DOCSLIB.ORG

The Collaboration of B. Henry Latrobe And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Collaboration of B. Henry Latrobe And OPEN: 108th ACSA Annual Meetng 1 The Collaboraton of B. Henry Latrobe and Giuseppe Franzoni to Create the Naton’s First Statue of Liberty (1807-1814) RICHARD CHENOWETH AIA Mississippi State University Keywords: Latrobe, Statue of Liberty, U.S. Capitol, known as the House chamber in the South Wing of the Capitol; Washington DC. today, the site of the Natonal Statuary Hall). Architect of the Capitol B. Henry Latrobe designed the Liberty in large part ABSTRACT by giving instructons to the sculptor Giuseppe Franzoni, who When the U. S. Capitol burned on 24 August 1814, its prinCipal carved her in plaster. Latrobe’s goal was to copy the plaster chambers were guted and an early masterpiece of American model into Vermont Marble but the opportunity never arrived. Neoclassical sculpture, a colossal personifcaton of Liberty Liberty presided over the Hall only untl that summer night in in the style of the tmes, was completely destroyed. The 1814 when the Capitol was burned by a fre so intense that Liberty is not well known because in her brief lifetme, no even Vermont Marble would have been reduced to lime. artst stopped to record her - not even Latrobe himself, a prolifc sketcher. Liberty presided over Latrobe’s majestc Latrobe was in charge of the Capitol’s design and constructon Hall of Representatves, a chamber that was, itself, a difcult from 1803-1811, a period charged with idealism and allegory collaboraton of confictng ideas between its client Thomas as well as with scandal and misfortune.2 The Liberty was Jeferson and its architect Latrobe. Liberty was an integral organic to the architectural experience of the complete House part of the architecture and of the architectural sequence; chamber—it was not an aferthought and not mere sculptural upon entry into the chamber, the ten foot tall sitng Liberty decoraton. Latrobe wrote: “The Statue is indeed essental to established the chamber’s cross axis within the streaming the efect of my Architecture.”3 Latrobe’s and Franzoni’s Statue difusion of one hundred skylights, profered entrants a of Liberty represents the successful culminaton of a long carved copy of the Consttuton, cradled a cap of liberty, efort by early American designers to create a monumental and was heralded by a bald eagle. personifcaton of Liberty within a major public space. Latrobe’s drive to create the Liberty was essental to his THE ENIGMA concept for the Hall of Representatves. His collaboraton In researching Latrobe’s lost and unbuilt works at the U.S. with the artst Franzoni also is essental as it demonstrates Capitol (this paper on the Liberty being the second in a series), the delicate dialectc between architectural concept and the author was transfxed by the enigma of contemporary executed form in a public project. I will show for the frst writen and archival records that suggest a superlatve body tme a model of the colossal Liberty, carefully reconstructed of Latrobe’s work unsupported by visual or pictorial evidence. based on all known facts, a single drawing, and the aesthetc How could Latrobe’s American masterpieces be seen again? proclivites of the principal designers. I have diligently recon- The author resolved to forensically piece together this period structed the entre Hall, with the Liberty, necessarily, being of the Capitol as a comprehensive digital model based on origi- the most formidable aspect of the design. The making of the nal sources. Many disparate details emerged in the research Liberty represents about twenty years of efort by various process - conficts between leters, documents, drawings, architects and artsts to bring to fruiton the confuence of a change orders, and extant material - which then required anal- major public work of American architecture and an integral ysis, sequencing, rectfcaton, and recreaton as a composite work of monumental American sculpture. and conclusive digital form. The author recreated the Liberty itself directly in clay based on informaton from a dozen leters INTRODUCTION and one drawing. The images included in this paper are digital When the U.S. Capitol burned on 24 August 1814, its principal images of the entre recreated chamber interior of which the chambers were guted and a colossal masterpiece of American Liberty is the central element. William C. Allen’s seminal book neoclassical sculpture, the naton’s frst Statue of Liberty, was on the history of the design and constructon of the Capitol completely destroyed.1 The Liberty is not well known because, mentons the existence of the Liberty sculpture but does not in its brief lifetme, no artst ever stopped to record it. All that detail its story.4 remains are descriptons in leters of its design development and its placement in the famous Hall of Representatves (also 2 Paper ttle to be inserted on master page Figure 1. (clockwise from lef): B. Henry Latrobe, detail of the Liberty inside the Hall (1804); Thomas Cooley, politcal cartoon of Only two sessions of Congress met in Federal Hall but the Liberty and Britannia (1783); Giuseppe Ceracchi, Minerva (1792); important Residence Act of 1790 was passed here, creat- Samuel Jennings, Liberty Displaying the Arts and Sciences (1792). ing the District of Columbia. The third session of Congress met at Congress Hall, Philadelphia, in December 1790, and ICONOGRAPHY AND EARLY ATTEMPTS AT MAKING A would remain there untl the removal of the government to LIBERTY Washington, D.C. in 1800. The idea of an American symbol of freedom was not new in 1805 (the year Latrobe frst mentoned in his leters the idea The Residence Act gave the president unprecedented over- of a Liberty sculpture for the Hall). Since colonial tmes, alle- sight over every aspect of the relocaton of the capital, and gorical fgures of American freedom were common. Usually in early 1791 George Washington asked L’Enfant to design personifed as a female Natve American in headdress, she the new federal city. L’Enfant developed a plan of radiatng was known as Liberty, Freedom, or Columbia. Liberty evolved avenues connectng salient higher elevatons interwoven with toward a Greco-Roman personifcaton in the later eighteenth a grid of smaller streets - a symbolic expression of the new century, as interest in neoclassicism and archaeology increas- government. L’Enfant described Jenkins Hill, an elevaton of ingly infuenced the arts. about ninety feet above sea level overlooking vast wetlands to the west and his choice for the site of the Capitol, as a “ped- Late in 1788, French architect Peter Charles L’Enfant was estal waitng for a monument.”6 He suggested placing below asked by the New York City government to renovate its City the crest of the hill a “grand Equestrian fgure,” a reference to Hall for the frst session of the First Federal Congress in April the bronze statue of George Washington that Congress had 1789. L’Enfant’s elegant additons and renovatons of the inte- approved on 7 August 1783. The concept of Washington’s rior were well received and described in print but were not equestrian statue became the core of the next serious atempt recorded as pictures or engravings. He established an early to personify an American Liberty. standard for the hierarchy and decoraton of an important fed- eral building which included no small degree of iconographic Also in 1791, the Roman sculptor Giuseppe Ceracchi arrived representaton. L’Enfant planned for a sunburst pediment on in America, “flled with a volcanic enthusiasm for Liberty and the facade and a Statue of Liberty behind the Speaker’s chair. the Rights of Man.”7 Ceracchi was fresh from Europe, where But there is no record that a Liberty was installed.5 he had struggled mightly to establish himself as a preeminent OPEN: 108th ACSA Annual Meetng 3 Figure 2. Latrobe’s east-west secton drawing of the South Wing showing the placement of the Liberty (1804). bronze equestrian statue of Washington. His six foot draw- ing of the monument was exhibited in a Philadelphia tavern in sculptor of politcal leaders and politcal monuments. His busts 1791 but is now lost.8 and portraits were ofen excellent; his larger compositons, with their metaphors and allegories, were ofen complicated. Ceracchi never had the opportunity to carve his grandi- In a fuid, synthetc atempt to bring glory to the revolutonary ose monument to American Liberty. Afer a vain atempt spirit in America as well as invigorate his own career, Ceracchi to win the favor of leading members of the Washington proposed to Congress a “Monument designed to perpetuate Administraton and of Congress by carving their portraits,9 the Memory of American Liberty.” Based on Ceracchi’s ver- followed by a return to Europe, an exile from Rome, and bose descripton, his American natonal monument proposal another trip to America, his subscripton plan to fnance the was topped by a fantastc personifcaton of Liberty. ambitous monument failed. Ceracchi’s technical approach to carving the sixty-foot high monument is not known, but it Ceracchi proposed his concept to Congress in 1791 and then is difcult to imagine the complexity of carving the baroque again in 1795. Most likely, the statue was to be erected below Liberty descending through volumes of marble clouds and Capitol Hill, the same area L’Enfant had identfed. In his open- a rainbow in a horse-drawn chariot - all at a tme when the ing paragraph, Ceracchi wrote: “The Goddess [of Liberty] is constructon of the Capitol had not yet begun. His hyperbolic represented descending in a car drawn by four horses, dartng vision of American Liberty died in 1795 and a handful of years through a volume of clouds, which conceals the summit of a later so did he.
