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Satellite image of captured by the Enhanced Thematic Mapper plus Volume XXV, Number 1 Winter 2008 flying aboard the Landsat 7 satellite, April 26, 2000, courtesy of NASA

Surrounded by Water: New Orleans, the River, and The Historic New Orleans Collection Quarterly 1 Surrounded by Water: New Orleans, the , and Lake Pontchartrain

Crescent in the river from an altitude of 5,500 ft. by Sam R. Sutton, January 29, 1965 (1984.166.2.305), gift of Sam R. Sutton and Chester Dyer

long its considerable Mississippi. For centuries, the length, the Mississippi river has acted as the primary A River presents many conduit for the consumer goods, appearances. Its headwaters, natural resources, and agricul- in the glacial lakes of Min- tural products that make New nesota, produce a modest stream Orleans one of the world’s great- that gradually widens as it trav- est . Lake Pontchartrain to els south. Tumbling over St. the north and the Anthony’s Falls at Minneapolis, to the south further enhance the then passing the bluffs of , city’s stature as a hub of travel, the river gathers volume and trade, and recreation. Yet peri- width, pressing toward its con- odic flooding, tropical storms, fluence with the (at St. and vanishing wetlands are ever- Louis) and, further downstream, present reminders of instability. the (at Cairo, ). Surrounded by water, the city is When the flow reaches the flat- The Red River “Raft” as it was, October 1874 (1974.25.30.541) also surrounded by risk. And lands of , its broad, still, New Orleans perseveres. sheetlike surface belies a swift and treacherous current, racing Surrounded by Water: New Orleans, the Mississippi River, and toward discharge into the Gulf of Mexico through a weblike Lake Pontchartrain, currently on view in the Williams Gallery, array of channels. offers a wide-ranging view of the city’s environmental history. The city of New Orleans owes its existence—and its Maps, photographs, and memorabilia document centuries of economic viability—to its location near the mouth of the dependence on—and modifications of—our watery environs.

2 Volume XXV, Number 11 —— WinterWinter 20082008 Lower Mississippi River Early Stream Channels… by U.S. Army Corps of Engineers, 1765–1932 (1999.111.27,.28,.32.,34), gift of Col. and Mrs. L. B. Wilby. The lower portion of the Mississippi, below the Missouri and Ohio rivers, meanders as it flows through relatively level land. As it seeks a more direct path to the Gulf of Mexico, the river creates twists, turns, oxbows, and cutoffs across the terrain. This striking series of maps, on display in the exhibition, shows the Mississippi’s course from its confluence with the Ohio at Cairo, Illinois, as far south as Baton Rouge. Colored tracks indicate changes in the river’s channel between 1765 and 1932. v able enough to render the pass unnavigable. By the 1860s the problem was so serious that deep-draft ships were frequently hrough much of the 19th century, shipping on the Missis- blocked from approaching New Orleans, forcing captains to Tsippi River was hindered by a variety of obstacles—those seek other ports. In the late 1870s engineer James B. Eads fixed firmly in the mud (snags), those bobbing on the surface (1820–1887) designed a series of jetties at South Pass which (sawyers), and others, including sandbars, that were not always allowed silt to be deposited beyond the continental shelf, end- visible from the river pilot’s vantage point. The modern U.S. ing bar-related navigation problems at the pass. Eads’s jetties, Army Corps of Engineers, formed in 1802, was charged with and the promise of a year-round navigation channel, sparked a the task of building and maintaining America’s navigation shipping boom in ports along the river. and coastal defenses. An 1824 act of Congress “to improve the Another “hazard” for navigators was the ever-shifting navigation of the Ohio and Mississippi rivers” extended the course of the river itself. Charles ’s 1847 “ribbon map” Corps’ mandate to include the removal of obstacles such as snags supplied the names of land owners and the location of their and sandbars from the nation’s major rivers. In Louisiana, the plots along the Mississippi corridor from Hudson, a small Corps focused its efforts on the breakup of the Great Red River town north of Baton Rouge, to New Orleans. Similar maps Raft, an impenetrable logjam blocking the Red River—a tribu- produced for river pilots—often in book form—provided per- tary of the Mississippi—to the north of Natchitoches in the late tinent updates on the river’s changing course. Replete with 19th century. extensive commentary on adjacent lands, the bound versions One of the Mississippi River’s worst obstacles lay at the of these maps functioned not only as navigational aids but also river’s mouth, where a constant buildup of silt created bars siz- as travel guides.

The Historic New Orleans Collection Quarterly 3 On the Mississippi—The Essayons at Work Removing the Bar at the Mouth of the Southwest Pass by Alfred Rudolph Waud and T. Speer, June 3, 1871 (1966.2.2)

During the last quarter of the 19th channel below Baton Rouge. Since the authorized the construction of a — century, the Corps stabilized the course 1950s, a series of dams and spillways known as the Carondelet or Old Basin of the Mississippi from St. Louis to on the Red and Old rivers has allowed Canal—between the and what Minneapolis, ensuring predictable navi- some water to pass into the Atchafalaya is now Basin Street. Its purpose was to gation between the two river ports. A Basin, while holding the Mississippi permit ship-borne to be brought variety of manmade structures—wing to its current path—flowing past New to the “back door” of the city. Shallow dams, revetments (concrete embank- Orleans, south through Plaquemines depth and a narrow channel limited the ments), weirs, and locks—produced a Parish, and out into the Gulf of Mexico. canal’s efficacy, and a few decades later a mostly predictable navigation route and After the great flood of 1927, engineers new watercourse was proposed. diminished the effects of natural features increasingly relied on spillways to divert The was built in like rapids, bars, multiple channels, and floodwaters in a controlled fashion. The the 1830s along the route now occupied snags. Bonnet Carré Spillway, about 25 miles by the , about Since the great Mississippi River upriver from New Orleans, became a mile west of the Old Basin Canal. flood of 1927, the Corps has taken on operational in 1931 and has been Both canals were an integral part of the an increasingly central role in flood pro- opened several times to protect the city city’s port system, their banks lined with tection—constructing , spillways, from floods. warehouses storing lumber and bricks, and other structures designed to protect While the Corps wrestled with the produce and seafood. The Old and New America’s urban and natural resources. Mississippi River, New Orleans mari- Basin canals provided an open water One of the greatest challenges currently time interests sought avenues for uti- route to the center of the city for certain facing the Corps is the maintenance of lizing Lake Pontchartrain’s economic low-draft vessels, but a proposed canal the Old River Control Structure some potential. A waterway between the link to the river—down present-day 100 miles upriver from New Orleans. A Mississippi River and Lake Pontchar- Canal Street—was never built. complex of locks and dams, the structure train long stood as the holy grail of these The Inner Harbor Navigation prevents the Mississippi from meander- interests. Such a route, it was under- Canal, known locally as the Industrial ing west, capturing the Atchafalaya stood, would enhance access to the Gulf Canal, was constructed between 1912 River, and bypassing New Orleans. of Mexico while bypassing the treacher- and 1923. Its opening in 1923 dimin- The Mississippi River constantly ous obstacles of the lower Mississippi. ished the older canals’ importance and seeks the shortest route to the Gulf of In 1794 the Spanish governor, Baron resulted in their closure. The Old Basin Mexico and threatens to abandon its Francisco de Carondelet (1748–1807), Canal was filled in during the 1920s; the

4 Volume XXV, Number 1 — Winter 2008 Land owned by Barthélémy Lafon in Faubourg St. Marie by Barthélémy Lafon, ca. 1810 (1980.187). The plan shows the proposed canal link to the river—down present-day Canal Street—which was never built.

