Volume XXIII, Number 2 Spring 2005

U NCOVERING H ISTORY'S S ECRETS

Pictures from an Excavation: An 1853 view of 535-37 Conti Street (top) marks the site of The Collection’s latest archaeological dig. Earth Search archaeologists (inset, bottom) have uncovered sherds of pottery discarded after the 1794 fire (center) and liquor bottles and burned faience rouge pots from the Rising Sun Hotel fire of 1822 (inset, top). The square bounded by Conti, owners. Limestone flagstones from the Chartres, St. Louis, and Decatur hotel’s carriageway, uncovered by Dr. Streets from a plan of Dawdy, suggest an upscale establishment, as by Gonichon, 1731 (Vieux Carré Survey, square 28; original: Archives carriageways were typically paved with Nationales Colonies, Paris). less expensive materials such as slate or brick. Lou Christovich, a tireless advocate Archaeologically, there is little evidence of historic preservation, was the first of the 1887 fire itself—a phenomenon that to promote archaeological research on Dr. Dawdy accounts for by pointing out Collection property. She, along with that a later Sanborn Insurance Company docent (and archaeology enthusiast) map of the square shows businesses Bettie Pendley, referred The Collection continuing to operate out of the damaged to Dr. Shannon Dawdy, an assistant building. The fire’s rubble may have been professor in the anthropology department cleaned up and shipped away, rather than U N C O V E R I N G at the University of Chicago and a visiting leveled and spread as it would have been scholar at the University of New Orleans’s had another structure been built immedi- H I S T O R Y ’’ S College of Urban and Public Affairs. ately atop the fire-damaged site. Working with archaeologists Dr. Jill-Karen Peeling back more layers of earth and S E C R E T S Yakubik and Ryan Gray from the local firm proceeding further through the chain of title, Earth Search, which conducted The archaeologists find another fire, another Collection’s previous archaeological hotel…and, perhaps, a song. aily, thousands of tourists and projects, Dr. Dawdy began excavating the The date is February 27, 1822. Two residents traverse the streets of Conti Street property in January. First men die as fire sweeps through a tavern D the French Quarter, giving little drilling about a dozen test holes (one meter located on the ground floor of a hotel thought to what lies beneath. Despite its square) in the concrete floor, then choosing known as the Rising Sun. Burn layers from status as one of the country’s premier his- seven sites for thorough digging, the the site reveal an abundance of liquor bot- toric districts, the Quarter has no laws archaeologists began peeling back the earth tles and rouge pots. Was this a bordello? requiring archaeological excavation on pri- layer-by-layer. And if so, could it be the inspiration for the vate property prior to new construction or As a historical archaeologist, Dr. Dawdy folk song immortalized by the Animals in renovation. Responsibility lies with property taps multiple sources—artifacts found on 1964—“The House of the Rising Sun”? owners, few of whom take the initiative to site, as well as an array of archival docu- Documentary evidence is suggestive, facilitate a dig. This past winter marked the ments—in the course of an investigation. but not conclusive. On January 29, 1821, fourth time—following excavations at 533 The Vieux Carré Survey, housed at the just a year before the hotel burned to the Royal Street (in 1990), 726 Toulouse Street Williams Research Center, served as Dr. ground, the Gazette announced a (in 1991), and 410 Chartres Street (in Dawdy’s preliminary archival resource, pro- change of ownership for the Rising Sun and 1995)—that The Historic New Orleans viding a chain of title for the property, rele- Collection has commissioned archaeologi- vant newspaper excerpts, and photographs cal work on its property. Excavations at and plans of the site. Descending from the 535-37 Conti Street have turned up a trove upper levels of excavation into the undated of treasures and stories untold. past, the story of 535-37 Conti Street The Conti Street property, at present, unfolds… bears the unprepossessing aspect of a one- * story parking garage. Future home to an In late May 1887, the Daily States archival storage facility, adjunct to the reports a fire in the rear of a Conti Street prop- Williams Research Center, the site holds erty housing a shirt factory, a beer and liquor great promise. But as a team of archaeolo- shop, and a sugar, rice, and molasses ware- gists has discovered, it also boasts a com- house. pelling past. With an occupation history The French Quarter witnessed wide- that includes several hotels, one possibly a spread decline during the postbellum brothel; a French parterred garden; and a period, with many properties converted to prehistoric Indian settlement, the Conti tenements or adapted for light-industrial Street lot stands as testament to the impor- use. Prior to its conversion, the structure Notarial Archives drawing of 535-37 Conti tance of French Quarter archaeology. on Conti Street had served as a hotel, with Street, February 27, 1853 (Vieux Carré Survey, The story of the Conti Street dig has a series of names—the Verandah, the Conti, square 28). The Collection’s planned archival storage facility will be a reconstruction of the several protagonists. Board member Mary Richardson’s—reflecting a succession of building depicted here. 2 Archaeologist Dr. Shannon Dawdy Earth Search archaeologist Ryan Gray Dr. Dawdy examines liquor bottle. communicated the new proprietors’ promise talizing echoes of “The House of the Rising Gonichon, Dr. Dawdy knew that a large to “maintain the character of giving the best Sun” continue to excite worldwide atten- parterred garden once occupied the site. entertainment which the house has enjoyed tion, with feature stories in newspapers from Now, working with freshly unearthed Native for twenty years past.” The notice in the the Times-Picayune to the Los Angeles Times American and French artifacts—as well as Gazette observed that “Gentlemen may here to the New Zealand Herald; coverage by BBC seed and soil remnants from the garden—Dr. rely upon finding attentive Servants” and Radio International and the Associated Press; Dawdy and her team will be able to piece promised that “the bar will be supplied with inquiries from authors, radio hosts, and together a more complete narrative on colo- genuine good Liquors.” television shows; and fervid speculation nial-era trade and horticultural practices. As Dr. Dawdy cautions, “it requires the among the ranks of ethnomusicologists. Digging still deeper, into an era before imagination to connect the dots between European contact, the archaeological team artifacts, archives, and lyrics.” Before cred- makes the most startling discovery yet… Prehistoric, shell- iting the Gazette item as indicative of the tempered pottery, Beneath the French colonial level, presence of a brothel, Dr. Dawdy intends to known as “Bell archaeologists encounter 10 centimeters of analyze the wording of other antebellum Plain,” ca. “sterile soil,” or earth devoid of artifacts. hotel advertisements. She also plans to AD 1200-1600 Fortunately, Ryan Gray wasn’t ready to call study city council minutes and city ordi- an end to the excavation. He advocated fur- nances, looking for any mentions of the ther digging—citing the propensity of the Conti Street site—such as noise or vagrancy Mississippi River to deposit large amounts complaints—that might suggest its use as a of sediment on its banks prior to the con- brothel. Working closely with Pamela D. struction of the levee system. His hunch Arceneaux, reference librarian at the WRC paid off. Beneath the sterile soil, the archae- and local expert on the history of prostitu- Sherds of ologists turned up a thin layer of prehistoric French-made tion, Dr. Dawdy has uncovered existing ceramics from Indian remains, including pottery sherds archival evidence suggesting that the site was early colonial dating between AD 1200 and 1600. home to rather low-rent establishments in period, ca. Historians have long known of a prehistoric the decades prior to the 1822 fire. The 1718-62. Indian settlement near Bayou St. John—but Calendrier de Commerce de la Nouvelle- evidence of a similar presence in the French Orléans pour l’année 1807 lists Madame Quarter is new and promises to revolution- Margaret Clark Chabaud as the operator of The excavation descends into largely ize the story of the area’s early settlement. a pension or boarding house on the site— uncharted territory, uncovering rich deposits Exhilarated by the preliminary findings but Annuaire Louisianais pour l’année 1809 from the city’s colonial past. of the Earth Search team, The Collection calls Chabaud an aubergiste, a term identify- Dr. Dawdy, Ryan Gray, and col- authorized a supplementary dig in March. ing her as innkeeper in an establishment leagues find remarkable 18th-century The archaeologists dug three new holes, with a tavern. preservation reaching back through the hoping to uncover more artifacts from the Chabaud’s daughter, Madame Celeste Spanish colonial era and into the French. era of the “upscale” hotel (ca. 1828-87) and Chabaud Duplessis, inherited the property Although property records from the Spanish to locate burned charcoal associated with in 1819, and whatever the nature of the period (1763-1803) are vague, incredibly the prehistoric Indian sherds, allowing services provided therein, they were termi- dense ceramics deposits from the level of the for carbon-14 dating of the early settlement. nated by the 1822 fire. The mystery of the 1794 fire suggest there was indeed a struc- The full story of 535-37 Conti Street Rising Sun remains unresolved. At the very ture, possibly a residence, on the Conti remains to be written. Future Quarterlies least, the Conti Street findings open the Street site. The French colonial deposits are will apprise readers of further archaeological door for investigating the establishment in particularly noteworthy, as only six con- discoveries and research finds. antebellum New Orleans of formal bordellos, trolled excavations have penetrated to this —Mary C. Mees previously believed to have been a Civil level in the French Quarter. Having con- War-era phenomenon. Meanwhile, the tan- sulted a 1731 plan of New Orleans by 3 REDCOATS ON THE MISSISSIPPI: UPCOMING