Load more

Recommended publications
  • Canova's George Washington
    CANOVA’S GEORGE WASHINGTON EXHIBITION ADDRESSES CANOVA’S ONLY WORK FOR UNITED STATES May 23 through September 23, 2018 In 1816, the General Assembly of North Carolina commissioned a full-length statue of George Washington to stand in the rotunda of the State Capitol, in Raleigh. Thomas Jefferson, believing that no American sculptor was up to the task, recommended Antonio Canova (1757– 1822), then one of Europe’s most celebrated artists. The first and only work Canova created for the United States, the statue depicted the nation’s first president in ancient Roman garb—all’antica armor—per Jefferson’s urging, drafting his farewell address to the states. It was unveiled to great acclaim in 1821. Tragically, a decade later, a fire swept through the State Capitol, reducing the statue to a few charred fragments. On May 23, The Frick Collection presents Canova’s George Washington, an exhibition that examines the history of the artist’s lost masterpiece. The show brings together for the first time all of the objects connected to the creation of the sculpture— including a remarkable life-sized Antonio Canova, Modello for George Washington (detail), 1818, modello that has never before left Italy—and tells the extraordinary plaster, Gypsotheca e Museo Antonio Canova, Possagno, Italy; photo Fabio Zonta, Fondazione Canova onlus, Possagno transatlantic story of this monumental work. The life-size modello, above, provides the closest idea of what the destroyed marble would have looked like. It is shown in the Frick’s Oval Room—alone—to replicate the effect it would have had in the rotunda of North Carolina’s State Capitol.
    [Show full text]
  • The SAR Colorguardsman
    The SAR Colorguardsman National Society, Sons of the American Revolution Vol. 5 No. 1 April 2016 Patriots Day Inside This Issue Commanders Message Reports from the Field - 11 Societies From the Vice-Commander Waxhaws and Machias Old Survivor of the Revolution Color Guard Commanders James Barham Jr Color Guard Events 2016 The SAR Colorguardsman Page 2 The purpose of this Commander’s Report Magazine is to o the National Color Guard members, my report for the half year starts provide in July 2015. My first act as Color Guard commander was at Point interesting TPleasant WVA. I had great time with the Color Guard from the near articles about the by states. My host for the 3 days was Steve Hart from WVA. Steve is from my Home town in Maryland. My second trip was to South Carolina to Kings Revolutionary War and Mountain. My host there was Mark Anthony we had members from North Car- information olina and South Carolina and from Georgia and Florida we had a great time at regarding the Kings Mountain. Went home for needed rest over 2000 miles on that trip. That activities of your chapter weekend was back in the car to VA and the Tomb of the Unknown. Went home to get with the MD Color Guard for a trip to Yorktown VA for Yorktown Day. and/or state color guards Went back home for events in MD for Nov. and Dec. Back to VA for the Battle of Great Bridge VA. In January I was back to SC for the Battle of Cowpens - again had a good time in SC.