New Basin Canal was filled in, in stages, multi-use resource has energized both and continues on view through August between the late 1930s and late 1950s. the public and private sectors. Sur- 10, 2008. The exhibition is open With the extension of the Intra- rounded by Water celebrates the human Tuesday–Saturday, 9:30 a.m.–4:30 p.m., coastal Waterway through eastern New spirit—the industry and the artistry— and Sunday, 10:30 a.m.–4:30 p.m., at Orleans in the 1940s, a navigable short- that allows us to be borne, and continu- 533 Royal Street. cut to the Gulf finally became feasible. ally reborn, upon the water. The Mississippi River Gulf Outlet, or Free and open to the public, Sur- —Pamela D. Arceneaux, MR-GO, was completed in 1963. So rounded by Water opened January 26 John H. Lawrence, John Magill long anticipated, MR-GO has become a lightning rod for controversy. The out- let is currently slated for closure, due to unexpected problems with silt build- Ninth Annual Bill Russell Lecture up; the constant expense of dredging; and the belief that MR-GO funneled Ja z z a n d t h e hurricane surge into both Orleans and Mi s s i s s i p p i Ri v e r St. Bernard parishes during hurricanes by Betsy and Katrina. William Howland Kenney Professor emeritus of history and American Studies at Kent State University and v author of Jazz on the River (University of Chicago Press, 2005) Ecological and economic concerns have coalesced to prompt federal and state Friday, April 11, 2008 efforts to protect the city from flooding Williams Research Center and sustain the fragile wetlands. Like- wise, early 20th-century land reclama- 410 Chartres Street 7:00 pm tion projects along Lake Pontchartrain’s Free and open to the public southern shore, and population increases on both shores of the lake, have altered Presented in conjunction with the Festival the ecological balance. The recognized need to reestablish the lake as a healthy,

The Historic New Orleans Collection Quarterly 5 Fr o m t h e Di r e c t o r

nnovative, educational program- ming calendar into the summer. The ming increasingly fills The Col- current exhibition in the Williams Gal- Ilection’s public calendar. The lery, Surrounded by Water, remains on 13th annual Williams Research view through August 10. The ninth Center Symposium, The Mississippi annual Bill Russell lecture, set against River: Artery of Commerce and Following closely on the sympo- the backdrop of the French Quarter Culture, on February 9, 2008, sium’s heels, the second annual col- Festival, explores the river’s influence on launched what promises to be a laboration between The Historic New jazz on Friday, April 11. very active year at The Collection. Orleans Collection and the Louisiana In addition to these annual events, Whether you’re a connoisseur of Philharmonic Orchestra, “Music of The Collection is excited to be launch- antiques or a lover of music, The the Mississippi,” welcomed a record- ing new endeavors. Concerts in the Collection has an event for you in breaking audience for a journey through Courtyard, a series of Friday-evening 2008. time on a musical voyage down the concerts in the spring, will present an Since the inaugural Williams Mississippi River. More than 400 people array of New Orleans musical groups Research Center Symposium in 1996, turned out for Clarke “Doc” Hawley’s in the courtyard at 533 Royal Street. The Collection has presented a baker’s pre-concert lecture on steamboat life. The first annual Historic New Orleans dozen of topics at its annual day-long And the St. Louis Cathedral was bursting Collection Antiques Forum, August event. As always this year’s symposium at the seams when the LPO performed a 7–10, will assemble a group of nation- was a resounding success. The distin- program featuring composers and pieces ally recognized speakers to discuss the guished speakers provided paths to both inspired by the mighty Mississippi, with decorative arts in New Orleans and the literal and figurative explorations of Mark Twain, played by local favorite region. Please mark your calendars and history. Thank you for attending and mikko, as the evening’s narrator. stay tuned for more information on supporting the symposia throughout The Mississippi River continues these exciting events. the years. to inspire The Collection’s program- —Priscilla Lawrence

Three Community Members Appointed to the Board

harles Snyder, president of the Institute, the World Trade Center of Kemper and Leila Williams New Orleans, the Baptist Community C Foundation, announces the Ministries Foundation, and WYES- appointment of three new members to TV. Drew and his wife, Julie, reside the foundation board, governing body of in Mandeville and have two daughters, The Historic New Orleans Collection. one of whom currently lives in Japan. Drew Jardine, R. Hunter Pierson Jr., and E. Alexandra Stafford joined the board in the fall of 2007. Drew Jardine Former board member and former chairman of the board of Junior chairman of the Laussat Society, Drew Achievement of Greater New Orleans Jardine is a financial advisor in the New and the Southeast Louisiana Chapter of Orleans office of Smith Barney. A native the American Red Cross. Mr. Jardine is of Douglas, Georgia, he is a graduate of currently chairman of the board of the Mercer University in Macon, Georgia, Christian Health Ministries Foundation. with a degree in economics; he also In addition, he serves on the boards of received an MBA in finance from Georgia the Better Business Bureau of the Greater State University in Atlanta. He is a New Orleans Area, the Audubon Nature Hunter Pierson Jr.

66 VolumeVolume XXV,XXV, NumberNumber 11 —— WinterWinter 20082008 New at The Collection

Architectural Tours of The Historic New Orleans Collection’s Buildings and Courtyards Pip’s Place, Hopedale, La. by Laurence Christie Edwardson, between 1965 and 1979 (1999.118.4), gift of Laura Simon Nelson The Historic New Orleans Collection’s newest guided tour explores the history of French Quarter architecture, how courtyards developed, and the distinguishing features of each architectural style represented at THNOC, while tracing the history of the people who lived in the buildings. Tours are $5.00 per person and are offered Tuesday–Saturday at 10:00 On Vi e w t h r o u g h Ap r i l 27 a.m., 11:00 a.m., 2:00 p.m., and 3:00 p.m. a t t h e Ne w Or l e a n s Mu s e u m o f Ar t

Louisiana’s landscape—dominated by lakes, rivers, , Concerts in the Courtyard and swamps—has inspired generations of native-born and visiting artists. The latest exhibition in THNOC’s ongoing The Historic New Orleans Collection is pleased to announce partnership with the New Orleans Museum of Art, Louisiana: a new Friday-evening concert series to be held once a month Where Land Meets Water celebrates 175 years of landscape during the spring. The series begins on March 14 and painting. Showcasing more than 80 artworks by more than 50 continues through June. The concerts will take place from artists, the exhibition includes oils, watercolors, pastels, prints, 5:30 to 8:00 p.m. Admission is $10; free for THNOC photographs, books, pottery, and decorative arts spanning the members. Performers are to be announced; please check period from 1815 to 1990. Louisiana: Where Land Meets Water www.hnoc.org for the latest schedule. remains on view through April 27 at NOMA. The museum is open Wednesday–Sunday, 10:00 a.m.–4:30 p.m.