n the waning days of the War of 1812, The exhibition title reflects both the Andrew Jackson shocked the world by seriousness of the campaign and the fact I leading a ragtag force of local and state that the “battle” of New Orleans actually militia, regular U.S. troops, free men of consisted of several engagements, some won color, Choctaw Indians, and Baratarian by the British and others by the Americans. pirates to an overwhelming victory over an The exhibition curators, working within invading army of proud, tested, elite British the constraints of available objects and veterans bent on seizing New Orleans. documentary evidence, have striven for Jackson’s improbable victory ensured that equal representation of both British and this critical American port, and the control American perspectives. Drawing from The of the Mississippi River, would remain in Collection’s considerable holdings on the American hands. From May 17, 2005, Battle of New Orleans, as well as public and through January 8, 2006, The Historic private collections in the U.S. and Canada, New Orleans Collection revisits the scene The Terrible and the Brave will feature an with The Terrible and the Brave: The Battles impressive array of original documents and for New Orleans, 1814-1815. artworks, vintage weapons and military equipment, and dazzling Napoleonic-era uniforms. The Louisiana State Museum, the , the New Orleans Museum of Art, and The Hermitage in Nashville, Tennessee, have all generously loaned objects for the exhibition. Officer’s coat of the London and Westiminster Portions of the exhibition were made Light Horse Volunteers, ca. 1821, courtesy of possible by guest curator Timothy Pickles, a Timothy Pickles. This vintage uniform jacket is very similar to those worn by British troops at native of Great Britain and a well-known the Battle of New Orleans. The silver braid and history consultant for museums and the film buttons indicate that it belonged to an officer. industry. Mr. Pickles has lent various artifacts relating to the British army from enormous difficulties faced by the British his own collection. He has also utilized his army, which found itself hemmed in by the extensive contacts among fellow collectors Mississippi River and impassable swampy and enthusiasts to secure loans from other woods. Napoleonic-era military manuals private collections. Among the highlights and American battlefield reports supple- are replica uniforms, meticulously researched ment the maps and suggest some of the and constructed by Mr. Pickles, and worn ways that tactics were dictated by South by historical reenactors at Chalmette Louisiana’s terrain. Battlefield. A selection of cannonballs and small- While the vintage and replica uniforms arms projectiles used at Chalmette will give are likely to command the attention of exhi- visitors a lively sense of the perils both sides bition visitors, military history enthusiasts faced on the battlefield. Antique-weapons will also be drawn to the printed and enthusiasts will appreciate many fine exam- manuscript campaign maps from both the ples of British and American small arms of British and American sides. Among the the period, including flintlock pistols, rifles, most important is the highly detailed series and muskets, as well as edged weapons such of maps drawn and published by Arsène as swords and bayonets. Private collector Lacarrière Latour, Andrew Jackson’s chief Robert Melancon has graciously lent part of engineer and the first historian of the battle, his collection, including the only rifle fully in Historical Memoir of the War in West documented as belonging to a member of Florida and Louisiana in 1814-15 Captain Thomas Beale’s New Orleans Detail, Battle of New Orleans by W. A. C. Pape, (Philadelphia, 1816). Latour’s maps, and Riflemen—a volunteer unit that saw con- 1890 (1959.20) others on display, collectively illustrate the siderable action in 1814-15. Also of note is

4 EXHIBITION TO HIGHLIGHT THE BATTLE OF NEW ORLEANS

a sword with a particularly fascinating As a supplement to the main exhibi- story—it belonged to a young British officer tion, a special display will document the rise of the 21st Regiment of Foot who bravely of Andrew Jackson to national and interna- crossed the fortified American line on tional prominence in the decades following January 8, 1815, only to be forced to sur- the battle. Additionally, an interactive mul- render to members of John Coffee’s timedia component, produced by docu- Tennessee militia. In addition to weapons, mentary filmmaker Walter Williams, will vintage equipment on display will include complement The Terrible and the Brave and wooden canteens, powder horns, and a feature detailed commentary from the cura- militia doctor’s field surgery kit. tors as well as noted Jackson scholar Robert Manuscript letters, rare published Remini. The Terrible and the Brave: The accounts, and personal artifacts bring the Battles for New Orleans, 1814-1815 will be events of 1814-15 to life. One letter vividly open to the public free of charge at The conveys the mood of the Americans imme- Historic New Orleans Collection, 533 diately following the climactic battle. On Andrew Jackson by Samuel Lovett Waldo, 1819 Royal Street. (1979.112) —Jason Wiese