    [Show full text]
  • Colonial Flags 1775-1781
    THE AMERICAN FLAG IS BORN American Heritage Information Library and Museum about A Revolutionary Experience GRAND UNION BETSY ROSS The first flag of the colonists to have any During the Revolutionary War, several patriots made resemblance to the present Stars and Stripes. It was flags for our new Nation. Among them were Cornelia first flown by ships of the Colonial Fleet on the Bridges, Elizabeth (Betsy) Ross, and Rebecca Young, all Delaware River. On December 3, 1775 it was raised of Pennsylvania, and John Shaw of Annapolis, Maryland. aboard Capt. Esek Hopkin's flagship Alfred by John Although Betsy Ross, the best known of these persons, Paul Jones, then a navy lieutenant. Later the flag was made flags for 50 years, there is no proof that she raised on the liberty pole at Prospect Hill, which was made the first Stars and Stripes. It is known she made near George Washington's headquarters in flags for the Pennsylvania Navy in 1777. The flag Cambridge, MA. It was the unofficial national flag on popularly known as the "Betsy Ross Flag", which July 4, 1776, Independence Day; and it remained the arranged the stars in a circle, did not appear until the unofficial national flag and ensign of the Navy until early 1790's. June 14, 1777 when the Continental Congress Provided as a Public Service authorized the Stars and Stripes. for over 115 Years COLONIAL THIRD MOUNTAIN REGIMENT The necessity of a common national flag had not been thought of until the appointment of a committee composed of Benjamin Franklin, Messrs.
    [Show full text]
  • BM Tour to View
    08/06/2020 Gods and Heroes The influence of the Classical World on Art in the C17th and C18th The Tour of the British Museum Room 2a the Waddesdon Bequest from Baron Ferdinand Rothschild 1898 Hercules and Achelous c 1650-1675 Austrian 1 2 Limoges enamel tazza with Judith and Holofernes in the bowl, Joseph and Potiphar’s wife on the foot and the Triumph of Neptune and Amphitrite/Venus on the stem (see next slide) attributed to Joseph Limousin c 1600-1630 Omphale by Artus Quellinus the Elder 1640-1668 Flanders 3 4 see previous slide Limoges enamel salt-cellar of piédouche type with Diana in the bowl and a Muse (with triangle), Mercury, Diana (with moon), Mars, Juno (with peacock) and Venus (with flaming heart) attributed to Joseph Limousin c 1600- 1630 (also see next slide) 5 6 1 08/06/2020 Nautilus shell cup mounted with silver with Neptune on horseback on top 1600-1650 probably made in the Netherlands 7 8 Neptune supporting a Nautilus cup dated 1741 Dresden Opal glass beaker representing the Triumph of Neptune c 1680 Bohemia 9 10 Room 2 Marble figure of a girl possibly a nymph of Artemis restored by Angellini as knucklebone player from the Garden of Sallust Rome C1st-2nd AD discovered 1764 and acquired by Charles Townley on his first Grand Tour in 1768. Townley’s collection came to the museum on his death in 1805 11 12 2 08/06/2020 Charles Townley with his collection which he opened to discerning friends and the public, in a painting by Johann Zoffany of 1782.
    [Show full text]
  • (1757-1822) This Month's Essay Discusses the Life and Works Of
    ANTONIO CANOVA (1757-1822) By James J. Boitano, PhD This month’s essay discusses the life and works of arguably the greatest exponent of neoclassical sculpture. He was internationally famous during his lifetime, and was regarded as the most brilliant sculptor in Europe. He was especially known and praised for his marble sculptures of nude figures, making the stone figures appear life-like, graceful, and delicate. Antonio Canova was born in 1757 to Pietro Canova, a stonecutter, and Maria Angela Zardo Fantolini in Possagno, a village near Treviso in the Veneto (Republic of Venice). In 1761, Pietro died and Antonio’s mother soon remarried (1762), after which he was put into the care of his paternal grandfather, Pasino Canova. Pasino was a stonemason, owner of a quarry, and a sculptor specializing in altars with statues and low reliefs in the Baroque style. It was Pasino who guided Antonio into the art of sculpting. Around the age of nine, Antonio began making clay Self-portrait, 1792 models and carving marble from his grandfather’s quarry. He executed two small shrines of Carrara marble, which still exist today. He continued perfecting his skill while he was employed in the quarry. Eventually, his precocious talent attracted the attention of Giovanni Falier (a Venetian senator at the time), who became his life-long patron. In 1768, Falier arranged for him to enter the workshop as the apprentice of Giuseppe Bernardi, called Torretti, at Pagnano di Asolo. Because of Toretti’s subsequent move to Venice, Antonio was able to study life-drawing at the Accademia in Venice and ancient sculpture from the collection of casts in the Palazzo Farsetti.