State Museum Foundation, Teach for graduating from Smith College with a America, the Committee of 100 for BA in Art History, she worked in film Economic Development in Louisiana, at the Metropolitan Museum of Art and the Deltic Timber Corporation. and later worked in commercials and He is also co-chairman of the Promise television in New York, Los Angeles, and Distinction National Capital and New Orleans. Ms. Stafford is vice Campaign for and a president of the board of the Alliance member of the university’s President’s Française of New Orleans and a board Council, Health Sciences Center, and member of the Federation of Alliances Alexandra Stafford Business School Council. Mr. Pierson Françaises/USA. Locally, she is a board R. Hunter Pierson Jr. is involved formerly served on the boards of the member of Les Causeries du Lundi and in private investments as well as the Bureau of Governmental Research, Ecole Bilingue de la Nouvelle-Orléans management of several timberland and Isidore Newman School, WYES-TV, and serves on the advisory council real estate development companies. and the Arts Council of New Orleans. of the New Orleans Museum of Art. Hailing from Alexandria, Louisiana, Hunter and his wife, Cathy, reside in She formerly co-chaired the French Mr. Pierson received a BA from New Orleans and have one son who Heritage Society New Orleans Chapter Louisiana State University. He serves lives with his wife and daughter in and served as a board member of Save on the board of the Public Affairs Cambridge, Massachusetts. Our Cemeteries. Alexandra and her Research Council of Louisiana, the New native E. Alexandra husband, Raymond Rathle Jr., reside in Orleans Museum of Art, the Louisiana Stafford was reared in Paris. After Metairie with their two children.

TheThe Historic Historic New New Orleans Orleans Collection Collection Quarterly Quarterly 7 7 S YLVAIN Visit the Newly Reopened New Orleans’s First Opera Leap into History Louisiana History Galleries n February 23, The n May 22, 1796, the Théâtre city’s theatres during the next quarter Collection launched St. Pierre staged André Ernest century. Henry A. Kmen—author of Leap into History week, Modeste Grétry’s Sylvain. Music in New Orleans: The Formative O O celebrating the reopening of The opera, which premiered in Paris Years, 1791–1841—documented at the Louisiana History Galleries. in 1770, is the first documented least 110 stagings of 17 different Grétry Described by major guidebooks as opera performance in New Orleans, operas in New Orleans between 1796 “the best introduction to the city and, in the years following the New and 1821. In many cases these were the that a visitor can get,” the History Orleans premiere, the music of its first performances of the Galleries, on the second floor of the composer rose to the forefront of the scores. The most frequently heard were 1792 Merieult House at 533 Royal city’s musical scene. In October, The Sylvain and Richard Coeur de Lion (15 Street, have undergone a major Historic New Orleans Collection stagings each), followed by Zémire et expansion in size and content. acquired an extremely rare early score Azor (12), L’Amant Jaloux and L’Epreuve Eleven galleries comprise the new of Sylvain (printed in 1770), bolstering Villageoise (11 each), and Le Jugement de attraction. The first nine galleries, the museum’s holdings related to the Midas (10). covering the colonial era through city’s rich musical heritage. During the following decades, the the antebellum period, have been new operas of Gioachino Rossini, Dan- augmented with a wide selection iel Auber, and Adolphe Adam broad- of materials from the permanent ened and changed the New Orleans collections, as well as broadcasts of repertoire. Performances of Grétry’s music from the respective periods. operas decreased, and after 1831 most Galleries ten and eleven bring the of these once popular works disap- tour well into the 20th century— Sale of Estates, peared from the local stage, with only exploring jazz, art, literature, Pictures and a few scattered revivals. Although politics, world wars I and II, and Slaves… by Grétry’s operas never regained their pre- W. H. Brooke and eminence, his melodies have lived on in J. M. Starling, 1842 the works of other composers. The Old (1974.25.23.4) Countess in Tchaikovsky’s The Queen of Spades (1890) reminiscences about her youth by singing Laurette’s aria “Je many other topics. While the galleries crains de lui parler la nuit” from Grétry’s are currently viewed by a docent-led Richard Coeur de Lion. Thea Musgrave tour, they will eventually be accessible Title page of Silvain (Sylvain) by André Ernest quotes another Grétry melody in the Modeste Grétry, 1770 (2007.0313) on a self-guided basis. first scene of her opera Pontalba, which Leap into History week culminated Born in Liège, France, on February 8, received its world premiere in New with a reception on Leap Day, February 1741, Grétry received musical training Orleans in 2003. And in December 29, featuring music by the Dr. Michael as a child in France and then from 1968, the Xavier University Opera White Quartet. Additional Leap into the age of 18 in Rome. While never a Workshop revived Sylvain—the opera’s History programming will take place master of harmony or instrumentation, first staging locally since the first half of throughout the coming year; please he excelled in lovely melodies and the the 19th century. visit www.hnoc.org for the latest simple pastoral style so popular in The Sylvain score now in the hold- calendar. The hour-long tours are his era. The operas of Grétry, one of ings of The Historic New Orleans offered Tuesday–Saturday at 10:00 the most prolific composers of opéra- Collection was engraved in Paris by Sr. a.m., 11:00 a.m., 2:00 p.m., and 3:00 comique in the last quarter of the Dézauche and printed by Montulai. It p.m. for $5 per person. Boxed sets 18th century, were immensely popular is bound with another Grétry opera, of note cards featuring reproductions in New Orleans. A host of his scores Lucile, which premiered in Paris on of images featured in the Louisiana Sheet music for “I’m Going to Lend My Man to were introduced to New Orleans January 5, 1769. History Galleries are available for Uncle Sam,” published by Williams and Piron First New Orleans Jazz & Heritage Festival Movie poster for Louisiana, starring Governor Music Publishing Co. in New Orleans, 1917 soon after Sylvain’s success, several of —Jack Belsom, Archivist purchase in The Shop. poster by Bruce Brice, 1969 (1979.383.2), gift Jimmie Davis, produced by Monogram Pictures (86-1250-RL), gift of Henry Alcus which became repertoire staples at the New Orleans Opera Association of Clay Watson Corporation, 1947 (1980.132)