January 13, Major John Reid of the U.S. Infantry’s 44th Regiment and an aide-de- camp to Jackson wrote from his camp four miles below New Orleans: “Since the affair of the 8th instant, our army and that of the enemy have occupied their former posi- tions. Their loss on that day was terrible, greatly exceeding what we had at first sup- posed it to be.” Neither Reid nor his fellow officers—who could still hear gunfire from the direction of Fort St. Philip, downriver— knew yet what the next move of the British army would be, for it was still a large and potent force. As Reid wrote his letter, the ultimate outcome of the battle remained an open question. Various manuscript letters and reports from Andrew Jackson, Jean Laffite, British colonel Frederick Stovin, and other major and minor participants in the battle will give visitors a raw, unpolished look at history in the making. Contrary to the notion that the Battle of New Orleans was an unnecessary coda to the War of 1812, the curators hope that visitors will understand that the British invasion was a serious threat to the city, as well as to the entire country, and that regardless of the American victory, the event occasioned much loss of life and property. The young scored a critical victory, but the British forces in Louisiana Replica of a ca. 1814 British army lieutenant- general’s uniform and hat, courtesy of Timothy showed remarkable bravery and ingenuity Detail, Battle of New Orleans by Dennis Malone Pickles in defeat. Carter, 1856 (1960.22) 5 Saint Domingue’s Sweet Tooth: The Sugar Industry during the French Colonial Era

As announced in the coast and smaller offshore islands had been of molasses, provided the economic engine winter 2005 issue of going on for some decades. By the 18th that drove colonial policy toward Saint the Quarterly, The Collection has undertaken century, French planters had plunged, with Domingue. preparations for a groundbreaking exhibition, gusto, into the cultivation of sugarcane in Sugar production created a tremen- Colonial Saint Domingue: A Louisiana Saint Domingue. Among the major cash dous increase in the value of arable land in Heritage Story. Leading up to the exhibition’s crops—coffee, indigo, tobacco, and Saint Domingue, as well as the need for opening, in January 2006, the Quarterly will sugar—sugar commanded the most atten- more slaves. By the mid-18th century, feature articles exploring aspects of life in the tion, both in terms of its cultivation and its slaves accounted for 150,000 of the nearly colony. Below, John Lawrence traces the devel- prominence in the world market. 165,000 inhabitants of Saint Domingue. opment of the colony’s thriving sugar The proportion of slaves to the industry. total population grew even greater ~~~ by the last decade of the century. Sugar—that crystalline, white Owning a sugar plantation in the substance sweetening everything from colony was tantamount to having a iced tea to cake frosting—has a com- license to print money. But as plicated history that belies its ubiqui- principles of the Enlightenment tous nature. It is hard to imagine that gained a foothold on the continent sugar, now taken for granted and of Europe, it became inevitable that deemed replaceable by a host of natural social and economic change would and synthesized products, once served soon visit Saint Domingue. as a catalyst for change in global politics The revolutionary outcry and geography. Believed to be native against a privileged class that to Indonesia, sugarcane had been erupted in France in 1789 was known and cultivated for centuries in Scientific organizations such as the Academie des heard in Saint Domingue as well. Asia before being introduced to Europe in Sciences and the Cercle des Philadelphes du Cap From 1791 until the declaration of Haitian the 11th century. Later, during the 17th Français thoroughly documented every aspect of independence on New Year’s Day 1804, a the sugar industry in Saint Domingue, as seen in and 18th centuries, the world’s demand for the detailed drawings of Monsieur Cassagnaird’s series of revolts in the colony laid waste to sugar rendered it a precious commodity and plantation (top, screened back) and a sugar mill the plantations, resulting in widespread a building block of empire in the New (above). Top, left, Illustration of sugarcane plant destruction of property and dispersion of World. Nowhere was sugar’s impact more from F. R. de Tussac, Flore des Antilles (Paris, the planter class to parts of Cuba and the strongly felt than in the French colony of 1808). All images courtesy of Centre des archives United States. Vast fires in cities and fields d’outre-mer in Aix-en-Provence Saint Domingue. prompted British prime minister William Hispañola (present-day Dominican As with virtually any colonial planta- Pitt to comment wryly: “It seems as if the Republic and Haiti), the second largest tion model during the 18th century, slave French will be drinking their coffee with island in the Caribbean, was claimed for labor made up a large part of the equation caramel.” Spain by Columbus in 1492. On his sec- in Saint Domingue; the traffic in human If insurrection effectively destroyed the ond transatlantic voyage, in 1493, cargo from western Africa flourished in leading industry of what had often been Columbus introduced sugarcane, transported order to satisfy the world’s sweet tooth. The described as the wealthiest colony in the from cuttings in the Canary Islands, to the majority of slaves served as field hands, world, its effect in Louisiana proved differ- eastern portion of the colony. Yet by the engaging in the arduous work of planting, ent. The successful sugar production on end of the 16th century, sugar production tending, and harvesting the sugarcane. A Etienne de Boré’s New Orleans plantation languished, and would not revive until a smaller percentage of the slave popula- in 1796, assisted by Antoine Morin of Saint new colonial power established its hegemony. tion dealt with the technical aspects of pro- Domingue, marked the beginning of The Treaty of Ryswick, in 1697, brought ducing a consumable product from the raw Louisiana’s modern sugar industry, which the western portion of Hispañola under juice yielded by the crushed stalks of the through more than two centuries of change, French control—though French encroach- cane. The desire for sugar, especially in the exists today. ment and settlement along the northern more refined state in which it was stripped —John H. Lawrence

6 Educational Outreach Update A Dollop of History in Every Bite: The Evolution of Creole Cookery in New Orleans History Channel Grant Supports Education Department’s Culinary History Project