    [Show full text]
  • Sons of Liberty
    Sons of Liberty (Edited from Wikipedia) The Sons of Liberty was an organization of American colonists that was created in the Thirteen American Colonies. The secret society was formed to protect the rights of the colonists and to fight taxation by the British government. They played a major role in most colonies in battling the Stamp Act in 1765. Although the group officially disbanded after the Stamp Act was repealed, the name was applied to other local Patriot groups during the years preceding the American Revolution. In the popular imagination, the Sons of Liberty was a formal underground organization with recognized members and leaders. More likely, the name was an underground term for any men resisting new Crown taxes and laws. The well-known label allowed organizers to issue anonymous summons to a Liberty Tree, "Liberty Pole," or other public meeting-place. Furthermore, a unifying name helped to promote inter-Colonial efforts against Parliament and the Crown's actions. Their motto became "No taxation without representation." History In 1765 the British government needed money to afford the 10,000 officers and soldiers stationed in the colonies, and intended that the colonists living there should contribute. The British passed a series of taxes aimed at the colonists, and many of the colonists refused to pay certain taxes; they argued that they should not be held accountable for taxes which were decided upon without any form of their consent through a representative. This became commonly known as "No Taxation without Representation." Parliament insisted on its right to rule the colonies despite the fact that the colonists had no representative in Parliament.
    [Show full text]
  • George Washington's Farewell
    THE SAR COLORGUARDSMAN The National Society Sons of the American Revolution Volume 8 Number 4 January 2020 George Washington’s Farewell Xxxxx -1- In this Issue 10 4 Reports from the field National Color Guard Events - 2020 Dates and times are subject to change and interested parties should refer to the State society color guard activities from the last three months respective state society web sites closer to the actual event. 7 6 241st Anniversary of the Battle of George Washington Farewell Kettle Creek Table of Contents 10 Cannon Training Announcement Dr. Rudy Byrd, Artillery Commander Commander Report 3 Fifer’s Corner The Message from our Color Guard Commander 36 Color Guard Event Calendar 4 49 Grave Marking Ceremony Find the dates and locations of the many National Color Guard James Nalle events 5 Color Guard Commander Listing 50 250th Anniversary Flag Contact Information for all known State society color guard com- manders with reported changes 51 Adjutant’s Call 6 George Washinton’s Farewell If not us, who? If not now, when? 52 Safety Aricle Are you ready? 7 Kettle Creek Flyers page 9 Thomas Creek Fkyer -2- Commander’s Color Guard Adjutant Report Compatriots, Search It is time to begin the search for a new NSSAR Color Guard Adju- Un Hui and I hope all our SAR Colorguardsmen and their fami- tant lies enjoyed a wonderful Christmas AND that you have a healthy and prosperous 2020. On July 14, 2020 there will be a Change of Command for the Na- tional Society SAR Color Guard. The current Color Guard Command- I have been busy approving color guard awards: 22 Silver Color Guard Medals, 4 National Von Steuben Medals for Sustained Achieve- er will step down at the 130th Annual SAR Congress in Richmond, ment in the NSSAR Color Guard and 7 Molly Pitcher Medals.