8 Volume XXV, Number 1 — Winter 2008 TheThe HistoricHistoric NewNew OrleansOrleans CollectionCollection QuarterlyQuarterly 99 Re j u v e n a t i n g St. Ro c h Re j u v e n a t i n g St. Ro c h Re j u v e n a t i n g St. Ro c h RRee jj uu v v e e n n a a t t i i n n g g SStt.. RRoo c c h h Re j u v e n a t i n g St. Ro c h The neighborhood known as St. Roch rather than New Marigny. The main usually excites less historical interest thoroughfare of Faubourg Franklin was than the surrounding, older faubourgs known as Poet Street, then Washing- of Marigny and New Marigny, but ton Street in 1852, and finally St. Roch the three share a common history and Avenue in 1894. ancestry. Indeed, the ethnic character Though Charles F. Zimpel’s 1834 of St. Roch historically has mirrored Topographical Map of New Orleans and that of the Marignys with its mix its Vicinity shows the Faubourg Franklin of European immigrants, Creoles clearly delineated, there was little activity (white and mixed-race), and blacks. in the until the latter part of While Anglo-Americans set- the 19th century. Its earliest tled in the Uptown faubourgs, notable institution was the Creole communities expanded Franklin Infirmary in the 2000 downriver into the faubourgs block of Elysian Fields, which created by subdividing the first appeared on an 1835 map. Marigny, Daunois, Mon- The tegut, and other planta- began operating along Elysian tions. Catholic immigrants Fields in 1831, and by 1841 from Europe often gravitated the rail system had grown with toward their Creole co-reli- the addition of the Mexican gionists, so it is not surprising Gulf Railroad depot at Elysian that St. Roch’s most distin- boundary (toward Lake Pontchartrain) Fields and St. Claude. Even guishing feature today is a chapel and was less clearly defined until, as in other so, S. Pinistri’s 1841 map, New Orleans cemetery erected by a German congre- neighborhoods, drainage technology General Guide & Land Intelligence, gation based in the . allowed settlement in less elevated land depicts only a few buildings in Faubourg Originally named Faubourg Frank- farther from the river. The first streets in lin, the St. Roch neighborhood was the area were surveyed by Joseph Pilié in Detail from plate 18 of Atlas of the City of defined by three of its four boundaries 1809, when decided New Orleans by E. Robinson and R. H. by the early 19th century: Elysian Fields to extend the streets of the Faubourg Pidgeon showing St. Roch neighborhood; New York: E. Robinson, 1883 (1952.8.20) Avenue on the west, St. Claude Avenue Marigny above Good Children Street to (formerly Good Children) to the south, create Nouveau Marigny; this extension Franklin Infirmary by R. W. Fishbourne, and Franklin Avenue (formerly Lafay- also included Marigny Street, which lies between 1833 and 1838 (1957.73.4iii), gift of ette) to the east. Its “back-of-town” within what is now considered St. Roch Mr. and Mrs. Albert Lieutaud

Floats in annual parade hosted by the St. Roch Parents’ Club in celebration of the seasonal opening of the St. Roch Playground, located at St. Roch Avenue and North Roman Street, by John T. Mendes (2003.0182.37, .96, .101), gift of Waldemar S. Nelson. The first photo is from the 1916 parade. The others are from the 1917 parade. 10 Volume XXV, Number 1 — Winter 2008 Re j u v e n a t i n g St. Ro c h Re j u v e n a t i n g St. Ro c h Franklin. Aside from the infirmary, the only institution on the map appears to be an asylum for widows and orphans between and Mandeville streets, on the site where Annunciation Church stands today. An 1855 map published by A. Bronsema, Plan of New Orleans and Environs, marks that site with a cross and identifies it as Annunciation Church. The Bronsema map also depicts grass and trees dispersed over the grid lines of many streets in the area, clearly indicating that much of Faubourg St. Roch Cemetery Chapel and Campo Santo by Robert Wadsworth Grafton, 1917 Franklin remained undeveloped into the (1992.129.7) mid-19th century. However, the area grew rapidly in of the same name, is still widely known the late 19th century, as evidenced in sur- as St. Roch Market. veys from the 1870s and 1880s. Braun’s Faubourg Franklin came to be Plan Book of the Third District (1877) known as St. Roch near the turn of and Robinson’s Atlas of the City of New the 20th century. The neighborhood’s Orleans (1883) show settlement extend- namesake is the campo santo and cha- ing farther away from the river. By this pel complex erected by German pastor time, Faubourg Franklin boasted two Father Peter Leonard Thevis. Father churches: Annunciation and another, Thevis was an immigrant who presided simply labeled “Negro church” by Rob- over the congregation at the Church of inson, on the corner of North Villere the Holy Trinity, a German Catholic and Spain streets. Annunciation School church that still stands (albeit deconse- operated next to the church of the same crated) on St. Ferdinand Street in what name, as did the Convent of the Per- is now lower Marigny. Father Thevis petual Adoration. Two public markets, became pastor in 1868 at the height View of St. Roch Chapel by A. H. Biddle, Delamore and Washington, operated in of a epidemic that had between 1910 and 1912 (1990.57.20), gift of the suburb. Washington Market, not to claimed his predecessor. As was custom- Katherine L. Anderson be confused with the downriver market ary in Europe, he invoked St. Roch for

Gates of St. Roch Cemetery by A. H. Biddle, ca. 1908 (1990.57.18), gift of Katherine L. Anderson. The wings on the angels above the gates were destroyed in the 1915 hurricane. The statues have withstood every subsequent storm.

TheThe HistoricHistoric NewNew OrleansOrleans CollectionCollection QuarterlyQuarterly 1111 earlier facility in 1916 and still stands today at 1421 St. Roch. The interior of St. Roch Market was renovated in 1936 by the Works Progress Administration. The addition of refrigeration units enabled seafood vending, which contin- ued up until . By the 1930s, St. Roch was mostly settled and had all the amenities of an urban area. Suburban development continued lake- ward into Gentilly. The 1980s brought hard times to St. Roch. General economic decline in the city combined with the final phases of “white flight” and the less pro- St. Roch Market at 2831 St. Claude Avenue by Jan White Brantley, May 1994 (1994.138.14) nounced departure of the black middle class transformed the neighborhood into one of rental units overseen by absen- tee landlords. This trend continued unabated into the 1990s, but St. Roch began to experience a reversal of fortunes as vacancies plummeted and housing prices soared in the trendy neighboring Faubourg Marigny. During Katrina, the neighborhood experienced flooding north of —yet, while the area between St. Claude and Clai- borne avenues saw two to three feet of street flooding, its raised homes avoided the intrusion of water. Though the fate of many neighborhoods is still uncertain post-Katrina, St. Roch, with its historic housing stock and central location, is Mardi Gras Truck Float by Charles L. Franck Photographers, 1950s; print by Nancy Ewing Miner, well positioned for recovery. Its char- between 1979 and 1983 (1979.325.3915), from the Charles L. Franck Studio Collection acter will most certainly change, as it has before, and with this in mind The protection against the epidemic. Not a churches on foot. Even today, a small Collection seeks to preserve the history single member of his congregation died room to the side of the chapel contains of the neighborhood. The institution’s that year, and in gratitude he established votives and cast-off crutches from those oral historians recently participated in the cemetery, or campo santo, and chapel who sought St. Roch’s aid in recover- a neighborhood revitalization event on on the outskirts of the nearby suburb. ing from an illness. So strong was the November 3, 2007, conducting several The cemetery at North Roman and presence of the cemetery and chapel interviews with former and current resi- Washington streets was dedicated on that in 1894, the street they fronted was dents. Acquiring further documenta- September 6, 1875, and the first Mass renamed St. Roch Avenue. tion of neighborhood institutions and was offered in the chapel on November In the 20th century, particularly activities is an ongoing effort. With little 2, 1876. Ever since, the shrine of St. during Mayor ’s more than public records and a hand- Roch has been the locus of devotional administration, St. Roch benefited from ful of secondary sources to go on, future activity. In the past, female petitioners a number of public works projects. St. researchers will need all the primary sought St. Roch’s matchmaking aid, and Roch Park opened in 1910 on the site of sources they can get. Prospective donors the chapel has traditionally been a final Independence Place. A firehouse, built are invited to contact manuscripts stop for New Orleanians observing the in the distinctive cross-timber style of curator Mark Cave, (504) 598-7132. custom of visiting nine the time, was erected on the site of an —Elizabeth Elmwood