n January, The Historic New Orleans tion of Creole cookery in New Orleans. After Collection received one of 29 inaugural a thorough overview of the development I Save Our History community preserva- of Creole cooking traditions—including tion grants awarded nationwide by the comparisons of 19th- and 20th-century cook- History Channel. The Save Our History books and field trips to house museums to grants are designed to fund innovative, edu- participate in open-hearth cooking demon- Creole Cookery published by the Christian Woman’s Exchange, cational projects that bring communities strations—students will conduct primary- 1885 (81-983-RL), gift of Mrs. Ashton Fischer together and engage children in the preser- source research, actively involving their and Mrs. Carl Corbin vation of their local history. “A Dollop of families as well as neighbors and local chefs. History in Every Bite: The Evolution of Several individuals and organizations Creole Cookery in New Orleans,” a program have volunteered their services to the project, Food, Glorious developed by curator of education Sue including Culinaria, a culturally centered Laudeman, was the only Louisiana project cooking school and private event facility; Food chosen from a pool of 699 applicants. Kelly Hamilton, founder and tour director With the grant funds, the education of New Orleans Culinary History Tours; WRC Exhibition department of The Collection will work and Tim Ryan of New Orleans Video Celebrates Culinary with approximately 420 middle- and high- Access Channel, who will document the school students from seven local schools program in a short video. History (Robert M. Lusher Elementary School, Connecting generations, involving A Dollop of History in Every Bite!, an exhibi- Mary Church Terrell Magnet School, families in the educational process, and tion mounted in celebration of the award- O. Perry Walker High School, Benjamin bringing together the culinary community ing of the History Channel’s Save Our Franklin Elementary School, Henry C. in New Orleans, “A Dollop of History in History grant to The Collection and the Schaumburg School, Fannie C. Williams Every Bite” promises to test the French 100th anniversary of Galatoire’s restaurant, Middle School, and the High School proverb le plus se change, le plus c’est la meme features an assortment of The Collection’s Signature Center for Culinary Arts) on a culi- chose—the more things change, the more culinary holdings. Highlights include Creole nary history project that explores the evolu- they stay the same. culinary artifacts, print ephemera, menus, rare pamphlets, advertisements and labels, vintage photographs, and some of the oldest cookbooks published in New Orleans. Coinciding with the exhibition and grant, The Collection has undertaken the microfilming and digitization of one of the city’s most noteworthy cookbooks, Creole Jessica Harris and Leah Chase Poppy Tooker prepares gumbo des herbes. Cookery, published by the Christian Woman’s Exchange in 1885. Although the institution’s only copy is largely intact, the conservation efforts will ensure the preser- vation of the original. The Collection is also collaborating with the Hermann- Grima/Gallier Historic Houses to publish a reprint of Creole Cookery in partnership with Pelican Publishing Company. Leah Chase imparts her culinary expertise. Future chefs? A Dollop of History in Every Bite! will be Students and teachers gathered at Culinaria on March 28 for a celebrity-chef interview and on view at the Williams Research Center, cooking demonstration. The event, part of “A Dollop of History in Every Bite,” featured an 410 Chartres Street, from May 24 through interview of Leah Chase, proprietor of Dooky Chase Restaurant, by culinary historian and December 3, 2005. cookbook author Dr. Jessica Harris. Poppy Tooker, regional director of Slow Food New Orleans, cooked and assisted Leah Chase.

7 MORRIS HENRY HOBBS: IN OLD NEW ORLEANS Excerpts from the forthcoming publication PRINTMAKING IN NEW ORLEANS Continuing the Quarterly’s ongoing series featuring excerpts from In response to the prevailing situation, Hobbs turned his atten- Printmaking in New Orleans, the passages below are adapted from tions toward accurately recording the appearance of the Vieux Claudia Kheel’s essay on 20th-century printmaker Morris Henry Hobbs. Carré, relying on his earlier architectural training. He envisioned, ~~~ correctly, that these prints would be appreciated later for their aes- Morris Henry Hobbs first visited New Orleans in January 1938 thetic qualities as well as their historical documentation. with plans for creating a series of prints of the Vieux Carré. Like many artists, he was immediately drawn to the city’s enchanting atmosphere. The ancient alleys, historic buildings, music, and eth- nic richness enveloped and heightened his senses. Hobbs intended to stay and sketch for only a few weeks, little knowing that he had launched upon a ten-year endeavor that would prove among the most successful and significant of his artistic career. ~~~ Hobbs settled into a temporary studio at 740 Royal Street and diligently went to work creating careful studies of the Vieux Carré. The pencil sketch Courtyard at St. Ann St. was drawn by Hobbs a month after his arrival. The view of the picturesque patio shows his concentration on the architectural aspects and illustrates his atten- tion to detail and his ability to render. As he became more familiar with the city, Hobbs grew concerned about the inaccurate renova- tions and complete destruction of many buildings in the Vieux Carré. In an interview with the locally published journal Arts and Antiques, Hobbs expressed his concern: “Let us hope that the citi- zens of New Orleans realize the value of the unique period in the history of architecture and will not allow the Vieux Carré to be destroyed or to be disintegrated through lack of maintenance.” Slave Quarters on Burgundy St., Old New Orleans Hobbs feared the modernization of the old quarter was inevitable. by Morris Henry Hobbs, 1940 (1959.185.34)

Numerous artists—including Joseph Pennell and the Woodward brothers—sketched, painted, and etched the familiar sights of the Vieux Carré, such as the French Market and St. Louis Cathedral. Hobbs drew on the same familiar sights, but his prints explicitly depict the poor and decaying sections of the city. He wanted his prints to reflect the unique flavor of life. The etchings Slave Quarters on Burgundy St., Old New Orleans and Burgundy St., Old New Orleans show the impoverished state of that street. The garden and wooden fence of Slave Quarters on Burgundy St. were ill- kempt and in need of attention. The building was dilapidated with plaster peeling away from the brick walls. A broom and small rug hung over the rail in Burgundy St. A woman, with her two children, appears to have been interrupted in the middle of her housecleaning by the coal vendor. In the manner of Whistler and other partici- pants in the first etching revival of the mid-19th century, Hobbs showed daily activities along the lowly street. Instead of represent- ing the beautiful antebellum mansions of the Garden District, he largely focused on the mean yet picturesque qualities of the city. In these prints, Hobbs does not use the printing techniques of aquatint or mezzotint. Relying only on the etched line and his ability to draw, Hobbs conveys convincingly the multitude of textures of the Courtyard at St. Ann St. by Morris Henry Hobbs, old buildings. February 27, 1938 (1960.4.7) 8 ~~~ After an enjoyable and productive visit, Hobbs returned to Chicago in April 1938. He remained fascinated with New Orleans, and felt he had barely scratched the surface. There was so much more to draw, paint, and etch. The following January Hobbs returned to New Orleans, this time sharing a studio at 629 St. Ann Street with his friend Cornelia Lawrence Searle, a jewelry designer FROM THE DIRECTOR formerly of Chicago. Intending, again, to stay only a few months, Hobbs instead settled permanently in New Orleans, returning to Chicago only for occasional visits. n addition to heat and humidity, the approaching summer promises a host of events at The Historic New I Orleans Collection. Our buildings and courtyards offer a respite from the climate, while our programs offer insight into the remarkable history of the region. Please think of The Collection when planning your summer schedule. The season kicks off on May 17 with the opening of The Terrible and the Brave: The Battles for New Orleans, 1814- 1815 at the Williams Gallery on Royal Street. The first com- prehensive display of our broad holdings related to the Battle of New Orleans, The Terrible and the Brave showcases the core materials collected by founders Kemper and Leila Williams, as well as the William C. Cook War of 1812 in the South Collection. Artifacts from The Hermitage in Nashville, the Chalmette Battlefield National Park, and pri- vate collections enhance the exhibition, as does an interactive DVD presentation. July will see a series of compelling talks by noted Back Porch Gossips, Old New Orleans by Morris Henry Hobbs, 1940 scholars. On July 9, a mini-symposium honoring George (1960.4.22). Back Porch Gossips, which was awarded a prize by the and Martha Washington will celebrate the summer release of Southern States Art League in 1941, shows tenants gathering on their porches to escape the oppressive heat and to chat about the day’s events. Martha Washington: An American Life by former director of publications Dr. Patricia Brady. Joining Dr. Brady on the ~~~ speaker’s podium will be Jim Rees, executive director of Hobbs had the distinction of being honored by the Mount Vernon. The fourth annual Les Comédiens Français Smithsonian Institution with a one-man show in 1939, featuring the prints from his Old New Orleans series. To accompany each lecture, on July 21, will feature a presentation by Peter print, Hobbs wrote a brief note explaining the historical signifi- Rogers, S.J., entitled “Lafcadio Hearn: Champion of Gustave cance of the subject. In a favorable review of the show in the Flaubert.” Washington Post, Leila Mechlin wrote that “to see this exhibition is From hands-on educational activities to a genealogy like visiting the Vieux Carré with a well informed and sensitive workshop, August brings programs for history lovers of all artist as guide; not only does he tell us about what he sees but opens ages. On August 13, Augusta Elmwood will present a work- our eyes to its utmost subtleties.” shop entitled “Researching Your Saint Domingue Ancestors,” ~~~ kicking off a year of programming on Louisiana’s relationship A decade after his initial visit, Hobbs felt he had completed his to the former Spanish and French colony. And on August 21, extensive Old New Orleans series. He had successfully represented Battle of New Orleans reenactors will be on hand at our the Vieux Carré as it appeared in the 1930s and 1940s. The prints annual Family Day event to show off their uniforms and stand as documentation of a time and place, conveying a sense of demonstrate their tactics. the flavor of life in the old quarter. Hobbs would surely be pleased This summer will also bring the release of Printmaking that the documentary and aesthetic qualities of his prints make them favorites of historians and artists, to this day. in New Orleans, a book that has involved many of our staff —Claudia Kheel for a number of years. So mark your calendars for a fun- filled, educationally rich summer at The Collection. Claudia Kheel is director of American paintings, prints, and photog- —Priscilla Lawrence raphy at the Neal Auction Company in New Orleans.