    [Show full text]
  • Sunday Liberty Pole
    Sunday Liberty Pole Vol.2. No. 26; June 26, 2016 National: Publisher: San Fernando Valley Patriots http://thepatriotsalmanac.com Editor: Karen Kenney. Contributors: Duane “Bucky” Buckley (DB), Megan/Neuro7plastic (MN), Tom Adams (TA), Kyle Kyllan (KK), Aspen Pittman (AP), Dawn Wildman (DW), Maryanne Greenberg (MG), Carmen Otto (CO), Tom Zimmerman (TZ) Aborted Tissue used to Process Flavor Additives (News/Commentary); 6/18/2016 by Dave Hodges at The Common Sense Show: Abortion does leave a bad tasted. Got ‘Soylent Green’? http://www.thecommonsenseshow.com/2016/06/18/m ajor-food-corporations-use-tissue-aborted-babies- manufacture-flavor-additives-processed- foods/?utm_source=rss&utm_medium=rss&utm_cam paign=major-food-corporations-use-tissue-aborted- babies-manufacture-flavor-additives-processed-foods Clinton's 'apology tour': Guns & Gays (News/Commentary) 6/16/2016 by Stephen Frank at California Political Review: Off target. http://www.capoliticalreview.com/capoliticalnewsandvi ews/democratclinton-problem-support-gays-or- apologize-for-terrorism/ When They Get the Guns, They will come for you (News/Commentary) 6/17/2016 Dave Hodges at The Common Sense Show: Again, what part of the 2A confuses Obama and the DHS? http://www.thecommonsenseshow.com/2016/06/17/w This “Liberty Pole” is one of hundreds erected in hen-they-come-for-your-guns-they-will-soon-come-for- America as a symbol of the colonials’ resistance to British tyranny. you/?utm_source=rss&utm_medium=rss&utm_campa The poles were often 100’ tall serving as places to meet or post political news. The Sons of Liberty erected the first one on May 21, ign=when-they-come-for-your-guns-they-will-soon- 1766 in Boston.
    [Show full text]
  • VALENTINE's MANUAL of OLD NEW YORK
    Gc 974.702 PUBLIC LIBRARY N421V PORT WAYNE 8c ALLEN CO., IND. 1921 301064 SenhaloC^Y collection 02210 3862 .sormy.. 3 1833 aii»ntittt^^Mnttual nf Copyrig-ht, 1920 Press of The Chauncey Holt Company New York City 101064 Ea tl)[f Spatnration nf ; !%[ aittg l^all fark nnh tire lErrrtian nf tijp CONTENTS Page FIFTH AVENUE AND CENTRAL PARK, 1858 9 A retrospective comment on a rare view of the locality. SPLENDORS OF THE BATTERY IN 1835 20 A contemporary description from the N. Y. Mirror. "FRIENDSHIP GROVE" AND ITS MEMORIES 21 Recollections of Commodore E. C. Benedict. IMMORTALITY, "THE BUTTERFLY POEM," by Joseph Jefferson.... 25 RECORD OF SKATING DAYS, 1872-1887 46 DIARY OF A LITTLE GIRL IN OLD NEW YORK (Continued).... 47 Catherine Elizabeth Havens. CURIOUS OLD LETTER TO MR. ZENGER 70 EDGAR ALLAN POE IN NEW YORK CITY 71 From hitherto unprintcd papers in the possession of the Shakes- peare Society, by Dr. Appleton Morgan, President. NEW LIBERTY POLE AND REMOVAL OF THE POST OFFICE BUILDING 86 Action taken by the New York Historical Society and the Sons of the Revolution. LIBERTY POLES ERECTED AND CUT DOWN 90 AMERICA'S CUP 90 Commodore J. C. Stevens' account of ihe yacht race at Cowes, 1851. DEED OF TRUST OF THE AMERICA'S CUP TO THE NEW YORK YACHT CLUB 94 POPULATION FIGURES OF NEW YORK CITY, 1615-1920 96 [xi] Page EARLY DAYS OF DEPARTMENT STORES 97 Incidents and characteristics of their beginnings and growth in New York and of the men who made them. John Crawford Brown.