12 Volume XXV, Number 1 — Winter 2008 Do n o r Pr o f i l e

Ju d i t h Fo s Bu rr u s

native New Orleanian and competed in tournaments in Louisiana, supporter of the institution and a avid genealogist, Judith Burrus , Hawaii, Baja , and sponsor of the forthcoming book on A has visited the Williams the Bahamas for nearly 30 years. She early Louisiana furniture. The project is Research Center many times. There designed bridal gowns for a time, particularly close to her heart—her great she has discovered such treasures as the specializing in lace handwork. Judi grandfather was a furniture maker in passenger list for the ship on which her remembers beading the lace for her the Faubourg Marigny. “The Collection great-great-great-grandfather arrived and daughter’s wedding gown while on a preserves the aspects of our culture a map delineating his property. “Anyone fishing boat in the middle of the Atlantic that might individually interest a small who is devoted to New Orleans and the Ocean. She also loves traveling—to Paris audience but, when brought together as history of New Orleans is absolutely in particular—and has participated in a whole, reveal the complexities of our thrilled that The Collection is preserving three of The Collection’s international society,” Judi says. “Be it furniture or all of our heritage,” Judi says. “As a study trips. duck decoys, The Collection excels at genealogist, I realize how precious The In addition to taking part in all that bringing all of those things together that Collection’s holdings are.” When she The Collection has to offer, Judi is a would otherwise be lost.” heard the news that Katrina had flooded the city, she thought, “My God, we’ve lost the French Quarter and all of the valuable property and papers and photos. I can’t tell you how thrilled I was when I HAVE YOU CONSIDERED learned that the French Quarter and The Historic New Orleans Collection were A PLANNED GIFT? just fine.” To better serve the community, The Historic New Orleans Collection is For Judi, there is no other city in the pleased to offer the following planned giving materials free of charge: world like New Orleans. She cherishes the culture, the literature, and the • Giving Through Life Insurance “smallness” of the community. She grew • Giving Through Charitable Remainder Trusts up in the Upper Ninth Ward, as did her • Giving Through Your Will parents—who were next-door neighbors, • Giving Securities in fact. Her grandmothers and aunts and • Giving Real Estate uncles all lived within walking distance • Giving Through Retirement Plans of her home. Since the storm, when • Giving Through Gift Annuities she lost her home on Canal Boulevard, Judi has lived next door to her sister in To receive materials or for more information about planned giving, please Slidell, in a neighborhood filled with call the development department, (504) 598-7109. her nephews and their families. Her daughter, Kerri Lynn Burrus, and two All inquiries are held in strictest confidence and without obligation. The grandchildren, David Lee Adams and Historic New Orleans Collection does not offer legal or tax advice. We Shelley Hoddinott, live in Palm Beach, encourage you to consult your legal and financial advisors for structuring Florida, but Judi is proud to say that a gift plan that achieves your giving intentions and meets your particular they all consider New Orleans home. financial circumstances. Judi has a wide range of interests. An experienced off-shore angler, she has

TheThe HistoricHistoric NewNew OrleansOrleans CollectionCollection QuarterlyQuarterly 1313 DONORS: July–September 2007

Mr. and Mrs. William C. Adams Lea Filson Daniel B. LeGardeur Mr. and Mrs. Milton G. Tiffany Adler Dr. Diane J. Finley Dr. Alfred E. Lemmon Scheuermann Jr. Neal Alford/Neal Auction Firemen’s Charitable & Benevolent Mr. and Mrs. Lloyd Lind Mr. and Mrs. Keith Schexnayder Company Association Mr. and Mrs. Juan J. Lizárraga Judy Racivitch Setchell Pamela D. Arceneaux Janet L. Frischhertz Mr. and Mrs. Kevin Mackey Dr. and Mrs. David Earl Simmons The Azby Fund Jacqueline F. Gamble Charles and Bobby Malachias Mr. and Mrs. A. B. Sisco Suzanne M. Bagwill Honorable John Geiser III Dr. Marilyn M. Malone Dr. Joseph A. Smith Ann B. Bailey Eric Gernhauser Mr. and Mrs. Gary Mannina Judith M. Smith Mr. and Mrs. Robert C. Baird Jr. Mrs. Wilson H. Gibson The Manuscript Society Rebecca Ann Smith Björn Bärnheim William K. Greiner Joseph N. Marcal III William J. Smither G. Barrios Linda, Robin, and Neal Gruenfeld George R. Marcell Charles A. Snyder Judge and Mrs. Peter Hill Beer in Charles Michael Guillory Jr. Donald Marquis David Snyder memory of Ms. Ellen Salmon Cathryn Guyler Dr. Kimball P. Marshall Charla L. Spalluto Mrs. R. L. di Benedetto Heather E. Haggstrom Mr. and Mrs. Rich Marvin Cmdr. Douglas P. Starr USCGR Benay Bernstein Charlene M. Haik Shirley G. Marvin State of Louisiana, Office of the Leslie Bertucci and Daniel Ness Dr. Florent Hardy Jr. Robert May State Library of Louisiana Mr. and Mrs. Sydney J. Besthoff III Rubie M. Harris Dr. Samuel S. Mc Neely Arthur P. Steinmetz Dr. and Mrs. Henry J. Bienert Jr. Jean Heid Mr. and Mrs. Jonathan McCall Lucy Storch Elizabeth A. Black Sean Hemingway Sharon McClelland and David Steven Mark Sweet Robert H. Boh Mr. and Mrs. John H. Hernandez Robichaud Symphony Bookfair/Symphony Gretchen Bomboy Marshall A. Hevron Mr. and Mrs. Thomas T. McGinn Volunteers Frank J. Borne Jr. Maclyn L. Hickey Paul C. P. McIlhenny Mr. and Mrs. James L. Taylor The Boston Society The Board of Directors of Milton E. Melton Mr. and Mrs. Nauman Scott Dr. Denise A. Boswell The Historic New Orleans Sam Menszer Thomas Dorothy H. Brown Collection, bookplates in honor Keely Merritt Mr. and Mrs. Robert E. Thomas Mr. and Mrs. James O. Bryant Jr. of Mary Ann Valentino and in Jacquelyn L. Milan Gabriele Von Massenbach Mr. and Mrs. Dale Buchanan memory of Lucile Jacoby Blum Elizabeth Shown Mills Timmerman Estate of Joe Budde Mona H. Hollier Jennifer A. Mitchel and Scott M. Fred W. Todd Judith Fos Burrus Mr. and Mrs. John C. Hope III Ratterree Yvonne Tremoulet Barbara Racivitch Butler Marc S. Horowitz Michael J. Molony Jr. Tulane Summer Lyric Theatre Mimi C. Calhoun Mr. and Mrs. Harley B. Howcott Jr. R. Michael Montgomery Dickie Unangst in memory of Heidi M. Campbell Preston Huey Mr. and Mrs. Brian K. Nelson Clement W. Unangst Frank H. Carbon Jr. Janet Izard New Orleans Community Support Joseph C. Unangst in memory of Cesar A. Castillo Mr. and Mrs. Davis Lee Jahncke Jr. Foundation Clement W. Unangst Mrs. William K. Christovich Adrienne B. Jamieson Betty S. Noe Patricia Unangst and Shirley Carolyn S. Clausing Erik F. Johnsen Dale Oliphant Unangst in memory of Clement College of DuPage Dr. Dorothy M. Joiner Dr. Joseph F. O’Neil W. Unangst Blanche M. Comiskey Dr. and Mrs. Robert N. Jones Joseph R. Ornig Mrs. Anthony J. Valentino Donald M. Costello Marie B. Jones Gerald F. Patout Jr. Sybil C. de la Vergne Amelie Prados Cressend Dr. Mignon Jumel Paule Perret Merlin M. Villar Jr. Anne Mathiesen Daigle Dr. Florence M. Jumonville Peter A. Mayer Advertising John E. Walker Kenneth D. Davis Jr. and Lisa Margie Doskey Katz Leroy Pettyjohn Ninette P. Webster Eldredge Michael Wermuth Kearney Mr. and Mrs. David D. Plater John G. Weinman J. Edwin DeJean Jr. Louise T. Kepper Doug Poulos Dr. and Mrs. Jack Weisler Mr. and Mrs. Richard Derbes Susan Kierr Mr. and Mrs. Timothy J. Pupo Carmelite B. Wellman Nathalie H. Dessens Timothy P. Killeen Judy B. Quinn Mr. and Mrs. Harold Werling Do You Know What It Means? Dr. Philip C. Kolin Mr. and Mrs. Harley Rabig West Virginia University, West Organization Dr. and Mrs. Melvyn F. Kossover Hervé Racivitch Jr. Virginia and Regional History Mrs. Carl S. Downing KPFK 90.7 FM Pacifica Radio and Professor and Mrs. Eugene A. Ray Collection Delores Wheeler Dyer Debo Kotun Gwen Redus Mr. and Mrs. Thomas D. Westfeldt II Mr. and Mrs. Lucas H. Ehrensing Henry W. Krotzer Jr. Mike Reilly Walter H. White III Embassy of France/French Cultural Dr. Jon Kukla Mr. and Mrs. W. Boatner Reily III Mary Lou Widmer Services Mr. and Mrs. Richard LaCour Anne D. Robertson Pat Williams/Louisiana Binding Kurt D. Engelhardt Randall Ladnier David Rodrigue Service Entergy Services Corporate Mrs. Louis A. Lanaux Jr. Ruth & Jacques Sartisky Michael E. Winters/Winters Title Contributions in honor of Francis E. Landreaux Foundation Agency, Inc. Brigitta L. Malm Mrs. Joseph Landwehr Nancy La Fonta de Saintegeme John T. Womble Mr. and Mrs. Neel Fallis Mr. and Mrs. Andrew Lapeyre Dr. Abby Sallenger Warren J. Woods Mr. and Mrs. Darwin C. Fenner Elizabeth H. Laughlin Frances N. Salvaggio Cornelia Wyma Rien T. Fertel John H. Lawrence Brian Sands Rick Fifield George L. Lebeuf Peter Sather