9 LAUSSAT SOCIETY FUNDS TO SUPPORT SECOND VOLUME IN THE LOUISIANA ARTISTS BIOGRAPHY SERIES

New Orleans, 1832. The city’s economy is Rambervillers, France, Jean-Joseph thriving, its boundaries and population Vaudechamp later joined the Parisian expanding. Yet change brings mixed bless- household of his uncle, the prominent poet ings—local Creoles find themselves steadily Jacques Delille. Delille’s influence helped losing cultural, political, legal, and economic Vaudechamp win entry, in 1811, into the William Charles Cole Claiborne II by Jean-Joseph Vaudechamp, 1831 dominance. The stage is set for the arrival of École des Beaux-Arts and the studio of (1981.376.1), bequest of Clarisse an artist whose work will captivate, and help Anne-Louis Girodet-Trioson. The record Claiborne Grima. Although known revitalize, the city’s Creole community. shows that Vaudechamp thrived in for his portraits of Creoles, * Girodet’s atelier; exhibited work at the Vaudechamp also portrayed promi- Vaudechamp in New Orleans, a forth- Salon between 1817 and 1848; married nent Americans, including the son of Governor William C. C. Claiborne. coming publication of The Historic New twice; and died, in Neuilly-sur-Seine, in Orleans Collection, is but the latest mani- August 1864. But the record is incomplete. city’s culture wars. Vaudechamp’s sitters— festation of the generosity of the Laussat Missing is an extraordinary chapter in the the majority of them Creoles—were mak- Society. Named for French diplomat Pierre story of Vaudechamp’s career—and in the ing a clear statement of cultural identity Clément Laussat, the society offers members story of the New Orleans arts scene. and allegiance by choosing a French artist. an array of educational and social benefits, Vaudechamp in New Orleans picks up Richly illustrated and compellingly narrated, while providing vital support for The where the standard art histories leave off. Vaudechamp in New Orleans will feature Collection’s projects and programming. For several years, beginning in 1832, many stunning portraits from The Vaudechamp in New Orleans—by Dr. Vaudechamp spent his winters in Louisiana, Collection’s own holdings. William Keyse Rudolph, the Pauline Gill establishing himself as the region’s leading Laussat Society members will have an Sullivan Associate Curator of American Art at portrait painter. He was, quite simply, the opportunity to meet Dr. Rudolph at a spe- the Dallas Museum of Art—will be the sec- best-educated artist yet to have worked in cial publication preview party this June. ond volume in The Collection’s Louisiana New Orleans. Sitters flocked to his 147 To join the Laussat Society—or to learn Artists Biography Series, following the well Royal Street office; in his first three winters more about The Collection’s membership received George L. Viavant: Artist of the Hunt. alone, Vaudechamp earned $30,000 (the program—please visit our website, Publication is slated for spring 2006. equivalent of nearly $650,000 today). Even www.hnoc.org, or call Jack Pruitt, Jr., direc- Born December 20, 1790, in more important, he played a vital role in the tor of development, at (504) 598-7173.

DONORS: October-December 2004

Mr. and Mrs. Warwick Allen, Jr. Mr. and Mrs. Robert S. Brantley Mr. and Mrs. Lawrence D. Garvey Dr. Alfred E. Lemmon Dr. and Mrs. Charles N. Aprill Mr. and Mrs. Hugh C. Brown John Geiser III Justice Harry T. Lemmon and Judge Mary Mr. and Mrs. Robert Armstrong E. John Bullard Terry Gerstner Ann Vial Lemmon Bank One Mrs. William K. Christovich Mr. and Mrs. John M. Goodwin Antoine and Margie Luke Baptist Community Ministries Mrs. John Clark Shirley Ann Grau Yvonne Lutenbacher matching grant for Drew Jardine CODOFIL Patricia Hardin Ralph Madison donation Harry Connick, Sr. Gary Hendershott John T. Magill Marilyn Barnett Consular Corps of New Orleans Dr. and Mrs. Jack D. Holden Michael Ginsberg Books Mr. and Mrs. Beauregard L. Bassich William C. Cook Mr. M. C. Holland The Michael White Quartet Jim Beam La Côte Brasserie Jean Hyman Missouri Historical Society Mr. and Mrs. John D’Arcy Becker Cox Communications—Channel 8, The John D. and Catherine T. MacArthur Nadia St. Paul Möise Robert M. Becnel and Diane K. Zink Jefferson Parish; Channel 10, Foundation matching grant for Una M. Moore Steve Bellas New Orleans Nancy B. Van Deuren donation Mr. and Mrs. Roy J. Mossy Mr. and Mrs. Joseph Grima Bernard Coypu Foundation Trust Dr. and Mrs. Calvin M. Johnson Neal Auction Company, Inc. Henry Bernstein and Jerry Zachary Mr. and Mrs. Mark Dauer Dr. Florence M. Jumonville Laura Simon Nelson Mr. and Mrs. Dixon Betz Mrs. Walter Palmer Diaz Kevin Kline New Orleans Television Mr. and Mrs. Emanuel Blessey in memory William Lake Douglas Mrs. J. M. Lapeyre Paul C. Newfield III of Richard Cheatham Plater, Jr. Robert Klein Engler Mr. and Mrs. John H. Lawrence Leverne D. North The Bouligny Foundation Fidelity Homestead Association Frederick Lee Lawson Angèle M. Parlange in honor of Jean Bragg Mr. and Mrs. Dudley D. Flanders Michael Ledet Rosemarie Fowler