    [Show full text]
  • Cultural History of Narberth – Unabridged
    CULTURAL HISTORY OF NARBERTH – UNABRIDGED A CULTURAL HISTORY OF NARBERTH BY VICTORIA DONOHOE Typed posthumously (and lightly edited) from manuscripts found among the author’s possessions by neighbor and friend, Nancy A Greene (02/01/2021) CULTURAL HISTORY OF NARBERTH – UNABRIDGED A CULTURAL HISTORY OF NARBERTH BY VICTORIA DONOHOE TABLE OF CONTENTS Preface Page Introduction i Chapter 1 – Before the Town 1 Chapter 2 – Abrasive Changes in the 1870s – The Founding of the Town (1876-1895) 60 Chapter 3 – Physical Development and Sections of Narberth (1895-1920) 130 Chapter 4 – Progressive Narberth – The Shaping of a Community (1895-1920) 197 Chapter 5 – Narbrook Park – “Garden City Experiment” 257 Chapter 6 – Narberth between World Wars (roughly 1920-1945) 301 Chapter 7 – Ethnic Makeup, Divisions, Different Social Groups 360 Chapter 8 – Narberth Lives 403 Chapter 9 – 1945-1975 447 Chapter 10 – 1975-1995 482 About the Author 562 Note from Editor 567 Acknowledgements 570 This page intentionally left blank. Preface This cultural history of Narberth was written by Victoria Donohoe, a lifelong resident of Narberth. It was written over a forty-year period from about 1980 until her death in 2018. Victoria did not complete the book but left it in manuscript form in her house. Neighbor and friend Nancy Greene, who had helped type chapters for Victoria in the last years of her life, was able to secure Victoria's writings (and supporting documentation) when Victoria was moved into a retirement home. Victoria died before the book could be completed but Nancy has typed and organized the material as closely as possible to the way she believes Victoria would have wanted it.
    [Show full text]
  • 1 MOSES LONG, YORK – DIARIES (BOOK 1) Page 1 Jan 1842
    MOSES LONG, YORK – DIARIES (BOOK 1) Page 1 Jan 1842 1842 January 1 st Commenced this work on Saturday the First Day of January in the year of our Lord one thousand Eight hundred & Forty Two - Arose in the morning as usual, prepared to make calls. Started about 9½ O.clock A.M. Made a few calls afsociated with coffee etc. harnessed the team, rode in various directions in the mean time making calls which were accompanied with abundance of refreshments together with profusions of Hot Coffee – In the evening made a call, attended Singing School at B. Church & also a Party at B.N.Long’s returned home before 9 O.clock in the evening upon such return found W.H. Carle there – Sunday 2 nd Remained at home through the day. also the evening – during which time read from various authors etc etc - Monday 3 rd Went to the village A.M. received $3.dollars of H. Osborn for rent – soon after returned home where I remained during the day – called at O.D. Roots in the evening - Tuesday 4 th Remained at home during the day also the evening – A.M. received call from W.H. Carle who remained to dinner – O. Presbrey called P.M. got his watch – Toward evening at the return of Henry from School received a letter from C. A. Webber – spent the evening at home reading - Wednesday 5 th Set out for Mt Morris in the morning with Dr J Long – on our way visited a number patients – arrived at our place of destination about noon – Dr Childs – After dinner the Doctors (Long & Childs) went up stairs to see Harriet who was very sick – after their return I Page 2 Jan 1842 Called upon Harriet – we had a sociable converse – Toward evening commenced our Journey to York – called at Greggsville warmed & Liquored up then called to visit a patient across the way – after this returned to York about 9.
    [Show full text]
  • The Democratization of American Art
    THE DEMOCRATIZATION OF AMERICAN ART HORATIO GREENOUGH’S GEORGE WASHINGTON AND THE ERA OF THE COMMON MAN DYLAN THOMAS STROUD 2017 WASHINGTON & LEE UNIVERSITY ACKNOWLEDGMENTS This thesis would not be as it is without Professor Andrea Lepage and Professor Elliott King’s valuable assistance. The quality of this examination is indebted to the insights of Professor George Bent, who served as my advisor and mentor throughout the course of the project, and whose edits and commentary greatly influenced the course of this undertaking. This work is dedicated to my parents, Karen and Stephen Stroud, whose love and support made my enriching athletic and academic experience at Washington & Lee University possible. 2 TABLE OF CONTENTS Introduction .................................................................................................................................... 4 The Artist and Sculpture ............................................................................................................. 10 The Reception .............................................................................................................................. 23 Art in Jacksonian America .......................................................................................................... 32 Conclusion ................................................................................................................................... 39 Works Cited ................................................................................................................................
    [Show full text]