14 Volume14 Volume XXV, XXV, Number Number 1 — 1 Winter— Winter 2008 2008 Th e Re s u l t s Ar e In ith the end of the 2006–07 school year, the education editing for a cookbook. The proceeds from cookbook sales department’s culinary history preservation project, will go toward the establishment of a scholarship fund for New W “A Dollop of History in Every Bite,” reached Orleans students interested in careers in the culinary arts. completion. A statistical overview, compiled by the project Although the project’s research and assessment phase directors, offers insight into family dining habits and Creole is complete, its effects continue to spread throughout the cookery. A total of 850 students participated in the project’s culinary education community. The Junior Leagues’ “Kids two years (2004 and 2007). Their food journals provide the in the Kitchen” initiative has developed a program for the following data about dinnertime in New Orleans: annual meeting of the International Association of Culinary 2004 2007 Professionals (IACP) to be held in New Orleans, April 16–19, Home-prepared meals 60% 51% 2008. We Live to Eat: New Orleans’s Love Affair with Food, the Creole food prepared 24% 22% documentary produced by local filmmaker Kevin McCaffrey Dined at a table 73% 67% for The Collection, will serve as the educational component Dined with family or friends 88% 67% for an IACP program, the “Kids in the Kitchen Heirloom Recipe and Essay Contest.” The program will bring local chefs It is interesting to note the differences in dining experiences to seven community sites to demonstrate their own heirloom before and after Hurricane Katrina. The relatively small number recipes and to share food memories with students. Curator of homes in which Creole food is served speaks to the dire need of education Sue Laudeman and director of development and for the preservation of this culinary tradition. In addition to external affairs Burl Salmon will serve as judges for the contest. preparing food journals, the students turned in more than 300 The award will be presented at the IACP convention by chef recipes, which the education department is now compiling and John Besh.

Are you a member of The Historic New Orleans Collection?

In the words of American Express, “membership has its out the envelope insert privileges.” This is certainly true at The Historic New and mail it to the Orleans Collection, where members enjoy free guided tours development office. If of the History Galleries, the current exhibitions, and the you are uncertain as to your present membership status, Williams Residence; a 10 percent discount at The Shop at please do not hesitate to call Coaina Delbert, development The Collection; a subscription to the member newsletter; assistant, at (504) 598-7109. We hope that you will accept and members-only trips, events, and exhibition previews. our invitation and become a valued member of The Historic What’s more, THNOC membership supports the museum, New Orleans Collection. research center, and outreach programs. Members are —Burl Salmon essential to The Collection’s ability to carry out its mission: preserving the history and , Louisiana, and the Gulf South. As our strongest supporters, members are encouraged to participate in the life of the organization. If you are not already a member, we invite you to join The Collection at one of our six giving levels. Simply fill

