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Thomas Cole on Architecture THOMAS COLE ON ARCHITECTURE: PICTURING THE GOTHIC by Rebecca Ayres Schwartz A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Spring 2016 © 2016 Rebecca Ayres Schwartz All Rights Reserved THOMAS COLE ON ARCHITECTURE: PICTURING THE GOTHIC by Rebecca Ayres Schwartz Approved: ______________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ______________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: ______________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: _________________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ________________________________________________________________ Wendy Bellion, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ________________________________________________________________ J. Ritchie Garrison, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ________________________________________________________________ Alan Wallach, Ph.D. Member of dissertation committee ACKNOWLEDGMENTS I wish to thank Alan Wallach for his seminar on Vision and Landscape that first sparked my interest in Thomas Cole’s paintings of The Last of the Mohicans. Special thanks go to my invaluable advisor and mentor, Bernie Herman, for keeping me on track even over great distances and time, and to my committee members, Wendy Bellion and J. Ritchie Garrison, for their help and guidance. I also wish to thank the New York State Public Library and the Anna K. and Mary E. Cunningham Research Residency Fellowship, which provided me with the means to examine extensively the Thomas Cole Papers. Thanks go to Steve Pek, librarian at the Vedder Research Library, Greene County Historical Society, Coxsackie, NY for his help in locating photographs and descriptions of Old St. Luke’s Church in Catskill, NY. Sue Canturby, the Pauline Gill Sullivan Associate Curator of American Art at the Dallas Museum of Art and Valerie Balint, Associate Curator at Olana State Historic Site provided excellent help with my research on Cole’s Fountain of Vaucluse. I would also like to thank my friends and family for their years of support. Steve Ayres, Betty Ayres, Amy Ayres, Kira Friedman, Alex Schwartz, and especially my husband Leon Schwartz all helped make this project possible. Without their patience and understanding, I never could have finished. I dedicate this manuscript to my son Zachary Michael Schwartz. iv TABLE OF CONTENTS LIST OF FIGURES. vi ABSTRACT. ix Chapter 1 INTRODUCTION: STAGING THE GOTHIC. 1 2 THE GOTHIC WILDERNESS IN THE ARCHITECT’S DREAM. 26 3 THOMAS COLE’S ESSAYS ON ARCHITECTURE. 72 4 COLE’S AMERICAN INDIANS AND THE GOTHIC OTHER. 110 5 HISTORY AND RUIN. 166 6 CONCLUSION: PICTURING THE GOTHIC. 210 FIGURES. 232 BIBLIOGRAPHY. 287 Appendix A COLE’S “LETTER TO THE PUBLICK ON THE SUBJECT OF ARCHITECTURE . 347 B DRAFT OF ESSAY ON ARCHITECTURE . 356 C “THE DEATH OF CHOCORUA” . 358 v LIST OF FIGURES 1.1 Sanderson Miller, Sham at Hagley Park, 1747. 232 2.1 Thomas Cole, The Architect’s Dream, 1840. 233 2.2 Thomas Cole, Drawing for St. Luke’s Episcopal Church, Catskill, NY, 1839 – 1840. 234 2.3 Thomas Cole, St. Luke’s Episcopal Church, Catskill, NY. 235 2.4 Thomas Cole, View from Mount Holyoke After a Thunderstorm: The Oxbow, 1836. 236 2.5 Thomas Cole, A View of the Mountain Pass, Called the Notch of the White Mountains (Crawford Notch), 1839. 237 2.6 Thomas Cole, The Course of Empire: Consummation of Empire, 1836. 238 2.7 Thomas Cole, Salvator Rosa Sketching Banditti, 1832. 239 2.8 Claude Lorrain, Landscape with Psyche Saved from Drowning Herself, 1666. 240 2.9 Thomas Cole, Architectural Fantasy: Study for The Architect’s Dream, c. 1839. 241 2.10 Thomas Cole, The Cross in the Wilderness, 1846. 242 2.11 Thomas Cole, Study for Dream of Arcadia, 1838. 243 3.1 Thomas Cole, The Course of Empire: Savage State, 1836. 244 3.2 Thomas Cole, The Course of Empire: Arcadian or Pastoral State, 1836. 245 3.3 Thomas Cole, Ohio State Capitol Project, 1838. 246 3.4 The Ohio State Capitol, 1861. 247 3.5 Alexander Jackson Davis, Rustic Cottage Style, from Rural Residences: Consisting of Designs, Original and Selected, for Cottages, Farm-Houses, Villas, and Village vi Churches with Brief Explanations, Estimates, and a Specification of Materials, Construction, Etc., 1837. 