10 PRESERVING A LEGACY hen Charles S. “Burney” Orleans, which will fea- Williams and his wife Ashley ture the work of one of W stroll through the courtyards Burney’s favorite artists, and galleries of The Historic New Orleans Morris Henry Hobbs. Collection, it’s no wonder they feel at The couple met on home. Not only are Burney (a “history a blind date brokered by buff”) and Ashley (a practicing artist) mutual friends at Sam surrounded by the very items—historical Barthe, an all-boys artifacts and artworks—most likely to give school in Metairie where Ashley’s mother Brett, Burney, Ashley, and Frank Williams them pleasure. They are also, quite literally, taught English literature. For Burney, a mental technology. And he and Ashley are on home turf. Burney’s grandfather, senior at Episcopal High School in proud to support another family concern— Charles, was a brother of Collection Alexandria, , and Ashley, a Sam The Historic New Orleans Collection. founder Kemper Williams—and the Barthe cheerleader, it was “love at first Burney describes philanthropy as “a personal younger Williamses have inherited their sight.” They celebrated their twentieth decision,” but encourages everyone to “find elders’ dedication to the preservation and wedding anniversary last year, along with projects that they can identify with and par- celebration of Louisiana’s cultural riches. their “two-and-a-half children”—son ticipate in.” He appreciates the way in which Burney Williams values The Collection Frank, 19, daughter Brett, 16, and The Collection keeps donors up-to-date on as “a single-source place to go for informa- Kingfish, a big bull mastiff. Brett is an avid developing projects. “It’s more meaningful tion”—a place where history comes alive. reader, like her father, while Frank takes to see something grow as opposed to just see- He has read the works of the late Stephen pottery classes from his mother at St. ing the end product,” he observes. “It makes Ambrose and, like him, believes that history Paul’s School. Having moved from Old you feel more connected.” should be held in a public trust, to be pro- Metairie to Covington five years ago, the tected and treasured for future generations. entire family enjoys country living, With its central location and its diverse although Ashley notes that “I have to get holdings, “The Collection is in a unique my New Orleans fix every now and then.” HAVE YOU CONSIDERED position in that it is able to put together Needless to say, family has always been A PLANNED GIFT? projects that have meaning to a great number a priority for the Williamses. Burney has In many cases, a planned gift can help you achieve the following objectives: of people.” The Williamses have actively been president of Williams, Inc., since • Bypass capital gains taxes supported Collection publication projects, 1987, in which capacity he oversees the • Increase current income like Charting Louisiana, and eagerly antici- company’s interests in money management, • Reduce current income taxes pate the forthcoming Printmaking in New oil and gas, crawfish farming, and environ- • Reduce federal estate taxes • Conserve future assets for your heirs • Benefit your favorite charity To better serve the community, The Historic New Orleans Collection is pleased to offer the following materials Mr. and Mrs. Robert J. Patrick Dr. Robert F. Ryan Timothy Trapolin free of charge: Peter A. Mayer Advertising, Inc. St. Louis Cathedral/Old Ursuline Mr. and Mrs. Samuel A. Trufant • Giving Through Life Insurance Philip Lee Phillips Society Convent: A Catholic Cultural Valentino New Orleans • Giving Through Charitable Mr. and Mrs. R. Hunter Pierson Heritage Center Hotels/Michael Valentino Remainder Trusts Jean-Pierre Pique Dr. Robert L. Seegers Vieux Carré Property Owners, • Giving Through Your Will Ormonde Plater Margaret M. Shaffer Residents and Associates, Inc. • Giving Securities Andrew L. Plauché, Jr. Nancy Sickmann Mr. and Mrs. St. Denis Villere • Giving Through Retirement Plans Dr. Jessie J. Poesch Kathy Slimp Mr. and Mrs. John E. Walker • Giving Through Gift Annuities Rosa Little Porter in memory of Anna Rose Smedberg WDSU-TV For more information about planned Robert Edwin Porter Edgar Lee Smith Daniel Weilbaecher, Jr. giving, please call Jack Pruitt, Jr., director John Powers Mr. and Mrs. Fred Smith John G. Weinmann of development, (504) 598-7173. La Prensa Mr. and Mrs. Charles A. Snyder WLAE-TV Prism International Mrs. Frederick M. Stafford WWL-TV All inquiries are held in strictest confidence Mr. and Mrs. Joseph Rault Dr. S. Frederick Starr www.frenchquarter.com and are without obligation. The Historic Betty Redler Mr. and Mrs. Arthur P. Steinmetz WYES-TV New Orleans Collection does not offer William D. and Sally K. Reeves Greg Stemm legal or tax advice. We encourage you to René Bistrot Irma M. Stiegler consult your legal and financial advisors Dr. James L. Reynolds Anice Temple for structuring a gift plan that achieves Stacey Rogers Fred W. Todd your giving intentions and meets your par- Walker Y. Ronaldson, Jr. Roulhac B. Toledano ticular financial circumstances.