The Historic New Orleans Collection Quarterly 15 ing guests through the French Quarter account—History of the Forty-Second acquisitions and downriver past Jackson Barracks Regiment Infantry, Massachusetts Vol- and Chalmette Battlefield and National unteers, 1862, 1863, 1864, published The Historic New Cemetery, where they visited the “larg- in 1886 by Sergeant Major Charles P. Orleans Collection est sugar refinery in the world,” working Bosson—has recently been acquired. encourages research in the sugar plantations and orange groves, and The history charts the formation of the Williams Research Center the “famous old Villere Plantation.” The unit; its arrival at the town of Carroll- at 410 Chartres Street from brochure also contains brief histories of ton in December 1862; and subsequent 9:30 a.m. to 4:30 p.m. the sites visited on both tours and infor- forays into New Orleans, Gentilly and Tuesday through Saturday mation about the St. Charles Hotel. Algiers—now part of New Orleans— (except holidays). Cataloged materials ■ Numerous promotional and souve- Galveston, Houston, Brashear City, Port available to researchers include books, nir items were produced in conjunction Hudson, Donaldsonville, and Baton manuscripts, paintings, prints, draw- with the Exposition Rouge. Bosson provides details about ings, maps, photographs, and artifacts held in St. Louis, Missouri, from April life in camp, illness, desertion, as well as about the history and culture of New 30 to December 1, 1904. The Collec- amusing incidents and people encoun- Orleans, Louisiana, and the Gulf South. tion recently acquired “A Beautiful Sou- tered throughout the campaigns. As he Each year The Collection adds thou- venir of the Great Louisiana Purchase states in the preface, Bosson compiled sands of items to its holdings. Though Exposition,” a small, profusely illus- considerable notes soon after the war only selected gifts are mentioned here, trated booklet covering the development “for his own amusement.” These writ- the importance of all gifts cannot be of the site for the exposition, its major ings proved invaluable years later when overstated. Prospective donors are structures and exhibition halls, the some of his former officers approached invited to contact the authors of the Dedication Day parade, St. Louis’s civic him to compose the regiment’s history. acquisitions columns. buildings, the Eads Bridge, and private Bosson writes: “It is probable certain residences of the city’s most prominent facts in these pages will appear to some citizens. readers at this day far different than they Library ■ In the years following the Civil would had the history been published War, many military units published within a few years after the war closed. For the third quarter of 2007 (July–Sep- histories. The library actively seeks We have grown older and wiser than we tember), there were 43 acquisitions, those of northern regiments that fought were in 1862 and 1863.” totaling 311 items. in Louisiana. To that end, one such ■ The library regularly acquires dis- ■ During the early years of the 20th sertations on topics of interest to the century, the St. Charles Hotel, in history and culture of the region. Often cooperation with Toye Brothers Auto the authors of the dissertations have and Taxicab Company, provided tours conducted a portion of their research at of New Orleans to hotel guests. An the Williams Research Center. Some of undated brochure, “The St. Charles the intriguing titles from recent acquisi- Tours of New Orleans,” from about tions include: “What Ya Want Me To 1918, boasts that “the only comfortable, Do? A Guide to Playing Jazz Trumpet/ reliable and complete way to see the Cornet in the New Orleans Style”; entire city” is “in our special built Pack- “Floating Cloisters and ‘Femmes Fortes’: ard touring cars.” Tours left the hotel Ursuline Missionaries in Ancien Régime daily at 10:00 a.m., 1:30 p.m., and 3:30 France and Its Colonies”; “Reconstruct- p.m. A “competent” lecturer accompa- ing the Levees: The Politics of Flood- nied each tour to explain points of inter- ing in Nineteenth-Century Louisiana”; est, including the usual landmarks of the “White Skin, White Masks: The Creole romantic French Quarter and Garden Woman and the Narrative of Racial District, as well as now-forgotten sites Passing in Martinique and Louisiana”; such as “Chinese Row,” “Newspaper and “‘Counterpunch the Devil With the Row,” “Washington Hall,” and Word’: African American Daily Life at “Straight University.” The fare was only Brochure for “The St. Charles Tours of New Alma and Riverlake Plantations, 1870– $1.00 for the round trip. A “Plantation Orleans” offered by the St. Charles Hotel, ca. 1940.” Trip” was also available, for $2.00, tak- 1918 (2007.0260.1) —Pamela D. Arceneaux

16 Volume XXV, Number 1 — Winter 2008 Manuscripts West Florida. In 1883 the Reverend Horace Edwin Hayden wrote A Bio- For the third quarter of 2007 (July–Sep- graphical Sketch of Oliver Pollock, Esq., tember), there were 26 acquisitions, of Carlisle, Pennsylvania, United States totaling approximately 26 linear feet. Commercial Agent at New Orleans and ■ During the late 19th and early 20th Havana, 1776–1784. The Collection centuries, the words of New Orleanian recently acquired correspondence and Henry G. Hester (1848–1934) were notes used by Hayden in researching the considered gospel by traders biography. Included in the materials are from Cairo, Egypt, to Lancashire, Eng- letters written by Pollock’s descendants land. Hester, who served as secretary providing information on their ancestor of the New Orleans Cotton Exchange and the loss of his personal papers dur- from 1871 through 1932, was widely ing the chaos of the Civil War. Pollock’s considered the world’s foremost cot- grandson, Nathaniel E. Robinson, ton statistician. His reports on crop remarks in a letter to Hayden written Camp Street entrance ramp for the Crescent City outputs and movement throughout July 31, 1877: “All these papers were Connection by Joe Budde (2007.0357) the world became the standard for the left in a trunk or box I had at Vicksburg daily trading of cotton. Insisting that through mistake of the Steam boat that tion’s holdings contain a number of conflicts over cotton prices must not they were Shipped on from St. Francis- photographers’ archives, including those compromise a statistician’s objectivity, ville La.…they were put off at the wharf- of Guy Bernard, Charles Franck, Abbye Hester claimed never to have owned a boat at Vicksburg, before I was aware of A. Gorin, Clarence John Laughlin, Dan- bale of cotton. The Collection recently it, the wharfboat was torn up and made iel S. Leyrer, Michael P. Smith, Sam Sut- acquired a scrapbook documenting a floating battery….I have not been able ton, Betsy Swanson, and Roy Trahan. to find out anything of the things I lost. Many factors—quantitative as well as I may yet recover the papers, if so, will qualitative—lend an individual archive inform you.” historical significance. So too does the ■ In 1916, a group of theater lovers presence of supplemental documenta- began presenting plays in an apartment tion placing an artist’s work in histori- in the French Quarter. As their perfor- cal context. Taken collectively, these mances grew in popularity, the group individual bodies of work provide a decided to rent space in the Pontalba foundation on which a history museum buildings—and thus Le Petit Théâtre may build a valuable visually oriented du Vieux Carré was born. Within collection. just a few years, the theater had out- A recent gift from the Budde family grown its quarters, and in 1922 the of New Orleans consists of prints and present home of Le Petit Théâtre, 616 films made by Joe Budde (d. 2004), a St. Peter Street, was erected. By the still- and motion-picture photographer. Henry G. Hester in his office at the New 1928–1929 season, the theater had Employed by New Orleans’s first televi- Orleans Cotton Exchange, February 1895 (2008.0001.21) more than 3,500 members. The Col- sion station, WDSU, Budde worked lection recently acquired programs, both in the studio and on location in Hester’s 61-year career with the New financial records, and ephemera docu- the early days of broadcasting. He took Orleans Cotton Exchange. Included are menting Le Petit Théâtre’s formative still photographs in the course of his photographs, newspaper clippings, and years from 1919 through the 1930s. work and as an avid pursuit away from ephemera. —Mark Cave the office. Both color and black and ■ The life of Oliver Pollock, a mer- white, the photographs capture a vari- chant living in New Orleans during the ety of New Orleans activities, including Spanish regime, is replete with mys- Curatorial street life in the French Quarter and per- terious elements. Pollock is credited formances at Pontchartrain Beach. As with aiding the American cause during For the third quarter of 2007 (July–Sep- the Budde Archive is processed, it will the Revolutionary War; reputedly, he tember), there were 29 acquisitions, be made available to the public at the accompanied Bernardo de Galvez on totaling approximately 146 items. Williams Research Center. campaigns against British interests in ■ The Historic New Orleans Collec- —John H. Lawrence