248 3.6 Andrew Jackson Downing, A Villa in the Italian Style, from Victorian Cottage Residences, 1842. 249 4.1 Thomas Cole, Landscape with Dead Trees, 1828. 250 4.2 Thomas Cole, Landscape with Figures: A Scene from “The Last of the Mohicans,” 1826. 251 4.3 Thomas Cole, The Falls of the Kaaterskill, 1826. 252 4.4 Thomas Cole, Kaaterskill Falls, 1825. 253 4.5 Thomas Cole, Landscape, Scene from “Last of the Mohicans”: The Death of Cora, 1827. 254 4.6 Thomas Cole, Landscape Scene from Last of the Mohicans: Cora Kneeling at the Foot of Tamenund, 1827. 255 4.7 Thomas Cole, Landscape Scene from Last of the Mohicans: Cora Kneeling at the Foot of Tamenund, 1827. 256 4.8 George W. Hatch after Thomas Cole, Chocorua’s Curse, 1828, from The Token, A Christmas and New Year’s Present 3 (Boston, 1830), 257. 257 4.9 Thomas Cole, Landscape, 1825. 258 4.10 Thomas Cole, The Hunter’s Return, 1845. 259 5.1 Thomas Cole, The Course of Empire: Consummation of Empire, 1836. 260 5.2 Thomas Cole, The Course of Empire: Destruction of Empire, 1836. 261 5.3 Thomas Cole, The Course of Empire: Desolation, 1836. 262 5.4 Thomas Cole, The Past, 1838. 263 5.5 Thomas Cole, The Present, 1838. 264 5.6 Thomas Cole, Interior of the Colosseum, Rome, 1832. 265 5.7 Thomas Cole, Aqueduct Near Rome, 1832. 266 5.8 Thomas Cole, The Arch of Nero, 1846. 267 vii 5.9 Thomas Cole, The Temple of Segesta with the Artist Sketching, 1842. 268 5.10 Thomas Cole, Compositional Study for the Ruins of the Temples of Paestum 1832. 269 5.11 Thomas Cole, Mount Etna from Taormina, 1844. 270 5.12 John Constable, Hadleigh Castle, 1829. 271 5.13 Thomas Cole, Italian Coast Scene with Ruined Tower, 1838. 272 5.14 Thomas Cole, Tower with Moonlight, 1838. 273 5.15 Thomas Cole, Landscape Composition: Italian Scenery, 1832. 274 5.16 Thomas Cole, An Italian Autumn, 1844. 275 5.17 Thomas Cole, Il Penseroso, 1845. 276 5.18 Thomas Cole, Part of the Ruins of Kenilworth Castle, England, 1846. 277 5.19 Thomas Cole, Study for Newstead Abbey at Sunrise, 1830. 278 6.1 Thomas Cole, The Departure, 1837. 279 6.2 Thomas Cole, The Return, 1837. 280 6.3 Thomas Cole, View of Florence from San Miniato, 1837. 281 6.4 Thomas Cole, View on the Arno, 1837. 282 6.5 Thomas Cole, Vesper Hymn – Italian Landscape, 1838. 283 6.6 Thomas Cole, The Return from the Tournament, 1841. 284 6.7 Thomas Cole, Fountain of the Vaucluse, 1841. 285 6.8 Thomas Cole, Sketch for Fountain of the Vaucluse, 1841. 286 viii ABSTRACT This dissertation studies Thomas Cole and the Gothic Revival. Through an examination of Cole’s paintings of landscapes and architecture, as well as his writings, this dissertation demonstrates Cole’s preference for the Gothic Revival as an architectural style, and how he visually associated the Gothic with the American wilderness and American Indians. Furthermore, by considering Cole’s beliefs in the cyclical theory of history, and the Gothic’s place within that history, it shows that Cole drew a connection between the Gothic and specific Christian spiritual implications. An in-depth analysis of the painting The Architect’s Dream, Cole’s essay “Letter to the Publick on the Subject of Architecture,” his paintings based on James Fenimore Cooper’s gothic novel The Last of the Mohicans, and his numerous landscapes with both classical and Gothic ruins reveal how Cole defined the Gothic. For Cole, the Gothic symbolized all that was wild and free as opposed to classicism’s order and control. He made the Gothic manifest through his paintings of Gothic buildings within the landscape and by drawing from the tools of gothic novelists. This dissertation establishes how Cole developed the Gothic as a pictorial trope in order to contextualize more fully our understanding of the nineteenth-century Gothic Revival. ix Chapter 1 INTRODUCTION: STAGING THE GOTHIC REVIVAL A very few generations have passed away since this vast tract of the American continent, now the United States, rested in the shadow of primaeval forests, whose gloom was peopled by savage beasts, and scarcely less savage men; or lay in those wide grassy plains called prairies… And, although an enlightened and increasing people have broken in upon the solitude, and with activity and power wrought changes that seem magical, yet the most distinctive, and perhaps the most impressive, characteristic of American scenery is its wildness.
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