Piecing It All Together: Help Us Cross the Campaign Finish Line! Engraved bookplate of Paul Revere (Boston, no date). Beyond Midnight: Paul Revere s is abundantly evident in the photographs in these pages, the new addition to Antiquarian Hall is a sight to behold! The Exhibition to Tour planning,A prepping, and foundation pouring are behind us and an architectural gem is taking shape. The signature patinated copper Nationally (continued on pages 2-3) rawing on the Society’s unparalleled collection of Maintaining the Mechanics: printsD and books, the exhibition Beyond Midnight: Paul Revere The AAS Buildings & Grounds Department will tour nationally in 2019 and 2020, opening at the New- s Antiquarian Hall’s $20 million York Historical Society on construction project comes to an September 6, 2019. This in- end,A there will be sighs of gratification depth examination of Revere’s and relief throughout AAS, perhaps many skills as a craftsman will none as heartfelt as those of the shed new light on viewers’ Buildings & Grounds Department. understanding of this iconic For the past two years, the three-man colonial patriot. The show staff has ensured the safety and security illustrates the entrepreneurial of the collection, staff, and building, spirit of an early American while keeping a close watch on the artisan who stood at the comings and goings of a small army of (continued on page 4) contractors and construction workers. (continued on pages 6-7) 2 (Piecing It All Together...continued from page 1) panels are now in place, giving the building a distinctive and enticing façade on Park Avenue. -
The Dark Room Collective Kindling a Literary Movement Move Forward
Animal Law • Musical Theater • The Eugenics Era March-april 2016 • $4.95 The Dark Room Collective Kindling a literary movement Move forward. With confi dence. No matter how complex your business questions, we have the capabilities and experience to deliver the answers you need to move forward. As the world’s largest consulting fi rm, we can help you take decisive action and achieve sustainable results. www.deloitte.com/confi dence Audit | Tax | Consulting | Advisory Copyright © 2016 Deloitte Development LLC. All rights reserved. 160307_Deloitte_ivy.indd 1 1/15/16 11:59 AM MARCH-APRIL 2016 VOLUME 118, NUMBER 4 FEATURES 32 Elbow Room | by Sophia Nguyen The Dark Room Collective and a generation of African-American writers 40 Are Animals “Things”? | by Cara Feinberg p. 16 The evolving law of animal welfare—and rights 46 Vita: Caleb Strong | by Richard D. Brown Brief life of an exemplary politician: 1745-1819 48 Harvard’s Eugenics Era | by Adam Cohen When the academy embraced scientific racism, immigration restriction, forced sterilization, and suppression of “the unfit” JOHN HARVard’s JournAL 16 The Kennedy School’s crane, debating diversity and inclusion, laugh-out-loud computer scientist, the crew on ice, an Overseers’ challenge slate, augmenting the Corpora- tion’s academic ranks, “flyover-state” students, netminder from Alberta, and an up-and-down season for men’s basketball p. 40 DEPARTMENTS 2 Cambridge 02138 | Letters from our readers—and comments on the College’s curricular challenges 3 The View from Mass Hall AVILLA 8 | Scarcity and -
The Boston Massacre: a Behind-The-Scenes Look at Paul Revere's Most Famous Engraving
The Boston Massacre: A Behind-the-Scenes Look At Paul Revere's Most Famous Engraving Library of Congress When Paul Revere first began selling his color prints of "The Bloody Massacre perpetrated in King Street" in Boston, he was doing what any like-minded patriot with his talents in 1770 would have done. Only, Paul Revere did it faster and more expeditiously than anyone else, including two other artist-engravers who also issued prints of the Massacre that year. It is unlikely that Revere was a witness to the dramatic events of March 5, but his plagiarized depiction of Pelham’s engraving resonated among Americans. He capitalized on the Boston Massacre, widely circulating an effective piece of anti-British propaganda. Twenty-one days before Revere’s engraving was released—on the night of March 5, 1770—British soldiers had killed five Bostonians. Precipitating the event known as the Boston Massacre was a mob of men and boys taunting a sentry standing guard at the city's customhouse. When other British soldiers came to the sentry's support, a free-for-all ensued and shots were fired into the crowd. Three died on the spot, a fourth within the hour, and a fifth died several days later. Six others were wounded. The presence of British troops in Boston had long been a sore point among Boston's radical politicians. Paul Revere wasted no time in capitalizing on the Massacre to highlight British tyranny and stir up anti-British sentiment among his fellow colonists. Revere's historic engraving is long on political propaganda and short on accuracy or aesthetics. -