TheThe HistoricHistoric NewNew OrleansOrleans CollectionCollection QuarterlyQuarterly 1717 Staff Ma r k Yo u r Ca l e n d a r The Historic New Orleans Collection in partnership with the National Society In t h e Co mm u n i t y of the Colonial Dames of America in the State of Louisiana and the Society of Pamela D. Arceneaux was Colonial Wars in the State of Louisiana present interviewed by BBC-Wales Radio; Th e Fr e n c h a n d In d i a n Wa r Priscilla Lawrence was named one of the 50 Women of the Year for Dr. Fr e d An d e r s o n 2007 by New OrleansCityBusiness. We d n e s d a y , Ma y 14 Bo y d Cr u i s e Ro o m , Wi l l i a m s Re s e a r c h Ce n t e r Pu b l i c at i o n s 410 Ch a r t r e s St r e e t • 6:30 p m Sarah Doerries, poem, The Registration fee: $45, includes reception following lecture Cincinnati Review (winter 2008). Professor of history at the University of Colorado, Boulder, Dr. Anderson is the author or editor of five books, including Crucible of War: The Seven Years’ War and the Fate of Empire in British North America, 1754–1766 (2000), which won the 2001 Francis Parkman Prize as best book in American history. His newest book, The War That Made America: A Short History of the French and Indian War (2005), is the companion volume for the PBS television series of the same name. In addition to presenting the evening lecture at The Collection, Dr. Anderson will offer a teachers’ workshop and a program for students. v Fa m i l y Da y Editor Su n d a y , Ma y 18 Mary Mees Garsaud Director of Publications 533 Ro y a l St r e e t • 11:30 a m –4:00 p m Jessica Dorman Photography v Keely Merritt Head of Photography Jan White Brantley Fi r s t An n u a l Hi s to r i c Ne w Or l e a n s Co l l e c t i o n Design An t i q u e s Fo r u m Theresa Norris The Historic New Orleans Collection Quarterly is Th u r s d a y , Au g u s t 7–Su n d a y , Au g u s t 10 published by The Historic New Orleans Collection, o y d r u i s e o o m i l l i a m s e s e a r c h e n t e r which is operated by the Kemper and Leila Wil- B C R , W R C liams Foundation, a Louisiana nonprofit corpora- 410 Ch a r t r e s St r e e t tion. Housed in a complex of historic buildings in the French Quarter, facilities are open to the public, Enjoy four days of lectures and tours dedicated to the study of the Southern Tuesday through Saturday, from 9:30 a.m. until 4:30 p.m., and Sunday, from 10:30 a.m. until 4:30 decorative arts, featuring preeminent scholars from the field including Thomas p.m. Tours of the History Galleries and the Williams Savage, Winterthur Museum & Country Estate; Robert Leath, Museum of Early Residence are available for a nominal fee. Southern Decorative Arts; Cybèle Gontar, Graduate Center, The City University of Board of Directors Mrs. William K. Christovich, Chairman New York; Alexandra Kirtley, Museum of Art; Thomas Jayne, Thomas Charles Snyder, President John Kallenborn Fred M. Smith Jayne Studio; Elle Shushan, Fine Portrait Miniatures; and Suzanne Turner, FASLA, John E. Walker, Immediate Past President Suzanne Turner Associates. Drew Jardine Hunter Pierson Jr. Alexandra Stafford v Priscilla Lawrence, Executive Director Te n t h An n u a l Ge n e a l o g y Wo r k s h o p The Historic New Orleans Collection 533 Royal Street It a l i a n Ge n e a l o g y New Orleans, Louisiana 70130 (504) 523-4662 Ju n e DeLa l i o [email protected] • www.hnoc.org ISSN 0886-2109 Sa t u r d a y , Au g u s t 23 © 2008 The Historic New Orleans Collection Wi l l i a m s Re s e a r c h Ce n t e r , 410 Ch a r t r e s St r e e t 8:00 a m –4:00 p m Further details will be announced as they develop. Visit www.hnoc.org for updated information.

18 Volume XXV, Number 1 — Winter 2008 THE SHOP Designed Exclusively for The Shop at The Collection

he Citizens’ Bank of Louisiana’s “Dixies” and New Orleans, and later Selling for $30, the tile measures 4¼" Dix note is the inspiration for a the entire South, “Dixieland.” The in diameter, and its packaging includes T host of new products designed Citizens’ Bank was originally housed in a reproduction of the original note. exclusively for The Shop at The Collec- a grand Greek Revival building on the Maurice Milleur of Pewter Graphics tion. Organized in 1833, the Citizens’ Uptown side of Toulouse Street between has created a collection of jewelry and Bank operated at a time when private Chartres and Royal streets. Abandoned glass pieces featuring the Dix logo. The banks had the authority to issue paper in the 1870s, the building was demol- finely hand-crafted polished pewter money that was backed by the assets of ished before 1900, and its site is now jewelry includes a bracelet ($65) and the individual bank. The Citizens’ Bank owned by The Historic New Orleans earrings ($30). The glass pieces, show- became widely known throughout the Collection. The Collection has a variety casing a polished pewter plate of the upper and lower Mississippi Valley for of Citizens’ Bank notes in its holdings, logo, include a 43-ounce water pitcher the solid value of its bank notes. Ser- including the Dix note. ($45), a 28-ounce decanter ($45), a set vicing bilingual 19th-century New Two local artisans used a Dix note of four 14-ounce glasses ($64), and an Orleans, the bank printed its notes in from The Collection’s holdings in their ice bucket ($84). both English and French. The $10 note recent works now for sale in The Shop Please visit www.hnoc.org or call was printed on the rear with the French at The Collection. The ceramic tile (504) 598-7147 to order these items. dix, pronounced “deece.” Reportedly, by Mark Derby of Derby Pottery is a Americans soon began calling the notes recreation of the medallion on the note.

The Historic New Orleans Collection Quarterly 19 Pa r t 2: o n Vi e w t h r o u g h Ap r i l 20

In the words of Times-Picayune art critic Doug MacCash, “con- temporary wildlife-carving is a folk art parallel of photorealism.” Pintail drake made from tupelo gum by Mike Bonner, 2006, on loan from the collection of Mike Bonner Don’t miss the opportunity to view these works of art in Part 2 of The Collection’s exhibition Birds of a Feather, on view through April 20. After World War II, when the introduction of plastic decoys compromised the economic viability of wildfowl carving, Sc r e e n i n g the genre began its transition from folk art to fine art. Carvers represented in Contemporary Carvings include Jimmie Vizier (who continues the tradition started by his family in the late with 19th century), Tan and Jett Brunet (world-championship carvers Dr. Maurice M. Martinez, Filmmaker influenced by the Vizier family), William Hanemann, and other artists active in southeast Louisiana. Th u r s d a y , Ma r c h 6 Admission is $6 for adults; THNOC members, students, Williams Research Center, 410 Chartres Street and children are free. Viewing hours are Tuesday through 6:30 pm Saturday from 9:30 a.m. to 4:30 p.m. The handsomely illus- trated exhibition catalogue may be purchased from The Shop at Free and open to the public The Collection for $5.

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

20 Volume XXV, Number 1 — Winter 2008