11 LIBRARY ACQUISITIONS For the fourth quarter of 2004 (October- December), there were 57 library acquisi- T HE H ISTORIC N EW tions, totaling 360 items. O RLEANS C OLLECTION Marcelle D’Aquin Saussy has donated encourages research in the four turn-of-the-century issues of The New Williams Research Center at Orleans and Carrollton R.R. Weekly, a leaflet 410 Chartres Street from distributed on area streetcars featuring 9:30 a.m. to 4:30 p.m. Tues- information about local events. One leaflet day through Saturday (except notes that on Saturday evening, September 1, holidays). Cataloged materi- 1900, the Olympia Opera Company gave a als available to researchers farewell performance at Athletic Park. include books, manuscripts, paintings, prints, Others remind the commuting public of drawings, maps, photographs, and artifacts safety concerns and warn that spitting on J. B. Walton, commander of the Washington about the history and , Artillery at the first battle of Manassas (2004.0281) the floors of streetcars is unsanitary and Louisiana, and the Gulf South. Each year The offensive. Collection adds thousands of items to its hold- A copy of the 13th (1966) edition of the ings. Though only selected gifts are mentioned cation of the 1885 edition supplement the Picayune Creole Cook Book, donated by culi- here, the importance of all gifts cannot be research materials. nary enthusiast Ann Bruce, supplements overstated. Prospective donors of Louisiana Following the Civil War, Owen other Collection holdings related to New materials are invited to contact the authors of remained with the Washington Artillery, Orleans culinary history and traditions. the acquisitions columns. eventually serving as its commander. Later First published in 1900, the Picayune Creole in life, he was a partner with Longstreet, Cook Book has seen numerous editions since Owen and Company, a cotton brokerage that time. According to the 1966 edition, firm, and was instrumental in amassing the the book contains “many excellent and MANUSCRIPTS collections at the Memorial Hall matchless recipes of the New Orleans cui- For the fourth quarter of 2004 (October- Confederate Museum. Correspondence sine…the best of Creole Cookery.” December), there were 28 manuscript with business partner General James Coinciding with the commencement of acquisitions, totaling approximately Longstreet and numerous broadsides pro- “A Dollop of History in Every Bite,” the 48 linear feet. vide insight into the politics of the culinary history project funded by the The papers of William Miller Owen Reconstruction era. Of particular interest History Channel, the donation will aid (1840?-1893), donated to the manuscripts are a charcoal drawing of Colonel J. B. children with their research on the develop- division by Gary Hendershott, offer further Walton, commander of the Washington ment of Creole cookery. insight into Louisiana’s role in the Civil Artillery at the first battle of Manassas, and Building on The Collection’s assemblage War and Reconstruction. A native of a program of ceremonies for the unveiling of doctoral dissertations, the library has Cincinnati, Ohio, Owen was educated at and dedication of the Washington Artillery acquired Dr. Shannon L. Dawdy’s “La Ville the Gambier (Ohio) Military Academy, Monument at Metairie Cemetery on Sauvage: ‘Enlightened’ Colonialism and joined the army in 1858, and later moved Sunday, February 22, 1880. Additional Creole Improvisation in New Orleans, to New Orleans. During the Civil War he material on Colonel Walton and the 1699–1769” (PhD diss., University of served with the Washington Artillery, Washington Artillery can be found in the Michigan, 2003) and Dr. Patrick Brennan’s achieving the rank of lieutenant colonel. Walton-Glenny Family Papers at The “Fever and Fists: Forging an Irish Legacy in Best remembered for his literary Collection (77-157-L), which contain cor- New Orleans” (PhD diss., University of efforts, Owen began research soon after the respondence covering the occupation of Missouri-Columbia, 2003). Both scholars Civil War for In Camp and Battle with the New Orleans during the Civil War and the acknowledge the staff of the Williams Washington Artillery of New Orleans. service of the Washington Artillery in Research Center for their invaluable Published in 1885, the book has been sub- Virginia. assistance. sequently reprinted, most recently by The Louisiana Commandery of the —Gerald Patout Louisiana State University Press in 1999. Military Order of Foreign Wars of the CURATORIAL Hendershott’s donation includes manu- United States, established on March 28, script drafts of the book, numerous personal 1900, has donated its records to The For the fourth quarter of 2004 (October- accounts of battlefield experiences by Collection. The order, which is open to all December), there were 17 curatorial acqui- Confederate and Union soldiers, and hand- officers who served in foreign wars and their sitions, totaling 347 items. drawn maps of battle scenes. Letters from direct descendants, honors and perpetuates In 1697 the Treaty of Ryswick estab- readers, advertisements, reviews of the the study of American military history. lished French dominion over Saint book, and other items related to the publi- —Mark Cave Domingue, the western portion of the 12 Caribbean island of Hispañola, effectively creating the centerpiece for France’s New World empire. Saint Domingue’s many natural harbors, location on the principal shipping lanes of the Caribbean Sea, and geographic positioning between France and Louisiana made the colony a strategic stronghold for the French Crown. Two vol- umes by Antoine H. A. de Chastenet, comte de Puységur, published in Paris in 1787—Le Pilote de L’isle de Saint-Domingue and Détail sur la Navigation aux côtes de Saint-Domingue et dans ses Débouquemens— serve as testament to Saint Domingue’s importance in the colonial era. Recently acquired by The Historic New Orleans Collection with funds from the bequest of Clarisse Claiborne Grima, Die Balize an der Mündung des Missisippi by Friedrich Wilhelm Paul Herzog, Duke of Württemberg, 1822 (2004.0305) these volumes constitute the most ambi- tious cartographic study of the island of ground is a large alligator—an animal that, watercolor of a cabbage patch in Munich, Hispañola in the 18th century. Published as a European, Herzog would have Germany, painted by Ellsworth during an during the reign of Louis XVI, Le Pilote de undoubtedly found exotic. early-1890s European sojourn. The Nelson L’isle de Saint-Domingue and Détail sur la Laura Simon Nelson has recently donated donation also features a still life by Illinois Navigation… received the blessing of the four oil paintings, two watercolors, and a native Morris Henry Hobbs and portraits Royal Academy of the Navy. Puységur’s bronze sculpture by a group of artists that, by Jacques Amans, hailing from the attention to detail in both the written sail- though not native to the area, achieved Netherlands, and Italian-born Achille ing instructions and the accompanying prominence with their Louisiana art. Peretti. maps reflects the most current practices in Works by Massachusetts natives Ellsworth —John H. Lawrence surveying and navigation pioneered by and William Woodward include two paint- French scientist Jean Charles Borda. As ings—a landscape of Pass Christian, such, the works embody the quintessence of Mississippi, and a portrait of a French CHARTING LOUISIANA: Enlightenment thought. Market vendor—as well as a bronze portrait FIVE HUNDRED YEARS OF MAPS Introduced in the United States in the bust of their aunt, Emma, by William and a CHOSEN TO REPRESENT early 19th century, lithography was a rela- LOUISIANA ON A NATIONAL tively new art form when Friedrich BOOK LIST Wilhelm Paul Herzog, Duke of Württemberg, produced his 1822 view of In January, American Library Association the Balize at the mouth of the Mississippi president Carol Brey-Casiano initiated a River—Die Balize an der Mündung des national program titled “Many Voices, Missisippi—which The Collection recently One Nation @ Your Library,” inviting all acquired. A topographical artist and state chapters and ethnic caucuses to sub- scientific explorer who abandoned his mit two annotated book selections that military career to study the natural sci- “best represent the uniqueness, diversity, ences, Herzog visited New Orleans in 1822 and/or heritage of their state, region, or and 1829 under the alias Baron von ethnic group.” The Louisiana Library Hohenberg, then again in 1850 and 1852. Association chose Charting Louisiana: During his 1822 journey, Herzog made a Five Hundred Years of Maps as one of the sketch for Die Balize…. Though not two publications to represent Louisiana unknown, lithographs depicting Louisiana on the national list. Available on-line at prior to 1820 are scarce. www.ala.org/manyvoices, the book list The rendition shows a number of “celebrates the diversity in the literature details of the pilot station where the river of [the] country and the unifying role enters the Gulf of Mexico, the general char- that libraries play in building a literate acter of the land, and ships under sail. Still life by Morris Henry Hobbs, 1943 nation.” Prominently featured in the print’s fore- (2004.0307.2) 13 STAFF A Footnote to History Proposed Peace Treaty Sheds Light on Civil War IN THE COMMUNITY Linda Epstein joined the board of Save Our y December of 1862 frustration and Means. Kenner later served as special envoy Cemeteries. disillusionment brought about by on behalf of the Confederate government to PUBLICATIONS Bthe painful realities of the American elicit European support for the Confederate John H. Lawrence, article on Ernest J. Civil War fueled a growing anti-war move- cause. On December 3, 1862, Robertson Bellocq’s photographs, Glass Art Society’s ment. Local peace groups sprang up drafted “A Treaty of Peace and Amity Journal (2004); book review, Louisiana throughout the South; and in the North, between the Confederate States and the History (winter 2005). anti-war Democrats played on an angry and United States of America” and sent it along CHANGES war-sickened electorate to achieve signifi- with a letter to Kenner. Making note of the Teresa Kirkland, scanning technician, cant gains in Congress in the midterm elec- midterm elections of 1862 and the logic IMLS-funded digitization project; Judith tion of 1862. Some Republicans, sharply behind the timing of the peace proposal, he Gardner, obituary index project; Lisa critical of President Abraham Lincoln, asserts that “the war must be ending at some Brown, manuscripts cataloguer. began questioning the direction of the war. time and propositions must come from one INTERNS AND VOLUNTEERS Historians of the Civil War have noted side or the other.” Robertson argues that if Scott Samuel, intern (Vanderbilt University); that with the peace movement gaining the Lincoln administration refuses to nego- Caroline Hiatt, intern (); momentum, the time between the 1862 tiate, “the whole responsibility of continuing Kay Lapeyre, volunteer, docent depart- election and the implementation of the the war will be more clearly thrown upon ment; Lisa James, volunteer, education Emancipation Proclamation in January their shoulders.” department. 1863 provided a brief window of opportu- The treaty consists of six articles. The nity for the Confederate government to first gives navigation rights of the EXTENDED HOURS peacefully negotiate the issues at stake in Mississippi River to both the Union and the The Collection now opens one-half hour the conflict. In The , Confederate states; the second and third earlier at 9:30 a.m.! historian Peter J. Parish notes that “If the articles address the issue of free trade South had shown more skill and awareness between the two nations; article four pro- in exploiting the Northern situation, it poses that the pre-war national debt be might have created a great opportunity for assumed equally; and articles five and six THE HISTORIC itself, and great embarrassment for its deal with the return of barracks and fortifi- NEW ORLEANS adversary, in the winter of 1862-3, before cations, as well as slaves and other property. emancipation was firmly enough estab- The document is obviously reflective lished to rule out a negotiated peace.” of the Confederate point of view and QUARTERLY Why Confederate leaders did not seize intended by Robertson as a catalyst for the opportunity is a matter of further negotiation. One can only speculate about Editors Jessica Dorman inquiry and debate, but a recent acquisition what the outcome would have been had the Lynn D. Adams, Mary C. Mees by The Collection reveals that William proposal been acted upon in 1862. Tens of Head of Photography Jan White Brantley Blount Robertson (1813-1884), a West thousands of soldiers lost their lives during Additional photography by Baton Rouge Parish judge and sugar the war’s remaining years. Their lives might Keely Merritt planter, advocated just that to Confederate have been spared, but at what cost to the The Historic New Orleans Collection Quarterly is published by The Historic New Orleans Louisiana congressman Duncan Kenner, a principles that Americans today hold dear? Collection, which is operated by the Kemper member of the Committee on Ways and —Mark Cave and Leila Williams Foundation, a Louisiana nonprofit corporation. Housed in a complex of historic buildings in the French Quarter, facilities are open to the public, Tuesday UPCOMING EVENTS through Saturday, from 9:30 a.m. until 4:30 p.m. Tours of the history galleries and A Symposium Honoring the First Family the Williams Residence are available for a nominal fee. Speakers Board of Directors Dr. Patricia Brady, author of Martha Washington: An American Life Mrs. William K. Christovich, Chairman James C. Rees, executive director of Mount Vernon, home of John E. Walker, President Charles Snyder Fred M. Smith George and Martha Washington John Kallenborn Saturday, July 9, 2005 Priscilla Lawrence, Executive Director The Historic New Orleans Collection Fourth Annual Les Comédiens Français Lecture 533 Royal Street “Lafcadio Hearn: Champion of Gustave Flaubert” New Orleans, Louisiana 70130 (504) 523-4662 Peter Rogers, S.J. [email protected] • www.hnoc.org Williams Research Center ISSN 0886-2109 © 2005 The Historic New Orleans Collection Thursday, July 21, 2005