John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage
Graduate Theses, Dissertations, and Problem Reports 2011 An American "Duchess" in Disguise: John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Rininger, Elizabeth, "An American "Duchess" in Disguise: John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage" (2011). Graduate Theses, Dissertations, and Problem Reports. 4773. https://researchrepository.wvu.edu/etd/4773 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. An American “Duchess” in Disguise: John Singleton Copley’s Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Art History Dr. Rhonda Reymond, Chair Dr. Janet Snyder Prof. Kristina Olson Division of Art and Design Morgantown, West Virginia 2011 Keywords: John Singleton Copley, Orientalism, Margaret Kemble Gage, Colonial America Copyright 2011 Elizabeth Rininger ABSTRACT An American “Duchess” in Disguise: John Singleton Copley’s Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger A number of portraits that John Singleton Copley painted in the years prior to the American Revolution show women clad in turquerie. -
4TH-GRADE-Week-10-POST.Pdf
Hi Families! Attached is a list of academic requirements for our at-home school days. Assignments are expected to be submitted daily (unless otherwise indicated). If your family has an extenuating circumstance regarding work submission, please reach out and let us know so that we can make an alternate plan. Also, please remember that we are available to answer questions and provide academic support via email between the hours of 8:30 AM and 3:30 PM. Please see attached for day by day instructions and worksheets. Links needed include: www.ixl.com, www.youtube.com, www.google.com for work to be submitted via google docs) and Google Earth. All work can be submitted via Google Docs or Google Slides and/or a photograph of the work can be sent to the assigning teacher. Work needs to be submitted daily for attendance purposes. If work cannot be completed on the day that it is assigned (example- your child needs to be at a grandparent's house or you have multiple children using one computer), please contact your child's teacher and let them know when the work will be completed. We must monitor continued progress of student achievement in these unprecedented times. MOT Student Active Lifestyle Activity Log: Complete the log each day by recording the physical activities you took part in, along with the number of minutes you spent on the activity. If you are not active for a day you do not need to record anything on the log. Please print the activity log to complete or record your on chart on a piece of paper. -
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Copyright by Nicole Noel Conti 2011
Copyright by Nicole Noel Conti 2011 The Thesis Committee for Nicole Noel Conti Certifies that this is the approved version of the following thesis: John Singleton Copley's Boy with a Squirrel: Colonial American Status and Anglicizing Form APPROVED BY SUPERVISING COMMITTEE: Supervisor: ________________________________________ Susan Rather __________________________________________ Matthew Cohen John Singleton Copley's Boy with a Squirrel: Colonial American Status and Anglicizing Form by Nicole Noel Conti, B.A. Thesis Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin August 2011 Abstract John Singleton Copley's Boy with a Squirrel: Colonial American Status and Anglicizing Form Nicole Noel Conti, M.A. The University of Texas at Austin, 2011 Supervisor: Susan Rather In 1765, Boston artist John Singleton Copley sent Boy with a Squirrel—a portrait of his half-brother Henry Pelham—across the Atlantic Ocean; the painting ended up in the hands of London-based artists Joshua Reynolds and Benjamin West. Because the work did not depict a patron and it was intended for an artistic audience, Boy with a Squirrel challenges the functionality of traditional portraiture in mid-eighteenth century colonial America. In Boy with a Squirrel, Copley uses form, iconography, and composition as a way to assert to his English counterparts his belonging to the London art community, showcasing his knowledge and even mastery of British and continental traditions. Copley communicates his membership in the London art public through his use through the formal lexicon of his desired audience, effectively Anglicizing his forms.