14 Another Literary Year THE TENNESSEE WILLIAMS FESTIVAL AT NINETEEN

From March 30 throughApril 3, the French Quarter witnessed an influx of scholars, writers, publishers, editors, and avid readers. They came for the 19th annual Tennessee Williams/ New Orleans Literar y Festival. The Collection was once again the site for the master classes and for a reception Friday evening to honor participants. Piiictured are,,, fiiirst row,,, Dave Brinks; Andrei Codrescu; Judy Conner and Joshua Clark; secondrow,,, Dean King; Marly Rusoff; Virginia Spencer Carr; Ellen Gilchrist; thiiird row,,, Laura Lippman and David Simon; Warren Woods and Rex Reed; Thomas Mitchell and Christina Didericksen; Maureen O’Neal and Jack Riggs.

THE SHOP Are Your Library Shelves Lacking? PLEASE SEND Quantity Amount Firsthand Accounts of the Battle of New Orleans ___ A British Eyewitness at the Battle of New Orleans, $15.95 _____ View the original memoir of Robert Aitchison and maps by ___ Historical Memoir of the War in Arsène Lacarrière Latour in the exhibition, The Terrible and the Brave. Then add these Collection publications to your library: West Florida…, $49.95 ______George L. Viavant, $25.00 _____ A British Eyewitness at the Battle of New Orleans: The Memoir of Royal Navy Admiral Robert Aitchison, 1808-1827, edited by Taxes as applicable Gene A. Smith 9% Orleans Parish ______$15.95 4% other La. residents ______Subtotal ______Historical Memoir of the War in West Florida and Louisiana in Shipping and Handling 1814-15, with an atlas by Arsène Lacarrière Latour, edited with $4 each ______an introduction by Gene A. Smith (published by the Total Amount Due ______University Press of Florida in cooperation with The Historic Name______New Orleans Collection) Address______$49.95 City, State, Zip______First Volume in the Louisiana Artists Biography Telephone______Series Visa MasterCard Amex Discover Be sure to have the first in the series, George L. Viavant: Artist Check or money order of the Hunt, before the second is released! Account Number______Exp. Date______George L. Viavant: Artist of the Hunt by George E. Jordan Signature ______$25.00 15 Tenth Annual Symposium Explores the Ties between Britain and Louisiana

On Saturday, January 8, The Collection pre- BOOK SIGNING sented the tenth annual Williams Research Center Symposium at the Ritz-Carlton Hotel. AT THE SYMPOSIUM Noted scholars discussed the British influence on Louisiana, and Gene Smith signed copies of A British Eyewitness at the Battle of New Orleans, the recent Collection publication for which Dr. Smith served as editor. After the symposium, The Collection honored event speakers and sponsors at a dinner at the Ritz- Carlton followed by a trip to the Chalmette Battlefield for a “night before the battle” reen- actment. Gene Smith David Fleming, John Lawrence, and H. Parrott Bacot HONORING SPONSORS

Ron Filson, Ashley Johnson, Sherry and Charles Snyder Anne and Sandy Villere Joe Rault and Trip and Shelby Russ

Amy Odinet, John H. Lawrence, and Brett Breaux Sidonie, Sandy, and Margie Villere and Robin Fabel

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